Paul Groussac’s Void: The French Writer and the Argentine Tradition

The French-Argentine Paul Groussac embodied a wide range of writerly functions and cultural-political positions within the Argentine cultural field between the 1880s and the 1920s: writer, playwright, chronicler, traveler, literary, art, and music critic, historian, educator, editor, and director of the National Library during 44 years. This essay considers his place in the history of Argentine literature looking at two of the many ways in which he inscribed himself in it. The first takes up the production and reproduction of the ontological privilege of French identity as a form of legitimization for his public—and often polemic—interventions, through which he sought to establish scholarly-disciplinary practices, protocols, and conventions that would articulate an entire critical field around his own authority. The second proposes to think his alternatively weak and strong inscriptions in the literary tradition through his own narrative production: his fiction and dramaturgy, travelogues, and biographical sketches. In other words, this essay situates Groussac in an Argentine literary tradition (conceived as an organic and institutionally sanctioned textual corpus) he believed to have founded and established, a selfrepresentation that led Borges to say that Groussac saw himself as “a missionary of Voltaire among the mulattage.”

Folclorul și valorile imaginației

The author demonstrates in this approach that folklore, unlike cult literature, values the essential richness of the imaginary, being closer to the world, which Eminescu said he „ thought in fairy tales and spoke in poetry”. Folklore was must also conceived as literary art, the interference between it and cult literature was the aesthetic program of the German romantics, of the Romanian classics Eminescu, Alecsandri and Anton Pann, of the contemporary authors Brecht and Auden. Folklore works have the same principles of elaboration as cult literature, they being social and documentary documents, which capture essential moments of human relations with society and history. The author refers to the folklorist Sergiu Moraru, who studied especially the poetic system of the sung lyrical song, subjecting it to a structural and typological analysis.

Konotacije leksičkog sloja motiva stida u engleskim prijevodima bošnjačke balade “Hasanaginica”

Translating a work of literary art, especially poetry, also means translating its style. At the lexico-stylistic level, style manifests itself in both denotative and connotative meanings of the lexical units of a text. By analyzing the connotations of the lexical layer of shame motif in English translations of Bosniak ballad “Hasanaginica”, we can identify and problematize the interpretation of this motif in the target texts in relation to the source text. Applying the method of lexico-stylistic analysis to the key verses of the shame motif, both in the source text and in the target texts in English, we examine the ways in which different translators build the mystical motif as the only abstract concept that never develops into a poetic image, leaving space for multi-layered connotations that are imposed on the reader. The results of the analysis point to the translations that are closest to the source text in terms of containing minimal differences in the degree of their interpretive limitation or intrusiveness. The most vividly evoked key verse of the shame motif is found in Francis Jones’ translation. However, the final vocabulary choice made by a discerning translator possessing a high degree of stylistic awareness should also be influenced by other aspects of the original text, such as its established rhythmic pattern or meter that requires preservation and other formal characteristics of this ballad, which are not to be found in Jones’ translation. Therefore, our conclusion is that the results of lexico-stylistic analysis of the original should be weighed against the results of analysis on other linguo-stylistic levels of expression (phonostylistic and syntaxostylistic) in order to synthesize them as successfully as possible, which could help recreate a new, more effective and reliable translation of this masterpiece of our oral literature.

"I Am Black and Beautiful": A Black African Reading of Song of Songs 1:5-7 as a Protest Song

Adamo's article on Ebed-Melech's protest brings fresh insight into my earlier article on Song of Songs 1:5-7, prompting me to reread the text as a protest song (essay) against the racial stigmata that continue to bedevil black people in the world. The current article, using hermeneutics of appropriation, maintains the meaning of שְׁחוֹרָה as a black person, who in the Song of Songs protests against the racism, which transformed her status to that of a socioeconomic other. The study is informed by the contemporary and historical contexts of racial injustices and stigma suffered by Blacks for 'being' while Black. The essay investigates this question: In which ways does Adamo's reading of Jer 38:1-17 influence an African reading of Song 1:5-7 as a protest against racism? The article employs African Biblical Hermeneutics, as part of a creative and literary art in the protests against racism, to read the biblical text as our story-a divine story, which in the language of Adamo, has inherent divine power that can empower oppressed black people.

The Religious and Philosophical Interpretation of Paleya Tolkovaya

Статья посвящена осмыслению опыта научного изучения и интерпретации памятника древнерусской литературы Палеи Толковой. Палея представляет собой многослойное в смысловом плане произведение, не только содержащее полемические, экзегетические и энциклопедические компоненты, но и имеющее значительное религиозно-философское наполнение. В статье рассмотрены также апологетические и миссионерские смыслы, которые можно обнаружить в тексте Палеи. Сделан вывод, что текст Палеи Толковой по своему характеру представляет собой произведение в большей степени утверждающее и защищающее православную веру, чем полемизирующее. Богословские идеи, содержащиеся в этом произведении, выдержаны в духе и традиции антиохийской богословской школы, и апологетические посылы текста подтверждены экзегезой священных книг, подкреплённой святоотеческой традицией и апокрифическими сказаниями. The paper aims to summarise the experience of studying and interpreting the piece of ancient Russian literature Paleya Tolkovaya. Paleya is a complex semantic text containing polemical, exegetical, and encyclopedic components. Moreover, it has significant religious and philosophical content. Particularly, the paper discusses the apologetic and missionary meanings which can be found in the text of Paleya. The key conclusion of the paper is that the text of Paleya Tolkova is rather affirmative and defending than a polemic piece of literary art in its attitude to Orthodox faith. The theological ideas contained in the text are sustained in the spirit and traditions of the Antiochian theological school, and the apologetic messages of the text are confirmed by the exegesis of the sacred books, supported by the patristic tradition and apocryphal legends.

PROBLEMS OF TRANSLATING RUSSIAN RELIGIOUS LITERATURE INTO CHINESE FOR CHINESE TRANSLATORS (ON THE EXAMPLE OF A. VARLAMOV’S NOVEL «THE SUNKEN ARK»)

Varlamov’s novel «The Sunken Ark» is a philosophical story about Russian Orthodoxy, which also affected Chinese readers. The author focused his attention on the translation of this novel. What problems are there in Russian religious literature for Chinese translators and even Russian language learners? Three issues are analyzed, from basic religious vocabulary to religious philosophy. You can get to literary art by overcoming the language barrier.

Code switching in contemporary isiZulu performance poetry

Recent developments in isiZulu poetry have been marked by an emergence of performance poets whose poems have gained popularity with younger audiences. A constant feature in contemporary isiZulu poetry is a conscious deviation from adherence to rigid structural and formal linguistic requirements. Contemporary isiZulu poetry is also characterised by a shift from textual to performance-specific conventions that cater for radio, theatre, social-media platforms and so forth, and is more accommodative of linguistic dynamics that shape the current generation of artists and audiences. While contemporary isiZulu performance is a rather more recent innovation, it still owes its roots to oral poetry traditions and has evolved from literary art forms that were committed to memory and performed during family gatherings and communal events. This article explores code switching in contemporary isiZulu performance poetry and argues for appreciation of this phenomenon for its aesthetic appeal rather than as infringement on long-held attitudes about purity of artistic linguistic expressions. Hyme’s Ethno-poetic Theory will inform analysis of selected poems in this article. Ethno-poetic Theory focuses, amongst others, on how a performance displays literary qualities.

LINGUISTIC AND STYLISTIC DOMINANTS OF YEVHEN HUTSALOʼS BIZARRE DISCOURSE

Purpose. The article is devoted to the study of the authorʼs stylistics by Yevhen Hutsalo, in particular to the identification of the linguistic and stylistic dominants of the writerʼs bizarre tdiscourse. The material of the study was a bizarre trilogy of the writer «Borrowed Man», «Private Life of the Phenomenon», «Parade of Planets». Research methods. The research is based on general scientific methods, using inductive and descriptive-analytical methods – for the accumulation, systematization and analysis of factual material; method of phraseological analysis – to identify the phraseology of the phrase; structural and semantic methods – for the analysis of textual integration of phraseology; the method of comparative analysis is used to compare casual and occasional phraseological units; the method of contextual analysis was used to establish the authorʼs intentions and text-forming potentials of transformed phraseology. Results. The authorʼs linguistic and stylistic organization of Yevhen Hutsaloʼs bizarre trilogy is analyzed, its linguistic and stylistic dominants, which appear as text-forming, plotforming and genre-forming factors of Yevhen Hutsaloʼs bizarre discourse, are determined. Their typological manifestations and expressive-pragmatic functions in the text space of the studied chimera are determined. It is revealed that the writer uses structural-semantic transformations and semantic modifications of phraseology, occasional phraseology, synonymization of phraseological units, authorʼs aphorisms, authorʼs paraphrasing and title creation productively to create a chimerical modality of the literary-art text. Conclusions. Itʼs established that the verbalizers of the authorʼs pretentiousness by Yevhen Hutsalo are a complex system of lexical and phraseological means with the dominance of different manifestations of the authorʼs modification of phraseological units. The most significant in the context of the stylistic dominance of pretentiousness are the semantic modification of phraseology, in particular the reception of double actualization, expanded phraseological metaphor, and structural-semantic transformation of phraseology, in particular the reception of phraseological hints, capable of directing. In order to enhance the linguistic-art expressiveness of bizarre novels, the writer productively uses the synonymization of phraseology, to realize the harmony of form and content uses the authorʼs paraphrasing and authorʼs aphorisms.

Mature Works I (1924–1927)

Between 1924 and 1927 Woolf was at an apex of her career, publishing some of her best-known works, including Mrs Dalloway (1925), The Common Reader (1925), and To the Lighthouse (1927). She also wrote prolific letters, diary entries, short stories, and essays whose co-extensiveness with her major work remains to be fully scrutinized. This chapter considers some the connections, traces, and shared themes across these multiple genres of Woolf’s writing to argue that Woolf consistently emphasizes (1) literature as a vehicle of ethics that changes us as we read; (2) the necessity of breaking with formal literary conventions in order to render the ambivalences and uncertain ontological and psychological terrain of modernist ‘truth(s);’ (3) poetry as both the highest form of literary art and as way of being that traverses her characters; (4) a duty to render, despite her atheism, what she persistently calls ‘the soul’.

BUNIN AND GOGOL: UKRAINIAN FACTOR, OR BETWEEN ORYOL REGION AND PROVENCE

The gap as long as several decades between I. Bunin’s different opinions of Gogol’s personality and writings — from youthful admiration and feeling of emotional and spiritual proximity to the confession of ‘hatred’ in a diary note of emigrant times — has been considered both as historical-literary fact and psychological mysterious phenomenon. The key problem determining the angle of an analytical approach to the topic is the role and significance of the ‘Ukrainian factor’ in Bunin’s biography and literary art, his interest and affection towards Ukraine, its people, nature, history, traditions, and culture, which was testified by the writer’s confessions and became the subject of research in the Ukrainian scholarly discourse and journalism (E. Malaniuk). In that light, the stories by Bunin based on his traveling around Ukraine, the parts of the novel “Аrseniev’s life”, memoir and epistolary materials have been analyzed in the paper. Special attention has been paid to Bunin’s tender attitude towards T. Shevchenko, his creative works and his personality. It was Shevchenko’s poetry as well as “A Terrible Revenge” and “The Old-World Landowners” by Gogol that revealed Ukraine to young Bunin, entering his conscience and creative imagination. As to the later Bunin’s negative attitude towards Gogol, the decisive factors were dissimilarity of both writers’ personal and psychological features and difference of their creative methods and poetics, connected with the change of historical and literary paradigm. In particular, Gogol was the forerunner to modernism from which Bunin stayed away.