ПОЕТИКА ГОЛОКОСТУ В РОМАНІ МАРТІНА ЕМІСА “ЗОНА ІНТЕРЕСУ”

This article explores the central role of the literary hero and the concept of time as fundamental issues in the short stories of Mir Jalal, a prominent Azerbaijani writer and literary critic. By analyzing selected narratives, the study examines how Mir Jalal constructs his protagonists as reflections of social and psychological realities in the context of the historical transformations of the 20th century. Special attention is given to the temporal structure of his stories, revealing how time functions not only as a chronological framework but also as a narrative device that shapes character development and deepens thematic meaning. The article highlights the interplay between individual consciousness and collective memory, demonstrating how Mir Jalal’s heroes navigate personal identity amidst socio-political changes. Ultimately, the study underscores the writer’s engagement with the notion of time and his nuanced portrayal of the intellectual and moral dilemmas faced by his characters. Scientific Novelty. The scientific novelty of this study lies in its comprehensive analysis of the interrelationship between the literary hero and the category of time in Mir Jalal's stories—an aspect that has received limited scholarly attention to date. Unlike traditional interpretations that primarily focus on ideological or stylistic features, this article highlights the philosophical and structural role of time as a central narrative device. The research reveals how Mir Jalal uses time not only to frame historical and social contexts but also to construct the internal world of his protagonists, thereby offering a deeper understanding of the psychological and moral dimensions of his literary heroes. This approach offers a fresh perspective on Mir Jalal’s narrative techniques and contributes to the broader discourse on Azerbaijani literary modernism. Methodology. This research is grounded in textual and comparative analysis of selected short stories by Mir Jalal, with particular attention to the representation of the literary hero and the temporal structure of the narratives. Combining literary theory, narratological approaches, and historical-contextual analysis, the study investigates how the author’s treatment of time influences both the psychological depth and the ideological positioning of his characters. The research employs qualitative and interpretive methods to explore the symbolic and structural functions of time in shaping character development and constructing thematic meaning. Through close reading and critical interpretation, the study aims to reveal the innovative ways in which Mir Jalal engages with the concepts of individuality, memory, and historical consciousness.

Shirley Jackson’s The Lottery remains one of the most disturbing and widely discussed short stories in American literature. Its enduring appeal lies largely in the carefully crafted plot structure, which cleverly conceals the true nature of the small town’s annual ritual until the story’s climax. This article presents a close reading of the narrative using formalist and structuralist approaches, focusing on how tension and irony are built through narrative delay, symbolic cues, and a cyclical ritual structure. These narrative techniques not only generate emotional tension but also serve as critical tools used by Jackson to challenge themes of social conformity, the banality of evil, and culturally legitimized violence. This study employs a qualitative descriptive method, focusing on literary analysis through close reading and interpretative strategies. The research begins with an intensive reading of The Lottery to identify narrative techniques and literary devices used. This is followed by textual analysis using formalist and structuralist criticism. The study also examines secondary sources from academic journals and literary theory. The final stage involves interpreting meaning to uncover the social, psychological, and ideological implications of the text. By emphasizing the ethical dimension of the plot’s architecture, this study argues that The Lottery goes beyond mere storytelling and functions as a sharp critique of unquestioned traditions, urging readers to confront the hidden violence within normalized communal practices. ABSTRAK The Lottery karya Shirley Jackson tetap menjadi salah satu cerpen yang paling menggelisahkan dan banyak dibahas dalam sastra Amerika. Daya tariknya yang bertahan lama sebagian besar disebabkan oleh struktur plot yang dirancang dengan cermat, yang secara cerdik menyembunyikan sifat sebenarnya dari ritual tahunan di kota kecil tersebut hingga klimaks cerita. Artikel ini menyajikan pembacaan mendalam terhadap narasi menggunakan pendekatan formalis dan strukturalis, dengan fokus pada bagaimana ketegangan dan ironi dibangun melalui penundaan naratif, petunjuk simbolik, serta struktur ritual yang bersifat siklik. Teknik-teknik naratif ini tidak hanya menciptakan ketegangan emosional, tetapi juga berfungsi sebagai alat kritis yang digunakan Jackson untuk menggugat tema konformitas sosial, banalitas kejahatan, dan kekerasan yang dilegitimasi secara budaya. Penelitian ini menggunakan metode deskriptif kualitatif, dengan fokus pada analisis sastra melalui pendekatan close reading dan strategi interpretatif. Penelitian ini diawali dengan pembacaan intensif terhadap cerpen The Lottery untuk mengidentifikasi teknik naratif dan perangkat sastra yang digunakan. Selanjutnya, dilakukan analisis teks dengan pendekatan kritik formalistis dan strukturalis. Peneliti juga mengkaji sumber-sumber sekunder dari jurnal akademik dan teori sastra. Tahapan akhir berupa interpretasi makna untuk mengungkap implikasi sosial, psikologis, dan ideologis dari teks. Dengan menekankan dimensi etis dari arsitektur plot, studi ini berargumen bahwa The Lottery melampaui sekadar penceritaan dan berfungsi sebagai kritik tajam terhadap tradisi yang tidak dipertanyakan, mendorong pembaca untuk menghadapi kekerasan tersembunyi dalam praktik komunal yang telah dinormalisasi.

146 Reviews Dronke, Ursula, Myth and Fiction in Early Norse Lands (Variorum Collected Studies Series C524), Aldershot, Variorum, 1996; cloth; pp. xii, 313; R.R.P. £49.50. Spanning the period 1947 to 1993, this collection of essays is fitting t to Dronke's long-sustained involvement with Old Norse/Icelandic poetry, mythology and sagas, and with related literatures, Old English in particular. To start with an indication of the contents, the heading 'Norse literature and the Classical World' takes in three essays, 'Classical influence on early Norse literature' (1971), 'Voluspd and Sibylline traditions' (1992), and 'The Prologue of the Prose Edda: explorations of a Latin background' (1977). Under the heading 'Poetry and Mythology' w e have 'Eddie poetry as a source for the history of Germanic religion' (1992), "The Scope of the Corpus Poeticum Boreale' (1989), 'Voluspd and satiric tradition' (1979), 'The War of the /Esir an Vanir in Voluspd' (1988), 'Ominnis hegri' (1984), 'Art and Tradition in Skimisma (1962), 'Sem jarlar fordum. The influence of Rigspula on two saga-episodes' (1981), 'Beowulfand Ragnarok' (1969), and 'Pagan beliefs and Christian impact: the contribution of Eddie Studies' (1993). Finally, under the heading of 'Narrative Structures' w e have 'Le caractere de la poesie germanique heroique' (1977), 'The poet's persona in the Skalds' sagas' (1978), "The saga of Hromund Gripsson and Dorgilssaga' (1947-48), and 'The role of sexual themes in Njdls saga' (1981). To these are added a brief introduction and an equally brief but useful index. The volume does not make room for bibliographic or other updates, but understandably so, since effectively the later essays and the newly completed Volume II of The Poetic Edda perform this function. Dronke's approach typically combines intense and subtle 'close reading' with wide-ranging comparative mythology and anthropology. In the latter respect she evidently owes much to Georges Dumezil (cf. VII 226) and, beyond him, to the so-called Cambridge School—a style of scholarship with which she is notably more in sympathy than most of her British contemporaries. Confronting a besetting problem in Old Norse/Icelandic philology, the lack of datable texts, in the course of her review of the methodology (or lack of it) underlying the Corpus Poeticum Boreale, she supplies a characteristic answer: namely that 'the poetic qualities of a workits intellectual content and style of verbal skill—should lead us to its correct dating' (V 97). Correspondingly, the paucity or cryptic expression of the Old Norse/Icelandic mythography encourages her into textual and mythological exegesis via a long succession of comparisons with other texts and mythologies (notably Celtic, Finno-Ugric, Roman, Greek and Indian). In the case of Rigspula dating and the comparative approach are linked in the proposition that the necessity and value of 'external analogues are measures of the antiquity and genuineness of eddic heathen material' (IV 657). Though obviously not much interested in modern metrical and linguistic studies, Dronke otherwise writes with a mastery of philological argument and Reviews 147 an ability to explore all conceivable avenues and analogues at first hand. These qualities can be seen in a series of thought-provoking studies. She forms the oddly heterogeneous motifs associated with Heimdallr in Rigspula and elsewhere into a coherent pattern. She interprets Lokasenna as an example of carnivalesque 'ritual reversal', where blasphemy against the established gods temporarily becomes the order of the day (V 106). She reconstructs a source poem to account for the giant-builder allusion in Voluspd (VI 63-71). She resourcefully combines European folklore with ethology to support the hypothesis that when 09inn brought the mead of poetry home to Asgar3r he did so in the shape of a heron, not, as Snorri would have it, an eagle (VIII). She traces a coherent pattern of euhemerized myths in Beowulf, basing her analysis upon three Scandinavian analogues—though whether she is justified in positing a poet w h o deliberately diminished the stature of older myths for his 'Christian didactic purposes' (XI325) is another matter. From time to time both the literary criticism and the comparative mythology leave m e uneasy. Dronke tends to reify 'genius' and sensitivity as expected attributes of poets and audience respectively. Can w e really know...

This paper is devoted to the problems of differentiation of stylistic variants in the common phenomenon of the so-called Scythian and Siberian animal styles, which is one of the main distinctive features of Eurasian nomadic art. The animal style is a concept of more scale than an artistic style proper which distinguishes with some formal characteristics and depends directly on generic traditions and ethnic and cultural roots of art. Together with the technical-technological methods these formal features could be evidential indications of the origin of works of art. The Siberian collection of Peter the Great includes some different groups of golden ornaments decorated in animal styles of different origins. The paper focuses on a compact group of items originating from various mostly unknown sites from different territories in Asia including the Oxus treasure, several items from the Siberian collection of Peter the Great from Southern Siberia, a few jewelry pieces from other collections of the world museums as well as items made of leather and felt coming from the First and the Second Pazyryk kurgans. A distinctive feature of this group of zoomorphic images are colored inlays that accentuate a hind-leg or a shoulder of the animal; such inlays have the form of an intricate figure made up of a circle and a curvilinear triangle abutting to it or elongated round brackets. Genetically, such an ornamental motif, which is not generally typical for Persian art, may be linked to a periphery area of the Iranian world and nomadic culture, while the group of sites can be dated back to the 4th–3rd centuries BC. The paper considers a bracelet from the Siberian collection of Peter the Great which is the only item in this category of jewelry type of bracelets. It represents a rare type of ornament with a multi-component structure. It consists of three open-work strips with zoomorphic compositions in an animal style similar to the above-mentioned stylistic group. All three parts of the bracelet are created in a unified style, but obviously in different individual manners. There is no doubt, that the zoomorphic images show three different authors’ hands, and were made by different artisans. So, there is evidence of collective work on the object when each artisan makes his own operation to create a unique jewel at a workshop. Some parts of the composition on the bracelet are similar in style to zoomorphic images from kurgan Issyk in Kazakhstan which perhaps were made in the same workshop. This fact confirms the assumption of the origin of some of Siberian jewelry.

Hannah Arendt’s book “Eichmann in Jerusalem: A Report on the Banality of Evil” has led to a hot-debated argument among readers for years, in particular, the Jews. She has been criticized for describing the former Nazi officer, Adolf Eichmann, with the terms “thoughtless”, “clown”, and “banal”. However, through a close reading of the expression “banality of evil,” this paper presents the rational side of what Arendt has written about the offender, who has been responsible for murdering millions of people in the extermination camps. Many see him as guilty and extremely sinful. While others consider him as a heedless follower of fascism. This study aims to explore the invisible parts of this case – through the Jewish gazes on Eichmann during his trial which show the power relation that is depicted in Foucault’s “panopticism”, the influence of nationalism (Immanuel Kant), Ideology (Gramsci and Althusser), and obedience (Milgram’s experiment). This analysis demonstrates that Arendt has turned to philosophy and depicted Eichmann in his state of nature rather than being a German or a Nazi officer.

The idea of other islands on farther shores resides deep in the traditions of Irish literature and goes back to phases of mythology, exploration, and odyssey. In the modern period this dispersal has happened from economic necessity, which has depended in turn on innovations in the technology of travel. The transit overseas was shaped by Ireland’s traumatic historical experiences, and this complex panorama is background to many works of Irish literature, both historical and contemporary. At the same time, an interest in the sea crossings that were the bridge between Ireland and its emigrants’ destinations is a subject in itself, as are the many port cities into which these temporary mariners filtered on disembarkation. This chapter reads versions of the sea-crossing to New York in fictions of Joseph O’Connor, Joseph O’Neill, and Colum McCann, all of whose works suggest the idea of the Atlantic as a place of continual transit.

Reviewed by: Terror and Greatness: Ivan and Peter as Russian Myths by Kevin M. F. Platt Mark Soderstrom (bio) Kevin M. F. Platt, Terror and Greatness: Ivan and Peter as Russian Myths (Ithaca and London: Cornell University Press, 2011). xi+ 294 pp. Bibliography. Index. ISBN: 978-0-8014-4813-3. Speaking with director Sergei Eisenstein and actor Nikolai Cherkasov in 1947, Stalin praised Ivan the Terrible’s “wisdom” and “insistence on national principles,” lamenting only that the dread tsar did not “completely rub out” some of the larger noble families. He added that Peter I was “also a great sovereign, but he was too liberal in his relationship to foreigners” (P. 176). That the world’s most powerful communist came to identify with his monarchical fore-bears is deeply ironic. But it comes as no surprise to historians of Russia and the Soviet Union, as many scholars have mapped the shifting interpretations of Russian history’s most famous “velikii” and infamous “groznyi,” greatly expanding our understanding of Ivan and Peter’s place in Russian history and culture in the process.1 [End Page 415] Kevin Platt’s Terror and Greatness: Ivan and Peter as Russian Myths builds on this existing work, while also making a number of novel contributions. The book’s major argument can be summarized as follows. Studying representations of Ivan IV and Peter I alongside one another makes sense because Ivan and Peter are “the most prominent examples drawn from the deep national past of an important category in Russian historical thought: the ruler who is alternately lionized for his heroic, great achievements and condemned for his extraordinary violence and despotism” (P. 2). Platt argues that the changing, accretive representations of these pivotal tsars during the nineteenth and twentieth centuries have come to comprise “myths” that have “illustrated and explained collective selfhood in Russia” by providing a “persistent symbolic reserve, shaping and serving the needs of Russian political and cultural life” (Pp. 2–3). In particular, he emphasizes the ways in which representations of Ivan and Peter’s reigns took shape not merely as interpretations of past events, but emerged within – and were accordingly shaped by and in response to – a proliferating ecosystem of historiographical, literary, visual, and dramatic interpretations. As his title suggests, the relationship between “terror” and “greatness” has remained central to these representations: the “political and cultural function of historical ‘greatness’ in modern Russia,” he writes, “has been, at base, founded on the experience, disavowal, and reinscription of ‘terror’” (Pp. 2–3). Drawing on a range of anthropological scholarship, Platt emphasizes the “liminal potential” of Ivan and Peter’s reigns to shape discussions of “collective identification.” Considerations of identity and belonging in the Russian Empire and Soviet Union, given the diversity of subject populations, shifting state ideologies, and the growth of a literate public, have required a “past that was as multivalent as the political contexts that it would be made to serve.” Both Ivan and Peter, Platt notes, “straddle the physical and symbolic borders of nation and empire, of the modern and of political belonging,” and have thus been “in unique fashion suited as mythic forebears of a community that positioned itself as never only Russian, not fully or only modern, and never completely settled politically” (P. 8). Terror and Greatness proceeds chronologically, beginning with the [End Page 416] early nineteenth century and ending with the Stalin period. Each of the six chapters has a single-word title that encapsulates its argument. Chapter 1, “Liminality,” explains how Ivan and Peter during the first half of the nineteenth century came to occupy their roles as “touchstones in Russian thought about the relationship between rulers and ruled, between the exercise of coercive power and the content of the collective being, and between traumatic historical experience and political greatness” (P. 14). At the same time that history was taking on a crucial role in defining national identities across Europe, in Russia, “rather than laboring to set the national being on historical foundations,” history served as a “tool to negotiate the problematic interrelationship between imperial and national frames of reference and between dynastic and national principles of political life” (P. 14). In this endeavor, Ivan and Peter...

This article explores the issue of split nationalism among Papuan young generation. This research was conducted to prove the pre-assumption that young generation of Papua are holding double nationalism. This research raises two main questions. First, how the Papuan and Indonesian identities are constructed among the Papuan young generation? Second, how is the modelling of Indonesian nationalism among the Papuan young generation? The issue of Papuan identity is always observed vis-a-vis Indonesian identity among Papuan young generation, which creates paradoxical manners and split identity leading to liminal identity of being both Indonesian and Papuan. Identifying Papuans as having Christian Melanesia roots against Indonesians’ Muslim Malays in one hand, and Papuans’ traumatic historical experiences of being discriminated and unequally treated on the other hand, have defined these two identities in paradox. This research shows that among some Papuan origins, possessing double nationalism of being Indonesian and Papuan at the same time is still apparent. Some other informants, however, have shown their awareness that Papuan identity should be fully integrated and merged into one positive and constructed Indonesian nationalism.

The adoption of Irish Famine orphans by French-Canadian families has long been remembered in Quebec as a traumatic historical experience that nevertheless brought the French and Irish closer together. It is commonplace to note that many of these famine orphans kept their Irish surnames but became fully integrated into French-Canadian society. In the ‘Orphans’ Heritage Minute – a genre of sixty-second capsule history broadcast frequently by the Canadian Broadcasting Corporation in the 1990s – French-Canadian ‘sympathy for the victims’ and endeavours to ‘preserve the Irish identity of the children’ are specifically emphasised. This chapter examines the documentary sources on which the popular memory of the famine orphans is based. In particular, it suggests that their memory can be traced not to contemporary records and correspondences between the French-Canadian and Irish clerics, religious and lay benefactors and government officials who first ministered to the famine migrants on Grosse Isle and in Montreal in 1847, but rather to a set of pastoral letters, pamphlets, didactic novels and travelogues published a generation after the Famine in the 1860s, especially John Francis Maguire's The Irish in America (1868).

Levittown. For many, the name of this Philadelphia-area suburb conjures a vision of sterility and conformity—a postwar dystopia concealed by images of smiling children on bicycles and tricycles, crowded swimming pools and Little League fields, happy consumers at the Levittown Shop-a-Rama, and men mowing lawns and women sitting on outdoor furniture in front of identical but comfortable houses.Cultural critic Lewis Mumford convinced many that the suburb was a place with bland people leading bland lives with similar tastes and incomes in a parody of the American dream. And indeed, this savage critique contains some truth. I know because I lived in Levittown as a teenager for about five years in the mid-1950s, shortly after its beginning in 1952. My residence in this iconic “planned community” coincided with its most traumatic historical experience: the momentous struggle in 1957 to break the color line that builder William Levitt imposed with his whites-only policy.My parents, Peter and Selma Von Blum, played a crucial role in this historic civil rights battle as active supporters of the first African American family to move into Levittown, braving widespread hostility, debilitating ostracism, and extensive violence in the process. Many of my 1950s neighbors, however, were deeply conformist, even retrograde, especially on matters of racial equality. Many seemed perfectly content to equate the good life with modest material comfort and middling levels of personal and family consumption.Still, social reality is complex and nuanced, and there is much more to say about Levittown beyond Mumford’s critique. I have waited for this new book for about half a century. Second Suburb provides a rich and diverse set of essays about Levittown, contributing significantly to such fields as urban/suburban studies, architectural history, sociology, and many others. Editor Dianne Harris has assembled a stellar group of scholars to explore various dimensions of Levittown’s architecture, history, politics, and culture. Essays locate the “second suburb” (described as such because Pennsylvania’s Levittown followed in the footsteps of another suburb by the same name built in Long Island, New York, in 1947) in a broad context of post–World War II suburban growth, with all its demographic, economic, political, environmental, and architectural consequences.Richard Longstreth’s chapter, “Looking at Levittown from the Outside,” offers a revealing glimpse into the history of the Levitt & Sons Company itself. In the late 1930s, the firm had built a development in Manhasset, New York. Seeking to limit the community to “refined” American families, the company adopted a policy to restrict buyers from “undesirable” elements. In 1936, that also meant prospective Jewish buyers, a bizarre restriction given that the Levitt family was itself Jewish. This perverse choice of profit over principle (not to mention religious and cultural disparagement, perhaps even self-loathing) would emerge again, with equal harshness, in Pennsylvania in the late 1950s.Longstreth also chronicles the pervasive anti-union animus of the Levitt enterprise. Unlike most other American builders of the era, William Levitt and his associates refused to hire union labor, maintaining that doing so would drive up construction costs—the historic rationalization for corporations seeking to maximize profit by maintaining lower wages. Longstreth likewise reveals the company’s insistence on various covenants for purchasers of its Levittown houses. Among other restrictions, new owners were not permitted to erect fences and were required to mow their lawns at least weekly. This drive for uniformity reflected a near-totalitarian vision that reinforces the harsh views of Levitt & Sons’ most vigorous critics.Several other chapters add to the intellectual depth of this volume. Harris’s examination of architecture and modernism reveals how Levittown was designed exclusively for white people. Curtis Miner writes about the evolution of 1950s kitchen design, a topic to which few social scientists and humanists pay much attention. Christopher Sellers provides an account of environmentalism in Levittown, and Chad Kimmel offers an historical narrative about the gasoline riots there during the energy crisis of 1979. These and other contributions reflect the multidimensional historical reality of Levittown, diminishing if not entirely eliminating the stereotypical visions of the place as a conformist, unremarkable lower-middle-class suburban ghetto.Original comic strips by Bill Griffith and historical photographs of Levittown add an engaging visual component to the book. “Griffy” is a well-known underground comic strip artist who grew up in New York’s Levittown. His strips extend the tradition of comic strip cultural critique, especially in mentioning such anti-establishment icons as Jules Feiffer and Paul Krassner as well as The Realist and Mad magazine, publications that inspired the minority of young people who sought transcendence from 1950s social conformity.The photographs are mostly from the 1950s, but range through the early twenty-first century. They depict swimming pools, churches, schools, and external and interior shots of various model houses, allowing readers to actually see the subject matter of this important book.Doubtless, the key story in Levittown’s generally unremarkable history is the integration battle of summer 1957. This theme infuses the volume and is the specific subject of two of its chapters. One is a brief and moving reminiscence by Daisy Myers about the 1957 riots. She, her late husband Bill, and their three children were the first African American family to move in. They were “greeted” by howling racist mobs and a systematic attempt to force them to leave, seeking to ensure that Levittown would remain an all-white bastion twenty miles from the nation’s founding at Independence Hall in Philadelphia.Thomas Sugrue’s chapter, “Jim Crow’s Last Stand,” provides a scholarly account of the 1957 racist events. His opening comments underscore a point I have repeatedly made in my teaching and writing over the years:But Levittown deserves a place as prominent as those of Montgomery, Little Rock, Birmingham, or Selma because the history of modern suburbia, embodied by Levittown, is central to modern America. Levit-town exemplified (then and now) patterns of entrenched segregation that knew no regional boundaries. Because of that, it became a battleground in the freedom struggle every bit as important as its better known southern counterparts.Sugrue’s chapter touches on all the salient details of that struggle—including the heroic resistance of the Myers family and sympathetic whites like my parents and others—and documents the pervasive hostility that all the participants and their children endured for months after the Myers moved into their Levittown home. Beyond the window breakings, the “KKK” markings, the cross burnings, and economic retaliation, I recall being called “nigger lover” for months afterwards, often by adults who never knew me, my parents, the Myers, or any other participants in this historic struggle.Sugrue focuses on the admirable efforts of Quakers and other liberal Protestant groups and progressive Jews in Levittown who resisted the massive racism in 1957. The fact that many white residents of Levittown voted for Barack Obama in 2008 does not negate the presence of a deeper racism that still pervades and despoils the national landscape. Its manifestations are sometimes overt, as in police racial profiling, and sometimes institutional, as in continuing discrimination in housing and employment. All people of goodwill—Jews, Muslims, Catholics, Protestants, spiritual progressives, and nonbelievers alike—can learn from the past in order to address the malaise and misconduct of the present.Second Suburb is surely a good place to begin. Especially for readers committed to a more comprehensive understanding of race in America, this volume is indispensable. And for others who are more generally curious about the shaping and structure of America from the mid–twentieth century to the present, the book provides a compelling vision of how suburban life contributed to those developments.

The division of British India into India and Pakistan in August 1947 was accompanied by the dislocation of between twelve and sixteen million people and the violent deaths of around a million. Punjab and Bengal, the two provinces that were divided, were the most affected but so were other parts of the country. After all, mixed populations (Muslim, Hindu, Sikh, Christian, and so on) were more the norm than not in rural and urban India, making the very notion of two homelands, one with a Muslim majority and another with a Hindu majority, somewhat difficult to realize. Apparently the leadership expected what was euphemistically referred to as “an orderly exchange of population” in spite of the fact that the boundaries were officially announced on August 17, 1947, that is, after the actual transfer of power to the two successor states on August 14–15, 1947. Individuals, families, and communities that found themselves on the “wrong” side of the border were dispossessed of land and home, faced with the threat of bodily harm, spent months on the road and in refugee camps, and began the long process of resettlement. The place where the shock and disbelief first register, as do attempts to negotiate an impossible history of violence, is the literary text. This article attempts to introduce a literature that self‐identifies with this traumatic historical experience. Partition literature is best contextualized by developments in two academic, disciplinary fields: history and literary criticism. Disciplinary history has only recently acknowledged the need for a social history of Partition and literary criticism has only recently expanded to allow for ways of discussing a traumatic literature other than the limiting one of “literariness.” Thus the article attempts to interweave a discussion of Partition literature with a discussion of shifting critical approaches to it. By beginning with a look at Partition's erasure in disciplinary history, the article aims to encourage the readership to consider ways in which the historiographical has informed or shaped Partition literature and the history of its reception.

V. S. Naipaul's travel books and other commentaries about the non-Arab converts of Islam are characterized by his trademark sensitivity to colonialism. In these controversial works, Naipaul equates Islamic expansion in Indonesia, Pakistan, Iran and Malaysia to Arab imperialism. While Naipaul does not condone the militaristic origins of Islamic expansionism in history, his principal critique is cultural, concerning how non-Arab converts voluntarily turn away from their pre-Islamic histories, sacred sites, cultures, and traditions in favour of their Arabian counterparts. Beneath the surface of their apparent religiosity, however, Naipaul sees a traumatic historical experience, principally due to the tension between the universalist message of Islam and its Arabian origins. Arguably, the converted peoples cope with their injured national pride by a religious zeal to overwhelm the Arabs, who are their conquerors and the givers of their religion.

Summary The publication deals with the problem cultural realia and terms in translation. The empirical part is a case study that investigates challenges in subtitling when rendering the subtitles of the Lithuanian memory film Emilia. Breaking Free (2017) from Lithuanian into German and English. Subtitling, the oldest form of Audiovisual Translation, is both a process and a result when a source text is translated into the target text in a synchronized manner with the original verbal message. Serious translation problems can arise because the subtitles are supposed to convey the verbal or non-verbal message in a compressed form. Cultural realia and terms are cultural elements that structure human life from the time of birth to the extent that they shape our behavior and worldview. Moreover, since the areas referred to by real property descriptions can be very diverse, they are subject to different classifications depending on the character and the object. Accordingly, monocultural, infracultural and transcultural references can be subdivided more precisely into socio-political, geographical, ethnographic and non-verbal realia. When transferring realia, three large groups of translation strategies can be identified: the unchanged adoption of the realia in the target language, the omission and the replacement by an equivalent. Since most translation techniques in the corpus studied appear as strategies of change, the central question is to what extent linguistic and cultural-specific items can be reflected in the subtitling movies about traumatic historical experiences.

В интервью с видным немецким теоретиком истории Йорном Рюзеном затрагивается широкий круг проблем современной философии и теории истории. Рассматриваются вопросы об актуальности наследия классической и неклассической философии истории. Обсуждаются проблемы взаимодействия философов и историков в контексте исследований исторической культуры и культурной памяти. Показано, что ключевой проблемой исторических исследований продолжает оставаться этноцентризм. Обосновывается важность идеи соотношения базовых понятий теории истории как условия преодоления этноцентризма. Поднимаются проблемы преподавания истории вусловиях глобализации, вопросы актуальности универсальных ценностей в обращении с травматическим историческим опытом, а также проблемы применимости всовременной России немецкого опыта преодоления тоталитарного прошлого. In an interview with a prominent German theorist Jrn Rsen, a wide range of problems of modern philosophy and the theory of history were discussed. The issues of relevance of the heritage of classical and non-classical philosophy of history were considered. The problems of the interaction of philosophers and historians in the context of studies of historical culture and cultural memory were discussed. It was shown that ethnocentrism continues to be the key problem of the modern historical research. The importance of the idea of correlation of the basic concepts of the theory of history as a condition for overcoming ethnocentrism were substantiated. The problems of teaching history in the context of globalization, the relevance of universal values in dealing with traumatic historical experience, as well as the problems of applicability in modern Russia of the German experience of overcoming the totalitarian past were raised.

The article is devoted to fiction representation’s research influence of the fear’s, as part of the totalitarianism everyday practices 1930’s, on the creation «homo sovieticus» identity. The everyday history studies are important component of the memory and identity studies. The Ukrainian memory studies pay attention on the traumatic historical experience, while the west European scholars are fixed on the socio-cultural history of the everyday life. The benefit of this study is combine both research approaches. This provides an opportunity to explore social totalitarian everyday life from the view of the reconstruction outlook and identity of the «homo sovieticus». We used discourse-analysis’s methodology for this research, thethought about that our communication is reflection of our identity and the nature of social relations. As applied materials wechosen diaspora writers’ texts, the novel «The Fear» by Olena Zvychayna and memories by Dokiya Humenna and ValerianRevuc’ky. All these authors were witnessed Stalin’s repressions, and later they wrote about it. Olena Zvychayna described the fear as terrors’ instrument, which defined soviet peoples’ everyday life. For example, the practices of the night arrests. The thousands of people across the country were arrested between the first and third hours every night. Those systematic practices of intimidation became the part of the whole physical terror in 1930’. As a result, we can see «a faceless person» in fiction about that period. His main characteristics are depersonalization of personality, and unification of appearance according with sovieticus aesthetic. In contrast, fear is personified and has a face. Its connected with certain persons in collective imaginations of the soviet people, for example Stalin or Yezov, and otherі, who represented the totalitarianism system punitive practiceses of the system. The practice of collective meeting was another element Stalin’s intimidation tactic in the 1930’. The collective meetings were devoted to stigmatization particular persons with nonsovieticus outlook. As a consequence, it formation еру collective intimidation system. The aesthetics of pessimism and physical fall arosed in the everyday life of people in fear and was opposed to canons’ beauty and optimism tj socialist realism. Everyday life’s realistic showed many contrasts between normative aesthetic with the cult of the beautiful human body, optimistic socialism’s labor and gloomy totalitarian aesthetic. We can see some main oppositions in the novel «The Fear», such as: monumental forms collective life and man loneliness; mass Soviet celebrations and uncolored everyday life; party meeting with bravura marches and forbidden wedding in the church. At same time, the totalitarian reality’s aesthetic influenced on the personality’s moral degradation and value system of the person. As a result, it transformed soviet people in victim and executioner in one person. In conclusion we remark that the fears’ phenomenon was determinative in shaping «soviet man» Stalinist’s period. The systematic practices of intimidation formed the man depersonalized, identified with mass. Another definition such people – «faceless person». He or she needs appropriate aesthetic, which contrast with of the canon’s soviet realism aesthetic. The fear to stand out lays in the such Stalin’s system base.