Autobiographical Character Research Articles

Melzer and the Dead Sea Scrolls: Anna Seghers’s GDR novel Die Entscheidung (1959)

Abstract This article is about German-Jewish author Anna Seghers (1900–1983), who spent half of her productive life in the German Democratic Republic (East Germany). Though Seghers is known for her works from the 1930s and 1940s such as The Seventh Cross (1942), about a prisoner who escapes from a concentration camp, little has been published about her writings under communism, after she returned from fourteen years of exile, having survived National Socialism while active in the resistance. Her mother and aunt were murdered in the Shoah, and Seghers ostensibly discontinued addressing the National Socialist German past once the GDR was founded (in 1949). However, as this article demonstrates, her ‘socialist realist’ novel, Die Entscheidung (1959), complicates this seeming erasure of Seghers's Jewish identity, which can be seen not only in response to the increasing antisemitism in eastern Europe during the Cold War, but also attests to her actual and continuous—albeit ‘hidden’—engagement with the Jewish culture and history of her childhood and youth. Through the autobiographical character Herbert Melzer, it becomes possible to identify secret references and allusions to the Dead Sea Scrolls, first discovered in Qumran in 1947–1953—the same time at which Seghers set the novel. While she was confronted with surveillance, travel restrictions, and censorship, Seghers maintained her own personal exploration of Judaica, as evidenced by her published letters and the contents of her personal library (now the Anna Seghers Archive). This article argues that Seghers persisted in retaining and expressing her original Jewish self-identification through fiction, even in this, her seemingly most ‘socialist realist’ novel.

“CONFESSIONS” BY J.-J. ROUSSEAU: TECHNIQUES OF AESTHETIC INFLUENCE AND STRATEGY OF READER’S RECEPTION

The study aims to explore the specific features of the modern reception of J.-J. Rousseau’s “Confessions”. The theoretical framework of the research is grounded on the ideas advanced by T. Avtuxovych, M.Czermińska, M.Głowiński, W.Iser, R. Jakobson, H.R.Jauss, P.Lejeune, Yu. Lotman, V.Tjupa, Zh. Starobinskiy and other scholars. The researchers describe the semiotic model of literary communication and the theory of the text by Yuri Lotman. The research was conducted using historic-functional, hermeneutic, receptive, and theoretical analysis methods. An attempt is made in this paper to show how the process of “decoding” the meanings intended by the author in the text takes place. In particular, the authors study how Rousseau’s “Confessions” functions in the structure of modern literary communication. The specific objectives of the present study are the meanings of “Confessions” are read by the contemporary recipient and which ones are relegated to the background compared to the literary communication of the eighteenth century. The common discourse code of the author and the reader is the key to successful communication and understanding of the specifics of the project of Rousseau’s life writing. At the same time, the success and specificity of artistic communication are influenced by the difference in discourse code meanings related to the time distance between the author and the recipient and the layering of new historical and cultural patterns in the reader’s consciousness. At the thematic level, three main themes are considered, including: a) the social origin of the autobiographical subject, b) his conflict with society, and c) the protagonist’s intimate self-disclosure. Thus, the article provides a detailed examination of the motif of the social origin of the autobiographical character. On the topic of the social origin of the character, instead of the plebeian’s right to public attention for the contemporary reader, the value of education and knowledge, freedom of speech and individual liberty are being actualised. Of particular note is the theme of the conflict between a character and society, the idea of the human right to otherness, the right to personal liberty and the right to choose the concept of one’s own life comes to the forefront. Thus, a literary text realises the social function of literature. The reading of the character’s self-disclosure by an attentive reader (from Rousseau’s contemporary to modern readers) has a twofold purpose: first, to encourage everyone to live the experience of the character and thus to think about themselves, and second, to reflect on society as a whole. It testifies to the fact that in the aspect of self-disclosure of the meaning of “Confessions”, the transformation of confession as an external form of a religious rite of repentance addressed to God into the narrative genre of confessional autobiography addressed to a human reader of the story is actualized. The study demonstrated a need for continuation of the study in the aspect of reader reception to contribute to the perception of its place in the contemporary literary and cultural space.

코리안 디아스포라, 고려인 주제의 실천적 다문화 역사학습의 실제

Objectives This study has an autobiographical character as it is a study that looks back and reflects on ‘my’ class based on my experience at K Elementary School. In the process of research and practice, I continuously tried to reflect the contextual characteristics of the school and region. I recognized the characteristics of the village's mul-ticultural situation, the current status of K Elementary School, the situation faced by Koryoin students, the diffi-culties in communication between Korean and Koryoin students, and the difficulties that fellow teachers face in teaching Koryoin students. Based on this awareness, we designed and implemented a practical multicultural his-tory class for solidarity and togetherness beyond discrimination. Methods First, the topic of forced migration of Koryo people, a minority history, was reviewed from the per-spective of memory and forgetting, and the direction of practical multicultural history education was set through analysis of multicultural education theory and curriculum. Next, I designed and implemented a practical multi-cultural history class on the topic of forced migration of Koryo people and analyzed the process and results. Results The analysis and implications are that, first, the memory of the forced migration of Goryeo people, a for-gotten minority history, was discovered and recalled. Second, it is the acquisition of multicultural com-petency(cultivation of multicultural cultural literacy) based on empathy and interculturalism beyond the assim-ilationist perspective. Third, they had participation and practical experience for solidarity and companionship. Fourth, I looked back on what kind of multicultural teacher I am as a teacher who practices multicultural education. Conclusions The implications of the study are that, in terms of research methods, history classes were autobio-graphically reflected and analyzed based on personal memory data and accumulated cultural artifacts (research notes, student output, photos, videos, etc.). Through this, teachers in the field will be able to understand the de-sign and execution aspects of history classes in detail and use it as a reference for their own class practice research. Next, in terms of research content, history education was practiced with the theme of multiculturalism. Because I recognized the limitations of traditional history education and designed and implemented practical mul-ticultural classes by reflecting the contextual uniqueness of local communities and school, it can be a meaningful reference for schools in multicultural situations. Lastly, the focus on the history of minorities, the Koryo people and forced migration of Koryo people, can be a good example of migration history education.

Sekrety literatury i głód wtajemniczenia

This article concerns secrets and secrecy in narrative works. The author, following in the footsteps of Auerbach and Kermode, argues that secrets should be understood as discontinuous places, gaps that demand to be filled. Auerbach and Kermode pointed to the biblical origins of the secret narrative. The latter in The Genesis of Secrecy. On the Interpretation of Narrative noted that secrets presuppose a mode of initiation – this was the case in the gospel of St Mark he analysed, addressed to believers. However, this sender’s intention also appears in strictly literary texts that operate the convention of the secret. This article refers to four twentieth-century Polish narrative texts that use elements of secrecy in different ways. Mrożek’s Moniza Clavier conceals the confabulatory character of the first-person statement, Miłosz’s Dolina Issy and Gombrowicz’s Kosmos conceal the deeply autobiographical character of the reflection on individual fate, while the narrative in Lem’s Solarisactivates the possibility of ‘vertical reading’, referring to the concept of some absolute. Secrets in literary texts tend to be secularized versions of religious narratives addressed to the initiated, and the promise of an integration of discontinuous places attracts sceptics and believers.

THE AUTOBIOGRAPHICAL STORY'S TYPOLOGICAL TRAITS IN BRUNO SCHULTZ'S COLLECTION “CINNAMON SHOPS”

The article analyzes the peculiarities of the typological characteristics of Bruno Schultz’s works. He was the representative of Polish modernism. The autobiographical character of the collection of stories “Cinnamon Shops” is revealed, and the explicit and implicit depiction of reality in the work is determined. The concept of childhood poetry is theoretically substantiated, and its structural components are set forth. The methods of creating the world of childhood were analyzed, and the features of its realization in the works of the named author were revealed. Bruno Schultz is the founder of the idea of the hermetic mythology of a place. Its mundane nature comprises delineating a geographical area with an infinite number of meanings and content. Schultz's classic prose became a generalized expression, a world structure of global significance. His two volumes of short tales, “Cinnamon Shops” and “Sanatorium beneath the Hourglass”, placed him in the canon of 20th-century European literature. Bruno Schultz lived during a period of unprecedented political change when new civilized codes and identities for modern European countries were emerging. In his prose, a rare meta-culture of Central-Eastern Europe emerges through mythology. It is an opportunity to see the enormous possibilities of the past, from which the modern states of the Central European subcontinent emerged. Schultz would probably also be very useful in discussions about postmodernism because of the collage and fragmentary nature of his work and because of the fun he has with myths and parodies – in some places, it fits very well into postmodern practices, and Schultz can be considered one of their forerunners.

A Place for Us: Spatial Proximities in the Correspondence Between Maria Casarès and Albert Camus (1944–1959)

This study elucidates the process of Maria Casarès’ identity construction in her correspondence with Albert Camus. I focus on how space and identity are entangled in their letters by zooming in on the correspondents’ construction of a spatial identity through their epistolary dialogue. In their epistolary relationship, Casarès and Camus exchange depictions, feelings, drawings, and postcards of the places in their host country France—such as Paris, Ermenonville in Oise, Camaret-sur-Mer in Bretagne, Cabris in the Provence—, that define them not so much individually but mostly together, as a couple. The correspondents create in their letters places and metaphors that have significance for both of them and that they can share—through memory of the past, imagination at present, or plans for the future—. The analysis gives insight in how Casarès renegotiated her identity via the epistolary dialogue with Camus on the basis of the characteristics of exile and the search for silence, creativity and truth that they shared. The study illustrates the autobiographical character of the correspondence in its dialogical context: the strong bond between the sender and recipient of the letters plays a fundamental role in stimulating and facilitating possibilities for synergetic identity renegotiations.

Autographs, Autobiography, and Black History in Britain: the Congo House Autograph Book

This article utilises a recent discovery of a textual trace of black people’s self-representation in Edwardian Britain. It concerns an autograph book, currently kept in private hands, bearing entries by black students who attended the African Institute, Colwyn Bay, in around 1905. This short text speaks to the difficulty of accessing private writings and self-representations by black people who lived in Victorian- and Edwardian-era Britain. Though there exist substantial texts written by black people in late-nineteenth-century Britain, including texts of an autobiographical type (broadly defined), self-expressive writings by black people are unquestionably rare. In retracing black lives, scholars frequently piece together information from archival and print sources. The autograph book is itself a work of fragments, though given their autobiographical character they are both rare and valuable: quotations from Shakespeare, sketches, original verse, epigrams, and quotations from scripture. These writings afford some degree of insight into the personalities of the students, who are otherwise generally represented by onlookers in the primary and secondary literature of the Institute.

Compulsory Heterosexuality in Indonesia: A Literary Exploration of the Work of Ayu Utami

The fall of Suharto from the presidency in the Reformation of 1998 created space for greater freedom of expression, including for women, in the world’s largest Muslim-majority nation, Indonesia. Ayu Utami is an Indonesian writer whose first novel, Saman, was published at the time of the Indonesian Reformation to critical and commercial acclaim. Other women writers followed her lead, expressing their work on women and sexuality. Through her writing, Utami challenges a patriarchal culture which continues to marginalise women. This paper focuses on the two of Utami’s literary works, Si Parasit Lajang: Seks, Sketsa dan Cerita (The Single Parasite: Sex, Sketches and Stories) (2003) and Pengakuan Eks Parasit Lajang (Confessions of a Former Single Parasite) (2013). These two books have parallel themes, representing Utami’s challenges to dominant discourses on women and marriage. In the first book, Utami shows that women face discrimination if they remain single. Her political stance to remain unmarried is a way to show that women can choose alternative ways of life, rather than submit to the valorised option: to get married. Utami’s shift of position, as elaborated in the second book through the story of her autobiographical character A, who is a Catholic, has to do with a developing tendency of the Islamic conservatism in Indonesia to silence the expression of minority groups, including minority religious communities. This paper argues that to understand Utami’s shift in position on marriage, we must understand the ways in which her position as a member of a minority and, sometimes endangered, religious community shapes her position.

Anger, Faith and Bewildered Fragments of Self: The Shaping of Ethos in an Argentinean Translation of Sarah Kane’s 4.48 Psychosis

4.48 Psychosis is British playwright Sarah Kane’s final play. Its opening took place at the Royal Court Theatre Upstairs in London in June 2000, only a few months after Kane’s suicide at King’s College Hospital. The initial reception of the play was surrounded by controversy in the United Kingdom, with some reviewers and critics interpreting the theatrical text as primarily autobiographical (Urban 2011, p. 304; Claycomb 2012, p. 113). Informed by a socio-discursive perspective, which specifically looks at the construction of ethos (Amossy 2009, 2010; Author 2017; Author 2019, 2020), this research aims at contributing to the study of subjectivity in translated drama. Focusing on Rafael Spregelburd’s Argentinean Spanish translation of 4.48 Psychosis, published by Losada in 2006, we explore the shaping of subjectivity in the translated dramatic text highlighting the way in which the persona of the translator builds within and beyond the translated text. The case under study features the task of a drama translator who, probably on account of his vital presence in the Argentinean theatrical landscape, is often perceived as integral to the performance text. In this article, we will argue that an analysis of 4.48 Psychosis and, for that matter, of the translation of the play, based on the facts of the playwright’s life, may lack in substance and is, therefore, unproductive to assess the complex quality of the piece. While Spregelburd’s translation uses dramatic strategies and techniques that successfully foster the image or ethos of a rupturist playwright, it still stresses the autobiographical character often attributed to the text. This is particularly evident in the female gender construction of the main voice in the play, which is ambiguous in the source text. Our analysis therefore specifically looks at certain subjective forms in the translated text such as the use of inflected female marked adjectives. In a complementary fashion, our study also identifies the use of masculine forms and masculine generic forms to translate indeterminate forms in the original, which help establish antagonisms between female and male construed identities in the target text. This view, which becomes dominant in the translated text, is reinforced by the image or ethos of the translator as this is shaped within the translated dramatic text and its paratexts. Our analysis also explores the subjective construction of the translator’s persona and positioning in the target dramatic text and system. Assessed within the framework of Spregelburd’s whole production, detailed consideration is given to the use of paratextual devices as well as the translator’s own declarations in interviews.

Bulgaria in the Life and Work of YU.V. Trifonov

The article is devoted to the work of Yu.V. Trifonov in Bulgarian Russian studies, as well as some periods of the author's life that link his fate with Bulgaria. The article presents translations of the works into Bulgarian, as well as the names of those who popularized the author's work in Bulgaria. In connection with translation reception, periods of reader activity are highlighted, and interest in the work of the writer is revealed in certain years. The principles of evaluating the work of a writer in humanitarian thought are discussed. The translation of the author of the article contains the most typical excerpts from the statements of Bulgarian writers about Trifonov: many of the Bulgarian researchers mentioned in the article knew the writer personally and share their memories of meeting with him. Scientists are looking for different approaches to the study of Trifonov's work. The writer's prose becomes the object of research in related fields of scientific knowledge: sociology and journalism. An interview with Trifonov, given to Bulgarian journalists at the Varna Film Festival and previously published only in Bulgarian, is quoted. In the interview, the topics and problems of the author's prose are discussed. In addition, the heroes and famous works of the writer in Bulgaria are analysed. The essay "The smallest city", which has an autobiographical character, is analyzed; the work combines the image of a personal tragedy (its biographical basis is a trip to Bulgaria with his daughter after the death of his wife) and a detailed description of the culture of Bulgaria and the mentality of the Bulgarian people. The article reveals the importance of the "Bulgarian period" in Trifonov's work, shows that Bulgaria is becoming for the author an integral part of his creative path.

욕망의 긍정성: 테렌스 래티건의 Cause Célèbre에 나타나는 안티-오이디푸스적 욕망과 탈영토화

This paper explores the Deleuzean concept of desire in Terence Rattigan’s Cause Célèbre. In Anti-Oedipus, Gilles Deleuze and Félix Guattari subvert Freudian concept of desire and redefine it in a perspective of positive power to revolutionize the conventional society through deterritorialization. Rattigan’s adaptation of real case of Alma Rattenbury centers on criticizing twentieth-century British society where woman’s expression of desire is regarded as obscene according to Oedipus ideology. Alma, as an anti-oedipus being, resists the Oedipus desire and produces its own desire independently, therefore destructing the conventional Oedipus structure within society. By adding the story of the Davenport family as a sub plot and reflecting his personal life to them, Rattigan brings attention to the social tendency to suppress desire and hopes to escape from the repressive social orders. Rattigan’s autobiographical character, Tony, represents Rattigan’s suppressed homosexual desire in his boyhood. As Deleuze argues that deterritorialization of desire leads social change, Tony’s deterritorialization brings about a change in Alma’s trial result.

Образ Джона Вулмена в англоязычной публицистике 1850–1940-х гг.: агиографические мотивы

John Woolman, an 18th century Quaker preacher, is known in the history of American literature for his spiritual autobiography titled The Journal (1774). The 1850–1940s is a period when Woolman’s autobiographical character attracts the attention of British and American critics and essay writers. They publish a significant number of non-fiction texts, which contain numerous elements of hagiography in Woolman’s portraiture, depicting him as a saintly proto-abolitionist figure. According to recent studies, the pioneering role in Woolman’s literary “sanctification” belonged to the 19th century American poet John Greenleaf Whittier, and it was his essays about Woolman that established the “hagiographical” tradition. The paper suggests, however, that the poet followed the tradition which had started earlier. The following “hagiographical” elements may be distinguished in the analyzed non-fiction texts: 1) (semi-) anonymity of several texts; 2) frequent use of the adjective “saint” in reference to Woolman; 3) overestimation of Woolman’s historical significance as “the first abolitionist”; comparisons with famous saints; 4) the motif of being born in “a pious family” and “eulogizing on the birthplace of the saint”; 5) historically inaccurate portrayal of Woolman as a poor and semiliterate person; 6) emphasizing such psychological traits as childlikeness and absolute truthfulness. The conclusion is that Woolman’s sanctification was promoted by the historical situation in the USA of the 1850–1940s as well as by The Journal itself and a certain “flexibility” inherent in Woolman’s autobiographical text.

Автометаописание и автопсихологизм как метапоэтические принципы А. И. Солженицына

The autobiographical character of Solzhenitsyn’s oeuvre, inseparable nature of ethical and aesthetic views, have shaped the author’s unique aesthetics. From the point of view of the author of this article, eliciting the meta-poetic principles defines the way of comprehension of Solzhenitsyn’s artistic world, of his ‘phenomenon’. The article presents the analysis of two of Solzhenitsyn’s significant meta-poetic principles: self-meta-description and self-psychologism. The research is based on Diary R-17 which should be introduced into the readers’ and researchers’ circulation as an important key to understanding Solzhenitsyn’s artistic method. An insight into the French edition of the Diary has allowed the author of this article to trace the stages of working on The Red Wheel, and to regard Solzhenitsyn’s ‘creative laboratory’ as a whole. At the same time the diary records broaden the readers’ understanding not only of the ways of creating a historical novel, but of the writer’s biography, of his reading range and literary context, of his predecessors in the genre of historical narrative, of the writer’s techniques and methods. The article turns the spotlight on the fact that Solzhenitsyn does not bestow his biography on characters close to him, he imparts to them the train of his thoughts, the capacity for Tolstoy’s ‘soul dialectics’, making them the author’s self-psychological counterparts. This article is a part of a substantial research of Solzhenitsyn’s system of meta-poetic principles, including the ‘world vision’ on the functions and the responsibility of the artist and the art to the world; on the judgement on the creative work of other authors. The author of the article has an objective to understand the writer’s aesthetics, that was formed under the influence of a vital aspiration to record the history of the Russian revolution, to tell the hidden truth about the history of Russia.

United States of Banana. A Graphic Novel by Giannina Braschi and Joakim Lindengren

Reviewed by: United States of Banana. A Graphic Novel by Giannina Braschi and Joakim Lindengren Nuria Morgado United States of Banana. A Graphic Novel The Ohio State University Press, 2021 By Giannina Braschi and Joakim Lindengren Edited by Amanda M. Smith and Amy Sheeran Masterfully illustrated by the Swedish cartoonist Joakim Lindengren, and with a robust and solid introduction by editors Amanda M. Smith and Amy Sheeran, United States of Banana. [End Page 191] A Graphic Novel (2021) (first published in Swedish in 2017), is an adaptation of the postmodern allegorical novel United States of Banana (2011), masterfully written by Giannina Braschi, a Puerto Rican writer based in New York who defies any attempt to be classified. We can argue that United States of Banana (USB) also defies any attempt to be classified. It is a philosophically rich novel that crosses genres such as fiction, poetry, manifesto, and experimental theater. It is a political allegory of US imperialism and Puerto Rican independence; the autobiographical character Giannina, along with Shakespeare's Hamlet and Nietzsche's Zarathustra, go in a mission to liberate Segismundo, another literary character from La vida es sueño (Life is a Dream) by Pedro Calderón de la Barca, who is imprisoned beneath the skirt of the Statue of Liberty. As a metaphor, liberating Segismundo would mean liberating Puerto Rico from the US. USB is also described as a manifesto on democracy in a post-9/11 world, and as a declaration of personal independence. It touches on many topics, relevant not only in today's world, but also in tomorrow's world, since they engage with anything and everything that makes us human: feelings, thoughts, emotions, or behaviors when confronted with politics, language, immigration, love, friendship, terrorism, global warning, revolution . . . Giannina Braschi understands the temperament of humanity. And nothing more human than the characters that navigate the worlds and underworlds of this novel since, in their quest for liberation, they meet and confront the insecurity and uncertainty found in our current precarious, unstable, dangerous, difficult world. Using the interplay of Braschi's philosophical, poetic prose and Lindengren's captivating and thought-provoking drawings "with playful images worthy of the text's ludic spirit" (xiv), this graphic novel helps to interpret the moral or political significance of the allegorical characters, places, or events of the text, and renews its relevance, especially after experiencing Trump's presidency and the US response to the devastation of Hurricanes Irma and María in Puerto Rico in September 2017. USB's relevance is rigorously explained by United States of Banana. A Graphic Novel's editors, Amanda M. Smith and Amy Sheridan, in their illuminating "Introduction," where they consider "what new meanings might arise when readers encounter USB as a graphic novel in the current political context" (vii). Lindengren's images play a central role. For example, in this graphic version, the three political options of Puerto Rico—i.e., independence (nation), commonwealth status (colony), and statehood (state)—, described in USB as "wishy" (independence: their wish), "wishy-washy" (commonwealth status: washing their wishes, neither a nation nor a state), and "washy" (statehood: no more nation, no more wish), are visually represented by Lindengren as three playful chicks (20, 30, 35, 48-9, 73). And Donald Trump appears as the character Oliver Exterminator (30, 76), "advisor to the king of the United States of Banana" (30), a figure that Braschi invented based on a popular Puerto Rican pest control jingle (xiv). Lindengren's images bring USB into the era of the Trump administration, emphasizing the continuity of Puerto Rican trauma across time and thus enhancing the text's relevance for the current political moment. His drawings are strikingly beautiful and powerful in form and meaning, such as the ones that represent the Statue of Liberty. On their quest to liberate Segismundo from the dungeon at the Statue of Liberty, Giannina, Zarathustra and Hamlet confront a Statue that steps down from her podium and dialogues with her visitors. When the character Giannina tells her that "[h] uman beings can't bear very much reality. They need a prop in their hands. It used to be the cigarette" (12), we see Lindengren's image of...

Дневники главного героя в структуре автобиографической прозы А. А. Григорьева (на материале рассказов «Человек будущего», «Мое знакомство с Виталиным», «Офелия»)

The basis of the trilogy about Vitalin by A. A. Grigoriev is the diary entries of the autobiographical character. The writer consciously refers to this form of narration, since it allows the most complete disclosure of the inner world of the protagonist, conveying his thoughts, feelings, emotions, showing the complexity and inconsistency of his nature. Thanks to fragments of the diaries, the themes of the stories expand: from love experiences to philosophical reflections, reflections on the truth, the meaning of life, and the search for happiness. The protagonist’s diary also influences the chronotope of stories, expanding the space and time of the narrative, introducing a life background, background of events into the work, and at the same time enriching our understanding of the character. The author of the article briefly dwells on the autobiographical elements in the life of Arseny Vitalin, notes his resemblance to the character of the novel by M. Yu. Lermontov — Pechorin. Special attention is paid to the genre originality of Grigoriev’s works, their simultaneous isolation and inclusion in the cycle, trilogy. Besides the article discusses the diary fragment “The Dreamer’s Diary” and its meaning in the text. Psychologically convincingly, the author shows that Vitalin, immersed in love experiences, but unable to share his thoughts with someone close to him, finds an outlet for his pent-up feelings in keeping a diary, on the pages of which he gives free rein to his feelings and actions.

АПОГЕЙ ТІЛЕСНОСТІ В АКАДЕМІЧНОМУ РОМАНІ ДЕВІДА ГАЛЕФА «ПЛОТЬ»

In the article the results of studying a problem of corporeal in a work of contemporary American writer David Galef, a professor of English at Montclair State University (New Jersey), are presented. Since Galef is little known in Ukraine, a short review of his life and works is given. On a basis of theoretical and literary critical works, devoted to a problem of corporeal in fiction, a representation of a body and corporeal is analyzed in a novel Flesh (1995). The key images and metaphors are defined. The important image is an overweight female body – Max’s object of desire. A story is narrated by his friend Don Shapiro, a professor of literature in “Ole Miss”. For a more precise interpretation, the functions of paratextual elements of original and translated texts are also studied. A novel is specified with its autobiographical character. According to a list of necessary features, this work is classified as an academic novel – a satirical comedy about university life with the elements of parody and erotic. In Galef’s novel there are many naturalistic and even pornographic descriptions. Satirically and ironically depicting an academic life, Galef creates a small copy of a contemporary world, in which people are very concentrated on matters of body and appearance, but not a soul and moral values.

Autobiographical senses in piano miniatures by M. Glinka

The purpose of the article is to consider the song-romance area of ​​pianism, according to the proposed classification of piano works by M. Glinka, through the prism of autobiographical character, as the semantic dominant of the composer's piano style. The methodology consists in the application of the method of cultural commentary developed in the works of S. Tishko, also in co-authorship with S. Mamaev and G. Kukol. The specified methodological approach is used as an analytical commentary on a musical text and is implemented using a combination of biographical information and meanings of the work in the context of evolutionary processes and constant features of the composer's style. The scientific novelty of the work lies in the consideration of the piano field of composer's creativity as a single text, directly and indirectly connected by numerous intersections both with the events of Glinka's creative biography and with romantic cultural meanings; in the formation of an idea of ​​the typology of the composer's piano works and the creation of an appropriate classification; in the study of the song-romance sphere of Glinka's piano style through the prism of autobiographical character and thus revealing a whole spectrum of romantic senses of his pianism that were not previously found in musicology. Conclusions. The comprehension of Glinka's piano heritage as a whole allows us to single out the sphere of song-romance lyrics of the composer's piano instrumentalism. An analytical commentary on a musical text, which is realized with the help of a combination of biographical information and the semantic-figurativeness of works in the context of evolutionary processes and constant features of the composer's style, makes it possible to reveal the ways of forming a hidden programmatic and its artistic meaning, as well as to reveal the composer's attraction to the use of words as a factor of meaning formation, to note the importance of autobiographical themes and romantic imagery.

Les stéréotypes culturels dans Une année chez les Français de Fouad Laroui

This paper deals with the linguistic representation of cultural stereotypes that greatly influence the interaction of French and Moroccan cultures in the novel A Year with the French (2010) by Fouad Laroui, a Moroccan-Dutch French-language writer, as the multicultural and autobiographical character of his work makes this text a particularly interesting and credible study material. We are going to put under analysis the linguistic means used to translate the stereotyped view of each culture by the other and the representation of autostereotypes and heterostereotypes. Finally, we will define the impact of these stereotypes on the communicative behaviour of the representatives of the two cultures in question, in particular their way of either becoming more enclosed in their own identity or, on the contrary, of overcoming differences and finding common ground.

Prostorske strukture v avtobiografskih delih jugoslovanskih pisateljic 20. in 30. let 20. stoletja

In the focus of the comparative study are four autobiographical works of Yugoslav female writers. The book Moja pota [My Way, 1933] by Marija Kmet (1891–1974) is written in Slovenian; Ein Mensch wird [By Myself] by Alma Karlin (1889–1950) was created in 1931 in German and published only in 2010 in the Slovenian translation Sama. The autobiogra- phical novel Kamen na cesti [A Stone on the Road, 1937] by the Croatian writer Marija Jurić Zagorka (1873–1957) and the autobiographical novel Moja prijateljica [My Friend, 1920] by the Slovenian author Zofka Kveder (1878–1926) are also explored.The study of autobiographical texts inevitably turns to the so-called extratextual real- ity, to writers’ biographies. The lives of these four authors born in Austria–Hungary were different. The German-speaking Slovene Alma Karlin became a traveller around the world. The first female professional Slovenian writer Zofka Kveder worked as a magazine editor, lived in different cities, wrote in three languages (Slovenian, Croatian, and German). The Slovene Maria Kmet worked as a teacher all her life. Maria Jurić Zagorka was the most widely read writer of her time in the Croatian lands and became the first Croatian female journalist. At the same time, their autobiographical experience reflected in the texts reveals much in common. The writers often changed their place of residence. The subject of the research is the spatial structures of four texts.In autobiographical works, there are specific spatiotemporal relations: the history of the formation of personality (the biographical time) is often connected with the expansion of space. First, an autobiographical character perceives only the space of a room (for ex- ample, a nursery), then the whole house. He or she makes various trips; often in the auto- biographies the spaces of educational institutions are described. As the characters mature, spaces expand and multiply.The autobiographical mode of narration of the four works under consideration deter- mined the spatial structures of texts, in which an individual–collective dichotomy is pre- sent. With the uniqueness of each human biography, all life paths reveal similar stages, which were reflected in the category of space. On the one hand, in many autobiographies, there are the so-called locus communis (the space of one’s home, the school, places for children’s games and walks, and a workplace). On the other hand, the geography of move- ments across different spaces is always unique.The similarity of some spatial motifs in the texts by Kmet, Karlin, Kveder, and Za- gorka can be explained by genre topics and general historical events (World War I, the collapse of Austria–Hungary) as well as the gender specificity of the texts (a big city gives a woman at the beginning of the 20th century the possibilities of self-realization, expands her social sphere but at the same time it is a dangerous space for her, full of temptations).

BİR SÛFÎ OTOBİYOGRAFİSİ: ŞÂH VELÎ AYINTÂBÎ’NİN (v.1013/1605[?]) er-RIHLETÜ’S-SENİYYE’Sİ

16. asrın Halvetî şair ve yazarlarından Şâh Velî Ayıntâbî’nin seyr ü sülûk hikâyesini ve vasiyetini konu edinen er-Rıhletü’s-seniyye adlı bir eseri bulunmaktadır. er-Rıhletü’s-seniyye, müellifin altmış üç yaşında iken yazdığı, manevi olgunlaşmasında emekleri bulunan ailesi ve tarikat büyükleri ile olan münasebetlerini anlattığı bir eserdir. Çalışmamızda müellifin aile ve dergâh çevresindeki önemli şahıslara dair verdiği bilgilerden hareketle aslında kendi manevi serencamını anlattığı eserin otobiyografik özelliğinin öne çıkarılması hedeflenmiştir. Makalede, öncelikle asil bir aile geçmişi olan Şâh Velî ve eserleri hakkında bilgiler verilmiş; biyografik kaynaklarda müellife dair yer alan bilgilerin kritiği yapılmıştır. Makalenin birinci bölümünde er-Rıhletü’s-seniyye genel itibarıyla tanıtılmış ve eserin muhtevası özet olarak verilmiştir. İkinci bölümde ise eserin otobiyografik olarak incelemesi yapılmıştır. Bu bölümde müellifin seyr ü sülûk hikâyesi bağlamında anlattığı yedi kişi ayrı başlıklar hâlinde incelenmiştir. Müellifin tesirinde kaldığı yedi kişi dedesi, babası, annesi, kardeşi, hocası ve birbiri ardınca irşad görevine gelen iki mürşididir. Müellifin eserinde verdiği bilgiler ışığında irşad makamına kadar yükselmesinde kendisine destek olmuş bu kişilerin kimlikleri ortaya konulmaya çalışılmıştır. Birinci ağızdan verilen bilgiler yanında tarihî ve biyografik kaynaklarda yer alan bilgilere başvurulmak suretiyle de müellifin tesirinde kaldığı söz konusu kişilere dair parçalı bilgiler bir araya getirilmiştir. er-Rıhletü’s-seniyye’nin son kısmında mürşit olacak kimsenin vasıfları ve kendisinden sonra yerine geçecek kimsenin seçimini ihtiva eden vasiyet yer almaktadır.