Literature

Romance sui generis, sua estrutura narrativa se tece a partir de contos interconectados, sempre eivados de paixões intensas a ponto de pôr em cheque não só os limites entre fantasia e fato, como também a própria noção de realidade. Sua densa trama psicológica, exuberantemente simbólica, toca aspectos profundos da existência humana. Seu título é uma referência à menção de G.W. Hegel à 'Coruja de Minerva', em que afirma que apenas quando as civilizações aproximam-se de sua decadência final, de sua derradeira (...) agonia, pode a Filosofia expressar algo de substancial conteíudo acerca de sua história, pois tais verdades mais profundas a respeito só poderiam ser capturadas ao saírem de cena ao sobrevir do "crepúsculo", ou seja, apenas em retrospecto. Portanto, a reflexão dos filósofos abordaria a história humana de maneira análoga ao olhar da coruja de caça ao sobrevoar os campos ao cair da noite. Estaria uma última 'Coruja de Minerva' já pairando sobre a humanidade neste século 21, tão obscurecido por temores e sinais apocalípticos? (shrink)

'The Last Owl' is a very singular novel built from interconnected poetic tales, culminating in an apocalyptic love. Its dense psychological symbolic plot intends to touch deep realms of the human condition. As for the title it relates to Hegel's phrase mentioning the Owl of Minerva, in which is stated that only when civilizations are nearing their ultimate decay, their final throes, is philosophy able to utter something substantial on what has been their history, because deepest truths about them may (...) be caught only during they leave scene during their "dusk", that is, only in retrospect. Accordingly, Philosophers' pondering would address human history in a analogous way to the hunting owl's gaze while flying over fields at nightfall. Would a last 'Owl of Minerva' be already flying over mankind in this 21st century so obscured by dooming signs ? (shrink)

'The Last Owl' is a very singular novel built from interconnected poetic tales, culminating in an apocalyptic love. Its dense psychological symbolic plot intends to touch deep realms of the human condition. As for the title it relates to Hegel's phrase mentioning the Owl of Minerva, in which is stated that only when civilizations are nearing their ultimate decay, their final throes, is philosophy able to utter something substantial on what has been their history, because deepest truths about them may (...) be caught only during they leave scene during their "dusk", that is, only in retrospect. Accordingly, Philosophers' pondering would address human history in a analogous way to the hunting owl's gaze while flying over fields at nightfall. Would a last 'Owl of Minerva' be already flying over mankind in this 21st century so obscured by dooming signs ? Philosophical Fiction. (shrink)

This article intends to offer a general presentation of the way in which Saint Thomas Aquinas proceeded in his exegesis of sacred texts. The author concentrates on one of Aquinas’ most estimated biblical commentaries, his Lectura on the Gospel according to St. John. Aquinas combines great theological insight with an incipient development of some literary techniques. In his hermeneutics, he emphasizes the priority of the literal sense of Scripture, although this thesis does not lead him to present a purely natural (...) interpretation. The supernatural mystery of God belongs to the literal sense of Scripture. This is why God, as the principal author of Scripture, might have intended to express different truths even within a single passage. (shrink)

Paul Ricoeur argues that narration is lived life. Therefore, human experience has a narrative dimension, ie, it has a narrative structure and every effort you want to make for the human need to consider the narrative. For this reason, the text theory is converted to Ricoeur in a general model for the study of human action, since this is conceived as an open work to anyone who can read it. Given this general framework for discussion, we have deepened the notion (...) of the patient as “text”, and described their richness for reflection of bioethics and medical act, rescuing the value of listening, prudence, responsibility and rediscovering a place for the principle of autonomy and casuistry. -/- Paul Ricoeur sostiene que la narración es vida vivida. Por lo tanto, la experiencia humana posee una dimensión narrativa, es decir, tiene una estructura narrativa y todo esfuerzo que quiera dar cuenta de lo humano tendrá que contar con lo narrativo. Por esta razón, la teoría del texto se convierte para Ricoeur en un modelo general para el estudio de la acción humana, pues esta es concebida como una obra abierta a cualquiera que pueda leer. Teniendo en cuenta este marco general de reflexión, hemos profundizado en la noción del paciente como “texto”, y describimos su riqueza para la reflexión de la bioética y el actuar médico, rescatando el valor de la escucha, la prudencia, la responsabilidad y redescubriendo un lugar para el principio de autonomía y la casuística. (shrink)

Narrations have been able to influence medicine, giving rise to a new approach call " narrative medicine ". In this paper we consider the patient as a text, such is, an open book that the physician intervenes, but also from which the physician may and need to learn a lot. To deepen a little in the narrative perspective of patient understanding and his/her situation helps us to discover how the patient is object of compassion by physicians, but also how he/she (...) turns into subject of compassion. We conclude that it is important for physicians to dedicate time in their initial medical training, as well as in their permanent training, to explore and exploit the value of narrations, that help them to categorize their living experiences and that of the patients. -/- As narrativas estão chegando a influenciar na medicina, dando origem a uma nova abordagem chamada " medi-cina narrativa ". Neste trabalho consideramos o paciente como um texto, em outras palavras, um livro aberto que o médico intervém, mas também, que deve aprender muito. Aprofundar-se um pouco na perspectiva narrativa da compreensão do paciente e de sua situação ajuda a descobrir como o paciente é objeto da compaixão dos médicos, embora também como se converte em sujeito desta compaixão. Concluímos que é importante que os médicos dediquem mais tempo em sua formação médica inicial, bem como em sua formação permanente, para explorar o valor das narrativas que ajudam a categorizar suas experiências e a dos pacientes. -/- Las narraciones han llegado a influir en la medicina, dando lugar a un nuevo enfoque llamado " medicina narrativa ". En este trabajo consideramos al paciente como un texto, es decir, un libro abierto que el médico interviene, pero también del que el médico puede y necesita mucho aprender. Ahondar un poco en la perspectiva narrativa de la comprensión del paciente y de su situación nos ayuda a descubrir cómo el paciente es objeto de la compasión de los médicos, pero también cómo se convierte en sujeto de esa compasión. Concluimos que es importante que los médicos dediquen tiempo en su formación médica inicial, así como en su formación permanente, a explorar y explotar el valor de las narraciones, que les ayuden a categorizar sus experiencias vividas y las de los pacientes. (shrink)

Literary work. A short story with a dark atmosphere where the author tells the story of a young man who, on a normal day, finds himself in a weird situation that gives way a new order. / Un cuento donde, con una atmósfera sombría, se narra la historia de un joven que al salir de un instituto de idiomas se encuentra con un nuevo orden.

Fiction is the favorite of most of the readers. Fiction is the reflection of the societal living and lives of human beings as observed by the writer. The writer also will have individual experiences, ideas, likes, dislikes, philosophy which influence and mold his writings. Fiction is famous as short-fiction and novel. Though fictitious, and also because fictitious, fiction takes possession of minds and hearts of readers more than any other literary genre. Their imaginations sore and they get engrossed in the (...) reading of fiction. Fiction is very good in engaging and passes time to the readers. The scholarship, study, reading, worldly knowledge and observation will make one a good fiction writer. The influence of earlier famous fiction writers will mold the writing of author. I am influenced by stories from the Ramayana and the Mahabharata, Panchatantra, Hitopadesa, Jataka Tales, Somerset Maugham, O. Henry, P.G. Wodehouse, Boris Pasternak, Sir Conon Doyle, Saratchanda Chaterjee, Sripada Subrahmanya Sastry, Satyam Sankarmanchi, mostly and many foreign and Indian fiction-writers. My style of writing is mostly in first person-the aatmaasraya narration. (shrink)

This paper explores Jean Starobinski's often tacit conception of the implied author, with a view to clarifying his intellectual legacy for literary criticism. It argues that it is plausible to trace a certain strand in the intellectual genealogy of Starobinski's literary theory from the descriptive psychology of Wilhelm Dilthey to twentieth-century psychoanalysis and phenomenology. Accordingly, the question "Who is Jean Starobinski?" is formulated in a sense which seeks to move beyond the bare facticity of biographical detail, a sense that can (...) be expected to differentiate between scholarly and purely journalistic enquiry to ask: who, exactly, is the Jean Starobinski that we encounter in his major works - works like "The Living Eye" and "Transparency and Obstruction"? It is from this vantage point that the discussion proceeds to clarify Starobinski's ambivalent relations to both Rousseau and Freud, and thereby to illuminate some of the tensions and nuances inherent in his notion of the implied author. (shrink)

Una esplorazione intorno al sentimento del vivente in Leopardi che in questo primo volume è incentrata sul suo multimondo poetico.

The essay discusses the meaning of 'A story of a bird named Bìm Bịp', Vietnamese traditional folklore. Through contradiction between a bandit and a monk, the meaning of lies, violence, and enlightenment is being told.

The Situationist International (1957-1972) was a small group of communist revolutionaries, originally organised out of the West European artistic avant-garde of the 1950s. The focus of my thesis is to explain how the Situationist International (SI) became a group able to exert a considerable influence on the ultra-left criticism that emerged during and in the wake of the May movement in France in 1968. My wager is that the pivotal period of the group is to be found between 1960 and (...) 1963, a period marked by the split of 1962. Often this is described as the transition of the group from being more concerned with art to being more concerned with politics, but as I will argue this definitional shorthand elides the significance of the Situationist critique of art, philosophy and politics. The two axes of my thesis are as follows. First, that the significant minority in the group which carried out the break of 1962, identified a homology between the earlier Situationist critique of art — embodied in the Situationist ‘hypothesis of the construction of situations’ — and Marx’s critique and supersession of the radical milieu of philosophy from which he emerged in the mid- 1840s. This homology was summarised in the expression of the Situationist project as the ‘supersession of art’ (dépassement de l’art). Secondly, this homology was practically embodied in the resolution of the debates over the role of art in the elaboration of the Situationist hypothesis, which had been ongoing since 1957. However, it was the SI’s encounter with the ultra-left group Socialisme ou Barbarie that would prove decisive. Via Guy Debord’s membership, the group was exposed to both the idea of a more general revolutionary criticism, but also ultimately what was identified as the insufficiently criticised ‘political militancy’ of this group. Indeed, in the ‘political alienation’ found in Socialisme ou Barbarie, a further homology was established between the alienation of the political and artistic avant-gardes. This identity would prove crucial to the further elaboration of the concept of ‘spectacle’. By way of an examination of the peculiar and enigmatic ‘Hamburg Theses’ of 1961, and the relationship between these ‘Theses’ and the Situationist criticism of art and politics worked out over the first five years of the group, I will argue that the break in 1962 should be conceived as one against politics as much as art (rather than just the latter, as it is more often represented). Additionally, I will outline how the SI, through the paradoxical reassertion of their artistic origins, attempted to synthesise their criticism of art with the recovery of the work of Marx beyond its mutilation as Marxism. Indeed, it was the synthesis of these critiques that enabled the considerable development of the concept of ‘spectacle’, opening the way to the unique influence the SI exerted in the re-emergence of a revolutionary movement at the end of the 1960s. (shrink)

У статті монопредикативні висловлення з синтаксичною синонімією, ускладнені дієприслівниковим або суб’єктним дієприкметниковим зворотами, розглянуто як феноменологічно редуковані вторинні системні (мовні) трансформи, актуалізовані у вигляді моносуб’єктних мовленнєвих інновацій з імпліцитно-експліцитною або з імпліцитноекспліцитною + експліцитною предикацією. Проаналізовано структурно-семантичні особливості таких висловлень та визначено ступінь ко(н)текстуальної пертинентності всіх членів віртуального (мовного) синонімічного ряду шляхом зворотної реконструкції (мовлення → мова) трансформаційних процесів із залученням альтернативного лінгвістичного експерименту.

У статті наведено результати дослідження функційного призначення топоніма Москва в українському поетичному дискурсі від давньої доби до сьогодні. Визначено, що найважливіша його функція – ідеологічна, вона є різновекторною та безпосередньо пов’язана з авторською оцінкою. Конотації власної назви Москва детерміновані інтерлінгвальними чинниками та мають великий діапазон – від максимально меліоративних до максимально пейоративних.

Through an analysis of Kierkegaard’s and Dostoevsky’s approaches to the theme of the death of Christ – one of the major leitmotifs in the debate of their contemporaries conveyed through theological and philosophical considerations, but also expressed in novels and in art – I show how the thinkers comprehended and articulated in their works the religious challenges awaiting the modern man.

Sentieri etici e poetici tra Paul Celan, Ingeborg Bachmann, Emily Dickinson, Franz Kafka e altri ancora.

In the wake of modernism studies' global turn, this article considers the role of translation in fostering Iranian modernism. Focusing on the poetic translations of Bijan Elahi (1945-2010), one of Iran's most significant poet-translators, we demonstrate how untranslatability becomes a point of departure for his experimental poetics. Elahi used premodern Sufi hermeneutics to develop his modernist theory of translation, whereby the alien core of the text is recognised at the centre of the original. As he engages the translated text from (...) many angles, Elahi confounds polarities between innovation and imitation, and authorship and translation, that continue to bifurcate translation studies. In contributing to the globalization of modernist studies, this work adds to our understanding of modernism's entanglement within premodern concepts of creation, as well as to modernism's recreation of tradition from a non-European periphery. (shrink)

Рецензия на книгу: Э.Д. Бакулина, А.В. Яблоков. Волшебный браслет. Москва, Детская литература, 1971 г.

The current study is a non-empirical research attempting to explore the key issues contributing to the dropout of girls from schools in Afghanistan. The paper first provides a historical background where the education of girls in the country has always been challenged. The study also explores a few studies conducted in the neighboring countries of Afghanistan where girls’ education is facing similar challenges causing to their dropout from schools. Subsequently, specific challenges, such as cultural, economic, insecurity, and school related challenges (...) have been identified as the main challenges toward the education of girls in Afghanistan. Finally, a number of recommendation have been proposed at the end of the paper, implementing of which might be useful for the status of girls’ education in the country. (shrink)

Code-switching is explained as switching between two languages at the same time while conversing in the same discourse. The aim of this study is to explore the perceptions of Afghan EFL lecturers toward code- switching. This study used a qualitative research approach in which the data was collected via semi-structured interviews with five EFL lecturers. The lecturers were interviewed to explore their perceptions and reasons for code-switching, and the extent to which they practice code-switching in their classrooms. The results revealed (...) that the lecturers in the study had positive perceptions of code-switching and believed it as a beneficial strategy in facilitating the learning process. However, they also conveyed that an excessive practice of code-switching should be avoided. The study results also disclosed that the lecturers practiced code-switching for various functions such as explaining difficult concepts (translation), explaining complex grammatical points, clarifications, and giving instructions. Finally, the paper provides recommendation for further research. (shrink)

У статті проаналізовано, яким чином перебування західної частини України у складі АвстроУгорської імперії вплинуло на самототожність українців. У центрі нашої уваги опинився роман «Фелікс Австрія» Софії Андрухович, оскільки він, на нашу думку, на прикладі стосунків Аделі Анґер та Стефи Чорненько добре демонструє справжнє становище українців у складі АвстроУгорської монархії. Стосунки між жінками ми розглядали генералізовано: як відносини між поляками, австрійцями з одного боку та українцями з другого. Важливим для нас було з’ясувати, яку ідентичність має головна героїня українка Стефанія Чорненько. Ми (...) також зважали, хоча і меншою мірою, за браком текстового матеріалу для дослідження, на самототожності інших персонажів роману. У статті йдеться про імпліцитну полеміку тексту Софії Андрухович зі «станіславівським феноменом», відомим ностальгією за часами Монархії: виявлено, що в романі є передапокаліптичні настрої. (shrink)

У статті розглянуто інтертекстуальне тло в романі Сергія Оксеника «Вбивство п’яноï піонерки». Ідеться про використання художньоï літератури, кіно і пісень як джерела зображення ретрочасу. Виявлено, що система мікротекстів в основному тексті відображає атмосферу 1960-х років. Проаналізовано цитати, алюзіï, стилізацію як прийоми для художнього конструювання суспільних і моральних проблем того часу. Визначено, що цитування чужих текстів у романі забезпечує своєрідну поліфонічність основного тексту, увиразнює часовий пласт мистецьких пріоритетів і рівня культури персонажів. Використовуючи чужі тексти, автор розраховував на ерудицію і мистецькі уподобання (...) читача, зробив натяки на характери відомих героїв літератури, кіно та естради. Вказано на те, що завдяки інтертексту у площині постпам’яті активізовано промовисті деталі, відчуття та емоціï, які розвінчують радянський міф і пояснюють проблеми сучасного українського суспільства. (shrink)

Історія публікації текстів у 1920-х рр., вивчення механізмів «спотворення» їх органами цензури порушує важливі текстологічні проблеми – відтворення оригінального авторського тексту, який часто виявляється захованим за владною розправою редактора та цензора. У цій статті ми подаємо деякі матеріали з Центрального державного архіву вищих органів влади України, які стосуються літературного життя 1927 року. Це документи, які можуть бути цікаві для реконструкції певних аспектів творчості українських письменників, уточнення їхніх біографічних даних. Це заява Володимира Свідзінського щодо видання його книжки «Вересень» (1927) та внутрішня (...) рецензія політредактора на неї. Це уривки статті-передмови Максима Рильського «Міцкевич» до перекладеного ним твору А. Міцкевича «Пан Тадеуш» (1927). Також у статті наведено матеріал щодо вилучення деяких уривків з передмови Андрія Ніковського до повісті Проспера Меріме «Коломба» (1927) та вилучення уривків із двох передмов Михайла Івченка до перевидань збірки оповідань Марка Вовчка (1927) та збірки оповідань Панаса Мирного (1927). (shrink)

The aim of this paper is to explore what insights relevant logics may provide for the understanding of literary fictional narrative. To date, hardly anyone has reflected on the intersection of relevant logics and narratology, and some could think that there is good reason for it. On the one hand, relevance has been a prominent issue in pragmatics, in the tradition of Grice, and Sperber and Wilson; thus framed, relevance is highly context-sensitive, so it seems unsuitable for formal analysis. On (...) the other hand, the very idea of a logic of narrative has been criticized, arguing that logic brings to a stasis the time of human action (Ricœur, II: 29-60), or that its emphasis on rules misses the creative, unpredictable character of literature (De Man)... First, I will briefly introduce relevant logics, with an eye to showing their interest for narratological concerns, rather than to here providing a coherent (let alone comprehensive) survey. Secondly, lest I get drawn into purely abstract discussion, I will analyse several stories in order to give some instances of the kind of topics congenial to narratology that may be addressed with a relevantist toolkit. Thirdly (and lastly), I will expand in more theoretical fashion on certain issues raised in the second section and bring them into connection with pragmatic relevance theory. (shrink)

This edited volume illustrates the central importance of diversity of human values throughout healthcare. The readings are organised around the main stages of the clinical encounter from the patient's perspective. This introductory chapter opens up crucial issues of methodology and of practical application in this highly innovative approach to the role of ethics in healthcare.

Abstract: In this article classical and Lacanian psychoanalysis is applied for interpretation of discourse and conduct of lieutenant Glahn, the protagonist of Knut Hamsun’s novel Pan. The analysis is based on the theory and case studies of psychoses from the main works by Sigmund Freud. The scene of Glahn shooting his hunting dog Asop – one of the most complicated episodes in a novel – became the starting point of this research. The application of psychoanalytic conception of paranoia to the (...) narrative helped throw light on the logic of action and clarify the connection between the protagonist’s deed and his discourse. A comparison of Hamsun’s text with Salvador Dali’s autobiographical writing The Secret Life of Salvador Dali and with the Lacan’s interpretation of the crime of Papin sisters helped identify paranoid mental structures in the narrative. (shrink)

Статтю присвячено проблемі, яка досі викликає неоднозначні оцінки науковців, – вивченню походження давньогрецької трагедії. Спочатку було розглянуто базову теорію Аристотеля, який у «Поетиці» згадує про походження трагедії від сатирівської драми. Далі увагу було приділено іншому підходу до проблеми – вивченню етимології слова τραγῳδία: ми проаналізували, як змінювалося тлумачення цього слова від «пісні цапів» до «пісні, яку співали під час жертвопринесення цапів». Насамкінець було розглянуто зв’язки між ритуальними дифірамбами та трагедією і зроблено припущення, чому вони не могли із часом трансформуватися у (...) трагедію. (shrink)

У статті вперше проведено аналіз закордонного листування М. В. Гоголя 1836 року у площині праці письменника над фрагментами мандрівного письма, які з’являються у певному колі листів: до рідних, близьких друзів та знайомих. Саме у цьому адресному колі листів М. В. Гоголя і виник підпростір листів – ескізів майбутніх мандрівних фрагментів «Мертвих душ». У статті вказано на те, що в основі системних проб М. В. Гоголя у мандрівному письмі лежить перетин різних мотивів і причин. Ядром досить тривалого періоду напрацювання М. В. (...) Гоголем власного стилю мандрівного письма у 1836 р. стає особиста перевірка на письмі неавторизованих діалогічних сцен «Як пишуться мандрівки?» Ф. Марріета та перегляд роману «Рейнські пілігрими» Е. Дж. БульвераЛіттона крізь критичні зауваження В. Г. Бєлінського до автора цього роману. У статті наведено приклади художнього перенесення фрагментів мандрівного письма із закордонного листування М. В. Гоголя 1836 року у фрагменти першого тому «Мертвих душ». (shrink)

An approach to the analysis of character as a complement to structural analyses that focus only on plot. Propp's treatment of character roles in his Morphology of the Folktale is a point of departure. The work of linguists and logicians on propositional structure is drawn upon.

This is a reading of Spivak as an heir to Sri Avinavagupta and Sri Ramakrishna. We ignore the fact that Spivak is a Shakta in her corpus. This review corrects/revises our understanding of Spivak and reinstates her as she really deserves to be read: she is within the traditions of Tantra. Spivak, in her own writings and interviews, has long spoken of her Tantric roots. This review in Prabuddha Bharata, which is the mouthpiece of the Ramakrishna Mission whose disciple Spivak (...) is, published this review because it carries on, as it were, the cultural work of analysing the precomprehensible in Spivak. There is a typo in the review since nothing in this world is or can be, perfect! (shrink)

Die Rezeption von Walter Benjamins Arbeiten ist von einer Paradoxie durchzogen: Obwohl Konsens darüber besteht, dass er seine Begriffe in ›enger Fühlung‹ mit dem jeweiligen Material entwickelt, werden seine Schriften häufig ohne ein eigenständiges Studium seiner Quellen gelesen, losgelöst vom jeweiligen Problem- und Debattenzusammenhang. Das verstärkt den Eindruck einer Esoterik seiner Texte und kann zu der Annahme verleiten, Benjamin entnehme Motive willkürlich aus seinem Material- und Quellenstudium und nutze sie als Vehikel eines an sich schwer in eine Tradition einzuordnenden Denkens. (...) Die Autorinnen und Autoren des vorliegenden Bandes legen das Gewicht auf Benjamins Material, sei es Literatur, Theater, Metaphysik, Rechts- und Moralphilosophie, Zeitschriftenprojekte, soziale Bewegungen oder Stadtarchitektur. Anhand von Texten unterschiedlicher Werkphasen untersuchen sie das Verhältnis von Material und Begriff aus beiden Blickrichtungen. Dieses Vorgehen ermöglicht es, auch Licht auf theoretische Beziehungen und Arbeitszusammenhänge zu werfen, die bisher eher unbeachtet blieben. (shrink)

In the course of the past two decades, the city of Lviv has enjoyed close attention as well as a “close reading” in literary and scholarly texts on the city. This attention fits easily into two categories: (a) scholars producing academic studies on the city and (b) classical literary works on the city, composed in various languages, finally becoming available to a broader readership through translation into English. The book under discussion falls into the second category.1 It must be pointed (...) out right away that this is an unusual book—a truly successful combination of two essays—that should be rewarded with proper attention. Under one cover, the reader has the opportunity to enjoy two pieces that are linked together by the image of the city of Lviv. The first is an elegiac essay, Mój Lwów (My Lviv), authored by Polish writer Józef Wittlin. (This first English-language translation is by Antonina Lloyd-Jones.) The second essay is from post‑2010s Lviv by internationally-recognized British author Philippe Sands; it uses Wittlin’s work as a springboard for Sands’ own explorations of the city, or of what is left of the city from that period, mixed with a personal narrative. (shrink)

The article deals with the means of constructing a naturalistic character, the model for which was proposed by French writers: the Goncourt brothers and Émile Zola. Naturalists draw their personage concept from the interpretation of its biological nature. The focus of its depiction is shifted to the study of fundamental features of human nature rather than “variables” of the historical forms of its manifestation. A naturalistic character, being “a biological being” rather than “a set of social relations,” is completely absorbed (...) by the environment. The “social” core of a realistic personage is based on the principles of typification, but the “biological” core of a naturalistic character cannot be a generalized type because in it the individual prevails over the typified. Images of Germinie Lacerteux and Thérèse Raquin from the Goncourts’ and Zola’s same-name novels respectively are considered to be prototypes of naturalistic characters. In Ukrainian literature, Ivan Franko interpreted and synthesized Western European experience using realistic and naturalistic art to create his own concept of “scientific realism.” The difference in Franko’s personage construction lies in the fact that he does not confine himself to the observation and description of his heroes’ behavior but offers a plan for correcting their deficiencies. (shrink)

This paper examines Bohdan Boichuk’s poetry by looking into the role his childhood memories played in forming his poetic imagination. Displaced by World War II, the poet displays a unique capacity to transcend his traumatic experiences by engaging in creative writing. Eyewitnessing war atrocities perpetrated by the Nazis does not destroy his belief in the healing power of poetry; on the contrary, it makes him appreciate poetry as the only existentially worthy enterprise. Invoking Gaston Bachelard’s classic work The Poetics of (...) Reveries: Childhood, Language, and the Cosmos, I argue that Boichuk’s vivid childhood memories, however painful they might be, helped him poetically recreate and reimagine fateful moments of his migrant life. (shrink)

This article argues for basic similarities between folkloric and literary narratives. It deals with the relation between narrative structure and the constituent sentences of the narrative text and proposes an adaptation of Hjelmslev's notion of connotative semiotics to account for this. It also draws upon philosophy of action and Austin's 'A Plea for Excuses'.

This article examines Richard Bauman's conception of oral narrative as performance and argues instead for a view of narrative texts as autonomous entities, analyzable in language-internal Saussurian terms. Plot is viewed as a matter of syntagmatic relations, and character as a matter of paradigmatic relations. A contrast is drawn between narrative truth (cohesion) and historical truth (correspondence). Alternatives to some of Bauman's analyses of narrative texts are proposed.

The recovery of ancient skepticism in the sixteenth century had broad consequences in various intellectual domains, including fictional discourse. In the following centuries several authors echoed skeptical philosophical discourse and made literary use of skepticism. Jonathan Swift (1667-1745) is inserted in the hall of the modern writers who echoed and assimilated the skeptical tradition. Satires as A Tale of a Tub (1704), The Battle of Books (1704) and Gulliver's Travels (1726) are framed with marks of skepticism. Thus, my purpose is (...) to present a study on the incorporation of skeptical aspects and arguments in Swift's fictional and satirical discourse. I will try to show that Swift assimilates and uses artifices of skeptical discourse, and therefore, given his relation and knowledge of this tradition, has a place in the history of skeptical thinking. (shrink)

English interpretations, appropriations, and transpositions of the figure of Don Quixote play a pivotal role in eighteenth-century constructions of so-called English national character. A corpus of quixotic narratives worked to reinforce the centrality of Don Quixote and the practice of quixotism in the national literary landscape. They stressed the man from La Mancha’s eccentricity and melancholy in ways inextricable from English self-constructions of these traits.2 This is why Stuart Tave is able to write that eighteenth-century Britons could “recast” Don Quixote (...) in a fashion that followed “national pride” in the “freedom” of their humors.1 However, Don Quixote’s integral place in patriotic self-constructions was troubled by gender. While national character was construed as masculine by default, quixotism’s association with masculinity was complicated by the potential passive penetrability of quixotism and the proliferation of narratives about female quixotic readers. This essay will analyze these tensions. Henry Fielding’s Joseph Andrews (1742) and Laurence Sterne’s Tristram Shandy (1759–67) are key examples of quixotic texts that respond to the figure of the female quixote by interrogating the relationship between Englishness, masculinity, and quixotism. (shrink)

A discussion of Umberto Eco's notion of open and closed texts.

That we find the idea of travelling in time, and in particular travelling backwards in time, fascinating, is evidenced by the plethora of new science fictions shows depicting time travel that hit our TV screens in 2016. I love time travel shows, and I can hardly keep up. In almost all cases these shows depict what philosophers call inconsistent time travel stories: stories that commit what my colleague Nick Smith (The University of Sydney) calls the second time around fallacy. These (...) stories depict individuals travelling back in time (or in some cases sending a signal back in time) in order to change some past event (or, in some cases, to try and mitigate the changes brought about by some other time travellers). -/- It’s easy to see why these storylines are captivating. They ask us to imaginatively entertain questions about the robustness of the present. We are asked to ponder to what extent the way things are now is the product of fluky events, so that had the past been ever so slightly different, the present would be very different indeed. These questions are intriguing because we all wonder to what extent our present selves are the result of choices we made, where we could so easily have made others, and to what extent who we are is most robust, resilient under small changes in our past decisions. (shrink)