O que há em um nome? Ressonâncias entre Ana Cristina Cesar e James Joyce / What’s in a name? Resonances between Ana Cristina Cesar and James Joyce

Resumo: Ana Cristina Cesar, em Luvas de Pelica (1980)1, mostra-nos um tipo singular de dicção íntima em que a finalidade do segredo é desativada, e uma mistura de diário de viagem, cartas e anotações pessoais é transformada em um espaço de deriva poética, no qual a posição do sujeito torna-se matéria de literatura. Há neste texto uma outra possibilidade de entendimento do que poderíamos chamar de “âmbito íntimo”, já que aqui, a intimidade acaba ganhando um estatuto diferente daquele da clausura, característico de décadas anteriores. Sabemos que nesta obra, Katherine Mansfield e Virginia Woolf são referenciadas, mas, em que medida a obra de um outro autor moderno, James Joyce, poderia dar uma nova luz à escritura de Ana Cristina? Joyce abordou de maneira intensa a temática da intimidade em seu livro Ulysses (1922), não somente através de cartas, mas também de um fluxo de consciência, em que a matéria corporal corre “junto” ao que nos é apresentado textualmente. Levando em conta o trabalho de problematização da instância íntima realizado por Ana C., haveria em Luvas de Pelica uma espécie de tonalidade joyceana refletida em seu corpus textual? Este trabalho pretende desbravar este tema, apontando para possíveis relações entre as estratégias de escrita de Ulysses e de Luvas de Pelica, a fim de descobrir pontos em comum que possam iluminar ainda mais a poética da escritora carioca.Palavras-chave: Ana Cristina Cesar; James Joyce; Intimidade; Feminino.Abstract: Ana Cristina Cesar, in Luvas de Pelica (1980), shows us a singular type of intimate diction in which the purpose of the secret is deactivated, and a mixture of travel diary, letters and personal notes is transformed into a space of poetic drift, in which the subject’s position becomes a matter of literature. There is in this text another possibility of understanding what we could call “intimate sphere”, since here, intimacy ends up gaining a different status from that of enclosure, characteristic of previous decades. We know that in this work Katherine Mansfield and Virginia Woolf are referenced, but to what extent could the work of another modern author, James Joyce, shed new light on Ana Cristina’s writing? Joyce intensely addressed the theme of intimacy in his book Ulysses (2012), not only through letters, but also through a stream of consciousness, in which the body matter of the character runs “along” with what is presented to us textually. Taking into account Ana C.’s problematization of the intimate instance, would there be in Luvas de Pelica a kind of Joycean tone reflected in her textual corpus? This paper intends to explore this theme, pointing to possible relationships between the writing strategies of Ulysses and Luvas de Pelica, in order to discover common points that can further illuminate the poetics of the writer from Rio de Janeiro.Keywords: Ana Cristina Cesar; James Joyce; Intimacy; Feminine.

Character Taxonomy in Dina Rubina’s Trilogies of the 2000s— 2010s

The article examines the trilogy by Dina Rubina “People of the Air” (2008—2010) and “Russian Canary” (2014). The relevance of the study is due, firstly, to the low degree of study of the trilogy “Russian Canary” (the onomastic space of the work is analyzed and the features of the book are determined in the context of a family novel of the 20th century); secondly, the need to differentiate the author’s artistic methodology, which is different in the studied macro-texts. The novelty of the research is seen in the fact that the authors, comparing the two trilogies by Dina Rubina, come to the conclusion that the author uses various semiotic strategies for constructing texts, thus revealing the homology of storylines, methods of constructing character series and general principles of world modeling of trilogies. The results of a comparative analysis are presented, which allow us to see the patterns of the artistic search of a modern author and his stylistic innovations. It is proved that with the parallelism of character series of two epic cycles, the author in the first case resorts to the artistic method of magical realism (“People of the Air”), and in the second case uses realistic principles of writing (“Russian Canary”).

Linguistic implementation of author's modality in the series of novels “Manyunya” by Narine Abgaryan

The article examines the peculiarities of representation of personality of the author via linguistic means of literary text. Definition is given to the concept of “author's modality”, which implies the author’s vision, attitude, and value orientations expressed through selection of particular language means. The subject of this research is the linguistic peculiarities of literary text, which allowed the audience to portray the image of the author, and analyze the specifics of representation her linguistic personality. The goal of this research consists in determination of language means that reflects the peculiarities of the author’s linguistic personality, as well as reveal individuality and distinctness of literary style of N. Abgaryan. The research material is comprised of the partially biographical novels of the contemporary Russian writer Narine Abgaryan “Manyunya”, “Manyunya Writes a Fantastic Novel”, and "Manyunya, Ba Jubilee, and other Tribulation”. The analysis is based on the methodological toolset of the theory of linguistic personality proposed by Y. N. Karaulov, literary studies of V. V. Vinogradov, M. M. Bakhtin, L. N. Churilina, etc., dedicated to the author, analysis of linguistic personality of the character of literary work. The scientific novelty of consists in identification of specific manifestations of  author's modality on the example of works of the contemporary Russian writer, which allows fully revealing the image of a modern author. The conducted research highlights and characterize specific features of linguistic implementation of author's modality: priority concepts in the author's worldview (“family”, “time”, “memory”); individuality of creative perception and manners of the author (irony, self-irony, nostalgia, description of tastes and smells); authorial transitions (remarks, references); visual arrangement of the text. The acquired results can be used in the lectures on studying literary texts, classes on linguoculturology, linguopersonology, as well as teaching Russian to foreign audience.

THE HUTSUL REPUBLIC IN VASYL GRENDZHA-DONSKY AND MYKHAILO HAFIA TRAYSTA PUBLICIST WORKS

The paper analyzes the features of the disclosure of the Hutsul Republic, having existed as a Ukrainian state in 1918-19 on the territory of the Austro-Hungarian Empire (now Transcarpathia), in the publicist works of Vasyl Grendzha-Donsky and Mykhailo Gafia Traysta. The attention of both publicists to this topic is not accidental. It was especially relevant for Vasyl Grendzha-Donsky, a contemporary of the period under study, to glorify the heroism of the Ukrainian people in the struggle for their rights in connection with the awakening of the national consciousness of Ukrainians in Transcarpathia and the struggle for the formation of Carpathian Ukraine in the 20-30s of the twentieth century. The publications of the modern author Mykhailo Hafia Traysta, dedicated to the events of the Hutsul Republic at this difficult time, activate the theme of selfless struggle of Ukrainians, the patriotism, the restoration of historical memory in the conditions of information and military aggression by the Russian Federation. For both authors, as representatives of different historical epochs, the events came from accordingly available sources. For V. Grendzha-Donsky, it is communication with the direct participants of the events, recording of legends, testimonies, impressions, memories, use of official materials, information, messages, etc. For M. Traysta – popular science works, publications of authoritative modern scientists, etc. The texts under analysis are full of specific historical facts of 1918-1919 period, highlight the figures of famous leaders of national liberation struggles. The publications of both authors with their pathos and emotional charge convey the public mood of that significant epoch. The specificity of the facts, the logic of presentation, the style of writing mobilize the reader's attention, arouse both general and scientific interest of a wide range of readers to important events of their own history. This provides the prospect of further study of the topic in Ukrainian journalism. The article clarifies the main contextual and semantic accents, factual arsenal, ideological charge and stylistic devices in the publications of both authors. The works are characterized by the public acuity and journalistic pathos of the topic.

About the Originality of the Manifestation of the Aesthetic Function in Modern Dramatic Discourse

The article focuses on one - the key, in the author’s opinion - aspect of the analysis of the modern dramatic work, which allows to demonstrate the peculiarities of the aesthetic function in the works belonging to this literary genus: the consideration of the principles of the organization of the playwright of the compositional and speech zone of the characters. It is this part of the dramaturgic discourse, leading in the content-conceptual plan and prevailing in the spatial relation, that is seen as the most significant for the interpretation of the play as a fact of verbal art with the unconditional consideration of the syncretic character of dramaturgic form. The relevance of this topic is due to the fact that, despite the significant success of modern philology in the study of the specifics of artistic speech, dramatic speech is still the least studied of its sphere. The purpose of research - analysis of dialogical spheres of contemporary plays versus not artistic dialogue and partly as a dialogue in prose, allowing you to set the number of features forming the identity of contemporary dramatic dialogue speech. The material for the observations was the play of the modern author E. Cherlak «Mortgage and Vera, her mother» (2011). In the interpretation of the materials used methods: observation, compositional, contextual and semantic-stylistic analysis. In addition, the conducted observations suggest that the analysis of the manifestations of aesthetic function in the works of drama should be carried out taking into account the textual nature of this compositional and speech sphere, as well as paying special attention to the author’s principles of its system organization, since this approach helps to identify not only the distinctive characteristics of dramatic speech, but also the features of the individual author’s handwriting of the playwright.

An Origenian Background for theLetter to Theodore

TheLetter to Theodoremay need to be reattributed to Origen of Alexandria. Many of its features seem demonstrably Origenian, and its language aligns with early Christian and Origenian usage. Two noncanonical gospel fragments in the letter do not betray a modern author, but rather evoke early Christian symbolism and narrative structure. The single garment worn by a character in the first fragment reflects Christian symbolism and resembles the philosopher’s garment, which many early Christians adopted and portrayed in material artifacts. Origen’s intellectual interests can explain the letter’s preparation for philosophical exegesis, and its language reflects his text-critical practice. Nevertheless, Origen’s circumstances indicate the text of the noncanonical gospel fragments is unreliable. The letter also echoes Papias in the manner that Origen does. Morton Smith’s account of its discovery does not betray a forgery or hoax, but plausibly depends on other nonfiction works of manuscript discoveries written during the 1960s. Further work may be needed to secure attribution, but Origenian authorship is a simpler explanation of the evidence than modern forgery.

Samuel Beckett and Samuel Johnson

In “Samuel Beckett and Samuel Johnson: Like-Minded Masters of Life’s Limitations,” Thomas M. Curley reminds us that Johnson’s overall philosophy of life was traditionally and emphatically Christian. But he was a fearful believer, part of whose anxiety, Curley argues, stemmed from a sense of existential emptiness flowing from his abiding vision that we do not really live in the present but, exist primarily by means of past or future apprehensions of living. Perhaps no famous modern author, Curley contends, was more fascinated by Johnson and his anxieties than Samuel Beckett. Beckett turned a blind eye to the traditional magisterial figure of the Great Cham and instead focused upon a doubt-ridden and phobia-filled persona, a subversive Johnson, wrought in the Irishman’s own image and serving as a formative influence on his canon. Johnson’s influence upon Beckett—however unlikely—proves upon deeper scrutiny to be profound.

Metamorphosis as Origin–Koji Yamamura’s Short Animation Franz Kafka’s A Country Doctor

In the beginning was metamorphosis. This paradoxical thought, which the ancient Roman poet Ovidius and modern author Franz Kafka represented in their literary works, is visualized in Koji Yamamura’s short animation Franz Kafka’s A Country Doctor. Diverse metamorphoses that do and do not appear in the Kafka original are so elaborately and dynamically depicted in this animation that no live-action film could possibly represent them. In addition, the film itself can be seen as a metamorphosis, as it is an animation converted from a short story. Such a dominance of metamorphosis is also true for the transculturality and transnationalism of Yamamura’s animation. In a sense, the film results from a cultural integration of foreign language and image. However, this integration is also part of the swirl of metamorphosis. The traditional performance art Kyogen, which the director uses to voice the main characters in the animation, could not integrate foreign culture without its own diversification. Yamamura’s animation demonstrates that transculturality is another name for fundamental metamorphosis in which diversification and integration occur simultaneously.