‘Ozymandias’

The textual history of Shelley’s famous, much-anthologized sonnet ‘Ozymandias’ is brought into relationship with the poem’s own central concern with the ironies accumulating around a monument which long outlasts the occasion and moment of its first creation. A detailed analysis of the poem’s rhetorical structure, poetic technique, and ramifying ironies leads in to a meditation on the status of the literary work of art, and its reliance for transmission through time on an editorial tradition. Successive early versions of the poem, both manuscript and print, are compared, and the significance of their differences considered as exemplifying a variation of the ironies at play within the poem. The lesson taught to tyranny by the survival of the ruined statue has affinity with the dependence of the poem itself on the editorial tradition which has maintained its existence.

Liquid Meaning in Sanskrit Poetics

Chapter three surveys classical Indian literary theory and looks at how rasa (liquid meaning) became considered to be the goal of the literary work of art. The chapter considers a vision of the poetic work of art that is radically different from the models of private, silent reading that most Westerners have been brought up with. The text discusses how rasa is achieved through resonant suggestion, and how the meaning of a poem is understood in terms of its taste. The production of rasa is viewed through classical Indian aesthetics as well as though works of Western literary critics who have put forth resonant ideas. The Meghadūta is seen as an exemplary work in this regard.

On Collective and Devised Creation in Slovenian Theatre

In the first part of the article, the author analyses the appearance of the director and the changes in his position in Slovenian theatre from the second half of the 19th century to the present day. In this context, he is particularly interested in the changes in theatre directing that took place in the second half of the 20th century with the emergence of collective theatre. The author methodologically combines historical and comparative analysis, as these processes still take place today, when devised theatre and other forms of theatrical creation are increasingly spoken and written about, moving away from the conventional process by which a playwright writes a dramatic text as a literary work of art and the director then transforms it into a theatrical work of art. There are more and more performances in contemporary Slovenian theatre in which a pre-written dramatic text is not crucial for the final product of the creative process. The two most commonly used terms for this type of performance are po motivih (based on the motifs) and avtorski projekt (auteur performance). Although the terms are not synonymous, both terms imply a devised type of theatre. The author compares group creation with the devised way of creating and points out that although these are practices that can take place in parallel, they cannot be equated. The author concludes that for collective theatre, the specific relationship between the creative group and the director’s position is constitutive. In contrast, for devised theatre, the relationship between the creative group and the playwright’s position is crucial. Finally, the author also touches on the connections between postdramatic and post-directors’ theatre and the emergence of the creative group as a collective subjectivity.

Literary Discourse as a Cognitive Dialogue About «Language as the House of Spirit»

The article is focused on the diversity of literary discourse which is viewed through the prism of “the internal life of the text” and is considered as a dialogue within “the life and power” of the language. As an object of interdisciplinary scientific research literary discourse is perceived as a complex metalinguistic phenomenon, which is inherently dialogic in its character and able to generate certain reality in which modern human beings live and act. In the triad “discourse – language – language personality” the median marker is viewed as “the house of being” (M. Heidegger), “the spirit of the nation” (W. Humboldt), which allows for the understanding of flickering ideas standing behind the creativity of a modern poet.This paper provides the interpretation of the linguistic dynamics of textual space as one of the possible methods of understanding “the life and power” of the text, which helps to objectively represent the notion of “language as the house of spirit” and the spirituality of modern poetry.The purpose of the article is to study the discourse of a literary work of art as a cognitive dialogue about “language as the house of spirit” and reveal the dynamics of “the spirit” within “the soul of the text”. It should be underlined that the multidimensional character of literary discourse provides for several levels in studying a literary text:Level 1: “the text and the reality”;Level 2: “the text and the language”;Level 3: “the author and the text”;Level 4: “the reader and the text”.The research is based on the analysis of the poetic essays by Tamara Sokolskaya – “The Honesuckle” and “Poetic Ariozo. G#HF#E”.The methods employed in the paper include modeling and interpretation of the linguistic dynamics of the textual space, contrastive and synergetic analysis of the “life and power” of the text and the method of conceptual analysis.The findings of the research comprise the following the results:1. Literary discourse is specific in its multidimensional character and the variety of expressed ideas, which sets it apart from other types of discourse;2. This multidimensional character of literary discourse reveals the complexity of the spiritual life of the author of the text.3. The synergy in the dynamics of textual units demonstrates spiritual content of modern poetry which exists at different levels of consciousness.4. Literary discourse serves as the material realization of the spiritual energy of a person.5. Literary discourse should be viewed as a cognitive dialogue about “language as the house of spirit” which reveals “the dialectic of the spirit” of the author and the dynamics of “the life and power” of the text as a multicultural language code representing the spiritual energy of the nation.

CINEMA AS ONE OF THE MAIN FORMS OF CONTEMPORARY ART

This article raises the problem of transposition (transposition) of the literary text of the verbal code into the language of cinema, which is relevant in modern linguistics. Within the framework of the presented research, the main stages of the development of cinematography, as well as the main techniques and types of editing, are described. The aim of the study is to analyze the historical stage in the development of a new type of art (cinema), its impact on society, as well as to analyze the relevance of such a phenomenon as the adaptation of a literary work of art. The relevance of addressing this topic is due to the development of modern filmmaking, the number of film adaptations that have come out in recent years. The article describes the views on cinema and film adaptation by Umberto Eco and David Lynch, suggesting that the film adaptation of literary works is a new type of artistic creation that was born in the 20th century and requires more careful research. The article presents an analysis of the novel by L.N. Tolstoy «Anna Karenina», as well as the main world adaptations of the novel. The analysis is carried out in order to identify the main cultural similarities and differences. The paper presents analyzes of such methods of translating meanings as color and cut-off.

The Concretization of the Literary Work of Art: Elements for a Comparison between Roman Ingarden and Wolfgang Iser

The notion of concretization introduced by Roman Ingarden in his seminal work The Literary Work of Art makes the reader the one responsible for the creation of the literary work of art as an aesthetic object. Prior to the act of reading, “the work itself,” in Ingarden’s analysis, is a structure of various strata: the stratum of verbal sounds, the stratum of meaning units, the stratum of schematized aspects, and the stratum of represented objectivities. The reader concretizes the work, turning the schematic formation into an accomplished aesthetic object. Concretization is accomplished by adding determinations to the schemata of the text on all strata. By way of their psychic operations readers fill in places of indeterminacy and establish the world of the literary work of art. Wolfgang Iser takes up Ingarden’s concept of places of indeterminacy to develop his own position. Iser recasts the concept of indeterminacy in the form of gaps or “blanks” which allow for more functions and forms than those stated in Ingarden’s analysis. For Ingarden, the process of reading moves in one direction: from the real world to the imaginary (intentional) world. For Iser the process of reading is two-directional: the reader fills in the blanks of the imaginary world using the memory traces collected in his or her mind that derive from the life-world. An attempt to clarify the main points of Ingarden’s phenomenology of reading, may, therefore, elucidate Iser’s contribution. In addition, the notion of concretization has seen many criticisms (R. Wellek, G. Poulet, S. Fish, D. Barnouw among others), and the topic deserves renewed attention.

Perspectivas de la metáfora y el símbolo desde la teoría de Paul Ricoeur

This paper proposes some approaches to the concepts of metaphor and symbol from Paul Ricoeur’s discourse in The Rule of Metaphor, and some other essays such as From Text to Action and The Conflict of Interpretations. Likewise, to contextualize certain terms, I will use some of the notes by Mauricio Beuchot as he approaches the concept of symbol. Symbol and metaphor transport us to reconfigure the literary work of art as a whole and take us into another horizon. The application of this exercise will fall in an excerpt of “El prodigioso miligramo” by Juan José Arreola.

THE STUDENT AS AN ACTIVE RECIPIENT OF LITERARY ART

The theory of reception in the study of literature is based on the knowledge that the reader is an indispensable actor in the realization of a literary work, as well as in the process of its spiritual form. A literary work of art can come to life and realize its true function only if the one receiving it understands and experiences it in the right way, if he manages to interpret and adopt the message that the writer sends him through the work. There is therefore a common opinion that the writer and the reader jointly create and revive the wonderful world of literary art. This paper points out the importance of educating early primary school students for the proper reception, understanding and emotional experience of a literary text. The precondition to achieve success in this endeavor, is that students successfully master the skill of reading and familiarize themselves in a comprehensive way with the different types of reading. Modern schooling also sets an important task for the teacher, which is to motivate students to read and experience literary works; and above all to encourage and help students develop their own internal motivation to read.

The Enduring Importance of Roman Ingarden for Reception Theory

There have been few philosophers in the 20th century more creative and profound and yet more obscure than Roman Ingarden. He anticipated many of the major philosophical questions that would dominate literary theory in the 1960s and 70s in Germany, France, and the United States. In this paper, I argue that his primary contribution to literary theory is an ontology that arcs deftly between the poles of idealism and realism with a nuanced way of upholding both the formal reality of the literary work of art and the subjective assessment of aesthetic value, all the while preserving the fundamental meaning-making function of language. It was this philosophical foundation that proved to be a fertile ground for later philosophers, like Hans Robert Jauss and Wolfgang Iser, who wanted to push back on what they saw as analogous forces to idealism and realism in the rigidity of formalism and Marxist materialism and the ostensible epistemological nihilism of the psychological hermeneutics.