„Machine Gun of Young Literature” – Fronts of Combat and Cooperation of the Warsaw Artistic Club S (1933–1936)

The article discusses the activity of the Warsaw Artistic Club S which functioned in the years 1933–1936 and was one of the more important (though now largely forgotten) literary initiatives referring to the achievement of the Polish 1920s avant-garde. It looks at the club’s origin, development, sc ope of activity and place in the context of the contemporaneous literary movements. The differences between the views of the club’s leading members prevented the formulation of a common program, and therefore limited its infl uence on the shape of Polish interwar literature.

Literary Historiography as Event: Mihai Iovănel’s History of Contemporary Romanian Literature: 1990-2020

In his essay, Moraru contends that Mihai Iovănel’s 2021 History of Contemporary Romanian Literature: 1990-2020 is a breakthrough in Romanian literary historiography and criticism overall. According to Moraru, the History revisits radically the terms of the Romantic contract that, in Romania and elsewhere, has typically been underwriting modern criticism. A form of critical realism and an exemplar of postmillennial Romanian literary and cultural studies, Iovănel’s book is, in Moraru’s view, not only provocative but also effectively transformative. To gauge the scope and nature of the changes advocated and enacted in the History, this article examines how Iovănel has put together what he calls the “system” of contemporary Romanian literature. Thus, Moraru is less concerned with which writers are included in the book and which are left out, seeking, instead, answers to a series of questions concerning primarily Iovănel’s cultural-materialist and transnational studies-informed methodology. Along the same theoretical, historical, and political lines, Moraru discusses the project’s makeup as well as the strength of the case the History makes for the need to have another look at a range of pre- and post-1990 literary movements, directions, styles, and authors, principally at postmodernism and its competition and successors in the twenty-first century.

Investigating Literary Terminologies to Accomplish Literary Research and Enjoyment: A Corpus Study

In relation to producing, enjoying, and especially criticizing literature, some literary terminologies are used frequently. Thus, corpus in the field of Literature is urgently needed to compile. This study aims to compile literary terminologies found in Literature and Language Teaching by Gillian Lazar and Literary Movements for Students by Ira Mark Milne books. In addition, it also tries to find the frequency, meaning (in context), and examples of the use of the terminologies. The method used in this research was document analysis, the data of which was obtained from predetermined documents, such as books of general literature, and books of theory and literary criticism. While the stages carried out were data collection, data selection, and presentation. From the books studied, it is found that the terminologies that appear could be categorized into terminologies related to (1) authors, (2) readers of literary works, (3) literary work itself, and (4) literary theory and criticism. Additionally, there is an interesting fact from the data found that the books have different frequencies of literary terminologies. The terminologies that appeared in Literary Movements for Students are more frequent.

Freedom

This chapter returns to the narrative medicine methodology discussed in Chapter 2, elaborating upon the relationship between literature and medicine and proposing that metagnosis is the key to making a readerly/writerly diagnosis. As literary movements such as metafiction expose the fallacies and limitations of literary realism, metagnosis constructively exposes the representational practices of biomedicine. The confluence of metagnosis and metareferentiality is explored in the work of contemporary comedian Hannah Gadsby. In addition, the implications of metagnosis are shown to extend beyond the context of health and medicine to revelations concerning identity (e.g., Dani Shapiro’s Inheritance) and to the cultural discourse of identity writ large (e.g., Appiah, Haider, Zadie Smith). Understanding metagnosis as a revelation effecting a change in knowledge—and employing our blindsight to address the apparent binaries structuring our understanding—is integral to our understanding of ourselves and of identity itself as we move into an increasingly dynamic future.

«caso Luigi di Ruscio»

The recently published anthology of Luigi Di Ruscio’s works (Poesie scelte: 1953-2010) reintroduces this author to Italian readership. Born in Fermo and emigrated to Oslo, following his debut as a neorealist he remained removed and detached from contemporary literary movements. As a poet and novelist Luigi Di Ruscio did not enjoy a large audience in his lifetime. The operation carried out with his posthumous publications constitutes a rediscovery of an otherwise minor author. Precisely by virtue of Di Ruscio’s placement amongst minor poets and because of the critical productivity of this category, this paper proposes to reevaluate the texts within the anthology by reinserting them in their historical context. This will allow us to ascertain the presence of alternative paths to already codified practices of poetic writing which are applicable or recognizable today.

The Urdu Ghazal

The Urdu ghazal is a marvel of the magnetic dynamism of husn o i’shq filled with innovative imagery. It is a celebration of life and love in an ambiance of pure ecstasy. It has a profound capacity for joy as well as pain. It is the soul of Urdu verse and the play of creativity at its peak. No other poetic genre is as innately musical as the ghazal. The book presents unique flowering of the Urdu ghazal as a by-product of India’s composite culture that evolved from intermixing of Indian and foreign value systems. This never-before narrated story of the evolution of the Urdu ghazal is documented in eight chapters divided into three parts. It explores a variety of influences, including Sufism, Bhakti movement, and infusion of Rekhta and Persian languages and culture. The book explains classical ghazal forms that blossomed from the seeds sown by Amir Khusrau in the fourteenth century to great heights of literary excellence achieved during the next 300, notably in the works of great poets like Mir and Ghalib. Different socio-political and cultural demands of changing times are expounded towards the end, primarily how the ghazal provided new creative models to deal with literary movements like progressivism, modernism, and postmodernism. This book includes samples of works of thematically related poets. It also covers works of twentieth-century pioneering innovators like Firaq Gorakhpuri and Faiz Ahmed Faiz, and postmoderns like Gulzar and Javed Akhtar.

The Modernists and the Postmodernists

This chapter opens with a conceptual history of literary movements like modernism and postmodernism in Europe, and goes on to discuss the origins of these trends in Urdu literature, particularly Urdu poetry, about which much has not been written before. This chapter also contains samples of representative ghazal verses from a wide variety of modern and postmodern poets, including Javed Akhtar and Gulzar.

Lyuben Karavelov: the Bulgarian narrator, journalist and revolutionary

The article is about Lyuben Karavelov (1834–79), the preeminent Bulgarian writer who worked in the era of the Bulgarian national revival, an author of tales, short stories, ethnographic essays and political articles. Almost all of his creative life was spent in exile: he lived in Russia, the Serbian Principality, Austria-Hungary and Romania and published his works not only in Bulgarian, but also in Russian and Serbian, influencing the development of literary movements wherever he was located. In his creative evolution, he moved towards a realistic representation of life, overcoming the tendency typical of Bulgarian writers at that time to write with elements of sentimentalism and revolutionary romanticism. He wrote the best Bulgarian story of that era, “Bulgarians of Old times”. Many of his works reflected the influence of N.V. Gogol, N.G. Chernyshevsky and M. Vovchok, and contributed to the formation of realism not only in Bulgarian but also in Serbian literature. His influence would have been much greater if he had not died at the age of 45 from tuberculоsis immediately after the liberation of Bulgaria from the Ottoman yoke.