Lyrical Prose Research Articles

The Relativity Strategy of Old Javanese

Old Javanese is one of the temporal dialects in Indonesia that is estimated to develop from the IX-XV century. The language has a lot of langues inherited in the form of literature kakawin (Old Javanese poetry) and the form of parwa (Old Javanese language prose) until now. Literary works in the form kakawin and parwa are very popular work to be sung in Balinese society especially in religious ceremonies. Therefore, the Old Javanese is very worthy of being used as a linguistic study even though the language is categorized as a dead language. In morphological typology, Old Javanese is an agglutinative type. On the other hand, syntactically the Old Javanese language includes the Split-S typology. Associated with morphological typology and syntax, the Old Javanese has a core system or verb. Thus, the Old Javanese has various forms of verb-alternation in clause structures, either in single clauses or complex clauses. Relative clauses are one part of the complex clause having a change of grammatical relation when the insertion of certain linguistic elements. The topic of this study was the relativity strategy in Old Javanese. The relativity strategy of Old Javanese was described with related theories and concepts. Based on the result the Old Javanese could make the subject to be relative by inserting element of the relative sang and ikang. On the other hand there was also an indirect relativity by marking of verbs and penloping.

‘words about words make sure self’: Ania Walwicz and a politics of prose poetry

This paper examines how Ania Walwicz uses the protean nature of the prose poem as a medium through which to subvert traditional notions of identity, especially in terms of anxieties about gender and sexuality. According to Dominique Hecq (2009), the prose poem is able to negotiate ‘between notions of a public language of prose and a marginal language of poetry, thereby … enacting particularly complex modes of engagement between subjectivity and the world’. This paper argues that it is the slippery and transformative nature of the prose poem that lends itself so neatly to a politics of subversion. As a ‘borderline genre’ (Hecq 2009), the prose poem occupies an ambiguous space – it is self-conscious and critical yet immersive and seductive; a medium that offers a deceptive simplicity, or a shocking confrontation with otherness. Oftentimes, the prose poem is capable of both in the same instance. By exploring the prose poetry of Walwicz, this paper contends that rather than being understood as a ‘disturbing and elusive’ literary oddity (Delville 1998), the prose poem can be seen to contest formal traditions of both narrative and identity.

Lexical-phraseological means of speaking stylyzation in idiostyle of V. Myhailovskyi (based on material of the book “Melodiya biloho smutku” [melody of white sorrow

Purpose of the study. The article describes the lexical-phraseological means of styling conversationality and their contextual cultural and aesthetic functions in the idiostyle of V. Mikhailovsky. The specificity of the topic is due to the integrated approach to the application of research methods, among which: descriptive; comparison - for the analysis, synthesis and generalization of scientific theories, as well as the methodology of linguistic observation, classification and systematization - to separate linguistic phenomena into separate groups on the basis of differential characteristics. Methods of linguistic, semantic-stylistic analysis allowed us to establish the semantic filling of textual uses of language means of styling conversationality. Using the method of functional-stylistic analysis of the language of prose, the style norm of texts of one period in the history of the literary language process is described. Scientific novelty. For the first time, the basic lexical-phrasemonic means of styling conversationality in V.Mikhailovsky's artistic narrative are systematically presented, the specificity of their cultural and aesthetic load is clarified and a hypothesis about the newest extralinguistic factors of actualization of local elements in the language of prose is made; as well as typologized defining the oral communal communion. Conclusions. It is proved that the system of stylized conversational means fixed in the book under study is proportional to the degree of expression in the text of the ethnonational self-identity of the master of the word and the lingual components of the areal environment in which his linguistic consciousness was formed.

Karel van de Woestijne et August Vermeylen. Émulation autour des maîtres flamands

This article demonstrates the importance of the exposition of the Flemish Primitives in Bruges in 1902 and the development of art history as an academic discipline. The Flemish painters drove writer and art historian August Vermeylen to plunge into the study of art, and inspired his lyrical prose. Vermeylen’s work is compared with that of the symbolist poet Karel van de Woestijne who made his debut as an art critic with an essay about the Bruges exposition. In his emulation with Vermeylen, he wrote literary equivalents of the Flemish paintings in Christophorus and Goddelijke verbeeldingen.

Lyrisme et paysage chez Camus et Faulkner

Abstract This article links Camus’s recurrent lyrical themes and motifs with those of Faulkner. The speeches delivered by the two authors on receiving the Nobel Prize clearly underpin their conception of the art of writing, torn between suffering and beauty. For them the landscape alone can serve as a generative core to reveal the country itself. This article questions the tension raised by the South (Algeria and the imaginary county of Yoknapatawpha) and the authors’ aspiration for a lyrical prose liberated from the pressure of fiction writing. It outlines a parallel between their destiny and their accidental deaths.

People’s Instinctive Travels and the Paths to Rhythms: Hip-Hop’s Continuation of the Enduring Tradition of African and African American Rhetorical Forms and Tropes

Hip-hop is an African folk art birthed in America. Whether one simply observes the tonal language that puffs the breath of life into the lyric prose of rap music, the poly-rhythms of the ‘boom-bap’ rhythmic phrasings that became a fixture of New York rap music in the late 1980s, the winding syncopation from the pounding ‘808’ drums that are a staple of many Southern rap anthems, the routine manner in which rappers incorporate antiphony in live performances, or the improvisational nature of true free-styling, hip-hop is innately an African folk art within the American context. This article explores the dynamics of hip-hop’s continuation of centuries-old African and African American rhetorical forms and tropes.

Interview with Robin Gregory

Robin Gregory is a devoted wife and mother, and student of mystical teachings. Born in Pensacola, Florida, she grew up in California, accompanied by seven siblings, and surrounded by horses, real cowboys, and the occasional rattlesnake. She has always been drawn to helping others, a trait that began, to her mother's horror, with bringing home swallow chicks stricken from their nests. She has worked as a journalist, lay minister, and infant massage instructor for mothers and babies at risk. Her studies include Literature and Creative Writing at University of California, Santa Cruz and Stanford University's Writer's Workshop. She lives with her husband and son in a Carmel cottage old enough to make you sneeze. The Improbable Wonders of Moojie Littleman, her first published novel, has won 14 awards and is shortlisted for more. More about her is available on her website: www.MadMysticalJourney.com The Improbable Wonders of Moojie Littleman was published in the USA in 2015. The novel depicts how, through kinship with otherworldly beings, a disabled boy masters miraculous powers that his adoptive father refuses to recognise. Moojie Littleman is not just another orphan with extraterrestrial friends; he is not just a kid who falls into a series of magical, mystical adventures involving love and family and watermelons. He is, above all, the most unlikely and powerful hero ever known. Moral allegory, magical realism, and lyrical prose, The Improbable Wonders of Moojie Littleman tells the story of a disabled boy who is sent to St. Isidore's Fainting Goat Dairy, where determination to ‘belong’ stirs up trouble and leads to a surprising destiny – if only he can survive one last terrifying trial.

The Book of Dhaka: A City in Short Fiction by Pushpita Alam & Arunava Sinha

Subtle threads connect disparate narratives wherein perspectives shift from third to first person, time shuttles back and forth, and ostensibly unrelated characters appear, vanish, and sometimes reappear elsewhere, often tangentially. But a central plot emerges that links the politics of church and state: the life of Ife’s academic community and the election for director of its interdenominational choir. Despite small stakes, the applicants scheme and the maddened loser seeks revenge. Church hierarchy thus mirrors the nation’s, inviting corruption while promising influence to those whose narrow vision equates self-worth with control. Style and thematic matrix create a sense of the uncanny. Terse but lyrical prose and often-cryptic dialogue suggest hidden depths. Woven throughout are fragments of a shared postmodern culture that brackets Dostoyevsky and Kate Chopin, Eliot and Mia Couto, Hollywood and Nollywood , Europop and hip-hop, email and Twitter, elliptical quotes, as from Tóibín’s The Story of the Night and Mercier’s Night Train to Lisbon, and bits of songs that sign both angst and “a new dawn,” like Michael Bublé’s cover of “Feeling Good” and Colbie Caillat’s “The Little Things.” Together they convey alienation and the thirst for connection and meaning. These characters confront the enigma of living within universal binaries—for example , time/eternity, finitude/infinity, life/ death, motion/stasis, freedom/prison. No easy task, as one suggests: “I could not calculate a simple formula for existence.” Some, “trained not to see,” adopt a willed blindness , a “fence in the head” that perpetuates cultural, religious, and ethnic stereotypes. Thus, when a young girl dies, having left home to create the music that “fills her” and heals another “wanderer,” her parents cling to their belief that she is “not one of us.” And two fathers come to understand that their refusal to transcend “inexhaustible boundaries ” alienated their sons. But narrative empowers others to brave the unknown and seek themselves. The inherent structures of psychiatry, philosophy , and art (especially literature, music, and photography) nurture memory and develop a vision that can detect “patterns in a patternless life” and engage with “the unknown parameters of existence.” Pursuing clues in “the narrative of the subconscious ,” these characters learn to locate the spark (the novel’s first edition was entitled Farad—electrical charge) that “moves a man to go ashore.” As the prescient Debbie counsels Frank and Goody early on, “We are all psychiatrists.” Her words internalized , these two evolve from the first to the final story. Goody, Frank’s “memory,” leaves her soldier husband, choosing life above security, while Frank prepares to help the would-be choir director regain his vision. Rejecting power as meaningful goal, this intricate puzzle novel, its medium the message, hauntingly bares the psyches of its characters, like all of us “travelers whose trip is ending,” for whom “The story is a tragedy / But it’s a story nonetheless.” Michele Levy North Carolina A&T University The Book of Dhaka: A City in Short Fiction. Ed. Pushpita Alam & Arunava Sinha. Manchester. Comma Press. 2016. 164 pages. To call The Book of Dhaka overdue is an understatement, given the dearth of translations of contemporary writers working in the Bangla language, which has nearly four hundred million speakers in Bangladesh and northeastern India. Edited by Pushpita Alam and Arunava Sinha, the book accomplishes just what it sets out to do, depicting what introduction-writer K. Anis Ahmed describes as “one of the most colourful and chaotically jolly cities” in all its colors and chaos. Galo Ghigliotto Valdiva Trans. Daniel Borzutzky co•im•press Chilean poet Galo Ghigliotto holds nothing in reserve for this ghoulish tour de force, which mixes childhood anxieties, nightmarish scenes, and historical events into one volume of poetry that nearly boils with intensity. The volume is presented in a flip-book edition that puts Daniel Borzutzky’s fluid English translation on an equal presentational footing with Ghigliotto’s native Spanish. Nota Bene WORLDLIT.ORG 77 Bethlehem Terrefe Gebreyohannes Fire Walkers Mawenzi House This remarkable memoir recounts one family’s flight from Addis Ababa to Canada after a military coup overthrows the Ethiopian monarchy in 1974. Their journey not only catalogs a time and place now forever lost but is a...

American War

tries to meet loss in the eye, not just the loss of the lover but also that of the self and the others gripped in the chaos around her. Razi’s decentered, fluid narrative perfectly matches the mood and experience she is trying to capture. It, however, sometimes feels too much: too many shifts happening, in time (as well as verb tenses) and in perspective ; too many people and events that are touched upon without becoming flesh and blood for us to be able to grasp them; and too much philosophizing that after a while can feel empty. You might find yourself yearning for more concrete grounding. If you are patient and willing to tackle the confusion, though, you will be able to think and feel so much within the distressed, exploded reality that is the beautiful inquiry of Vis & I. Poupeh Missaghi New York City Hala Alyan. Salt Houses. Boston. Houghton Mifflin Harcourt. 2017. 312 pages. For a debut novel, Salt Houses is a sophisticated one with an interesting plot and welldeveloped characters. It deals with one of the world’s most complicated and continuing problems, namely, that of the Palestinians suffering from the loss of most of their country to Israel and attempting, as refugees , to reconstitute their lives elsewhere. It is written in a lyrical style by an award-winning author of three poetry collections, Hala Alyan, a teacher at New York University and a practicing clinical psychologist. Dr. Alyan is also an impressive performer with several talks and appearances to her credit. Salt Houses tells the story of four generations of a Palestinian family, the Yacoubs, who originally lived in a villa in Jaffa on the Mediterranean seashore until the 1967 SixDay War forced them inland to Nablus as refugees. When in 1963 mother Salma reads the future in the dregs of her daughter, Alia’s, coffee cup on the eve of the latter’s wedding, she sees her forthcoming uprooted life and her children’s; she does not tell her of that, but it comes to pass in the 1967 war. Alia and her husband, Atef, who moved to Kuwait and had three children, are uprooted in 1990 when Saddam Hussein invades. They lose their home—again— and scatter to Boston, Paris, and Beirut, where they and the grown-up married children start new lives in foreign cities, mostly apart from one another, with painful problems of assimilation, though with some occasions of better opportunity. In this novel, Hala Alyan has effectively portrayed half a century of the Palestinian diaspora with much of its agony and human suffering that daily newspapers do not narrate when reporting on current events related to the Palestine-Israel conflict. Her novel should be read by all those who, with a sense of responsibility, need to know real people’s feelings and predicaments. Issa J. Boullata McGill University Omar El Akkad. American War. New York. Alfred A. Knopf. 2017. 333 pages. Omar El Akkad’s debut novel, American War, envisions a twenty-first-century United States that has been literally and figuratively Akinwumi Isola Treasury of Childhood Memories Trans. Pamela J. Olubunmi Smith Pan-African University Press Akinwumi Isola steps back into his childhood in Yoruba to recount thirteen stories of the antics and adventures of the adolescent boys with whom he spent his youth. His lyrical prose re-creates the memories of friendship and community that have been buried underneath the passing years and changing times, teasing out a better understanding of his world in the process. Omar Robert Hamilton The City Always Wins MCD / Farrar, Straus & Giroux During the 2011 revolution in Egypt, Mariam and Khalil are at the core of the action, fighting for their ideals, their city, and each other, but all that becomes jeopardized when the regime begins to unravel. Omar Robert Hamilton crafts the crackling atmosphere of being at the cusp of a dramatic, historical change. Nota Bene WORLDLIT.ORG 77 reshaped by such forces as the climate crisis and globalization. Literally: as a map at the beginning of the book vividly illustrates, by 2075, major portions of the US have been submerged by rising sea levels. Figuratively : in the midst of a second Civil...

МОДИФИКАЦИЯ ЖАНРА МЕМУАРА В СБОРНИКЕ Г. ИВАНОВА «ПЕТЕРБУРГСКИЕ ЗИМЫ»

The book of Ivanov’s memoir prose “Petersburg winters” from the time of publication evoked ambiguous assessments of contemporaries, critics and literary critics. Until now, the genre and composition features of the collection have not been clarified, which will be the goal of the article being presented. In the course of the study, the following features of G. Ivanov’s memoir prose were noted: the impressionistic nature of the narrative, which determines the associative type of narration, and not strictly factual. The collection is a lyrical prose of the poet. Underlined reflexion in the presentation of material, its exaggerated arbitrariness. The theme of memory and its limits is a structure-forming for the whole narrative. The author pays special attention to the image of “fog”, symbolic for the memoirist G. Ivanov, as a metaphorical expression of the motive of the path and destiny in the culture of emigration.

Japońska proza liryczna na przykładzie Ise monogatari (Opowieści z Ise)

Celem badawczym artykułu jest przedstawienie Ise monogatari (Opowieści z Ise) –najwybitniejszego dzieła należącego do podgatunku opowieści dworskich zwanego uta monogatari (proza liryczna). Na tle innych typów opowieści dworskich (ōchō monogatari) uta monogatari stanowi niezwykle oryginalną odmianę prozy, w której elementy fabularne pełnią rolę drugorzędną, a świat przedstawiony jest kreowany przede wszystkim poprzez poetyckie przetworzenia realiów życia. Ogniwem łączącym w tym utworze poszczególne eseje poetyckie w jedną całość jest postać mukashi otoko, „mężczyzny z dawnych czasów”, pod którą ukrywa się Ariwara Narihira (825-880), poeta i dworzanin. Niniejszy artykuł przedstawia główne wyróżniki gatunkowe, jak również uwarunkowania światopoglądowe i społeczne, które sprawiły, że utwór ten utożsamiany jest z estetyką dworskiej elegancji miyabi.

Metonymic Pole of Sufi Prose Language with Emphasis on Shams-e- Tabrizi’s Essays

Among extant books of Sufis prose, the prose of Maqalat-e Shams-e Tabrizi has high and particular qualities. Its special language and the sensitivity that Shams shows in every point of his Maqalat regarding language makes us observe the dialectic between structure and meaning of language which is the results of forming a progressive prose compared to the prose of his contemporaries. Among the different functions of Shams’ language, metonymic function of prose has a special importance in Maqalat. Therefore, in order to discuss the form of Maqalat, in this article the metonymic language function is discussed, and in this way the theory of Roman Jakobson about metaphoric and metonymic pole of language has been used very much. Jakobson by accepting the theory of Saussure about the arbitrary aspects of language and also admitting two axes of replacing and companionship in language, adds that metonymy is formed by the relationship of proximity and companionship of words, but metaphor from the relationship of similarity in the replacement axis in language. By studying Maqalat we may conclude that its prose has used metonymy to present particular and special concepts.

« L’infinité en petitesse » Pascal et Dostoïevski

Dostoevsky was familiar with the oeuvre of Blaise Pascal. It is provable that he read the book Pensées. One of the central concepts of this book (“les extrémités se touchent”) is cited in the novel The Idiot. In my essay, I make an attempt to reconstruct the original context of the citation. I sketch two possible interpretative practices of the cited anthropological concept: the cognitive and the heuristic one (“le coeur a son ordre, l’esprit a le sien”). There is a special type of text which corresponds to each of them. In The Idiot, the cognitive strategy is risen up to an ideological level by the statements of the main character, meanwhile the heuristic text production is realized by the narrative metaphors of the confession discourse. In my essay, I put a special emphasis on the problem of fragment and its functioning in the structure of prose language.

Thanks for the Trouble by Tommy Wallach (review)

Reviewed by: Thanks for the Trouble by Tommy Wallach Karen Coats Wallach, Tommy Thanks for the Trouble. Simon, 2016 [288p] Trade ed. ISBN 978-1-4814-1880-5 $17.99 E-book ed. ISBN 978-1-4814-1882-9 $10.99 Reviewed from galleys R Gr. 9–12 Parker Santé has suffered from psychogenic aphonia, an inability to speak, ever since he was in a car wreck that killed his father five years earlier. He’s also become a bit of a hard case, getting into fights and hanging out at swanky hotels in order to steal from the patrons. When he accidentally leaves his journal, which he uses for communication as well as writing dark, fairy-tale-inspired stories, at the table of a beautiful silver-haired girl, he and Zelda strike up a conversation. She informs him that she is planning to kill herself, so he persuades her to spend the day with him instead; she strikes a bargain that if he will commit to applying to college [End Page 330] and considering a future for himself, she will indeed spend the day and all of her money on him. As the day turns into a weekend, Zelda tells Parker that she was born in 1770 and is tired of living, and while he doesn’t believe that, she does make him believe that he might have a future worth pursuing. The mystical resonance of Zelda’s character is complemented by Parker’s haunting stories and Wallach’s lyrical prose, which flows between the realistic diction of a contemporary, writerly Latino teen in Parker’s narration and the more formal cadences in Zelda’s dialogue and in Parker’s stories. Those embedded tales from Parker’s journal are gems in and of themselves, and while the overall conceit that this is a college application essay doesn’t quite work, it hardly matters. Readers looking for a beautifully written philosophical romance will enjoy losing themselves in this one. Copyright © 2016 The Board of Trustees of the University of Illinois

ANALISIS SISTEM PENGENDALIAN INTERN PIUTANG PADA CV. CAHAYA NIAGA TANI

The purpose of this is to analyze and know how to receivable control system at CV. Cahaya Niaga Tani Palembang has done well to reduce the misuse of cash in order to minimize loses anad provide accurate information for the control of the company. In this study, researchers used a method of analysis qualitative. Analyzes were performed using the information, adescription in the form language of prose or standard language, then linked with other data to obtain clarity on the truth or otherwise, so as to obtain an overview of new and strengthen a picture already there and vice versa. The type of data used are primary data and secondary data collection techniques used interviews, documentation, library research. The results of this study is expected to provide accurate information on accounts receivable control system so that the CV. Cahaya Niaga tani Palembang can better control the accounts again and runs as expected.

The Souls of China: The Return of Religion after Mao by Ian Johnson

Reviewed by: The Souls of China: The Return of Religion after Mao by Ian Johnson Hal Swindall (bio) Ian Johnson. The Souls of China: The Return of Religion after Mao. New York: Pantheon Books, 2017. vi, 455 pp. Hardcover $12.24, isbn 978-1-101-87005-1. This volume is really more of a well-researched literary travelogue than an academic study, although it contains just as many facts. It consists of short accounts of Johnson's encounters and re-encounters with Chinese religious figures of various faiths, all strung together in a series of episodes that reveal key aspects of the religious renaissance that has taken place in China since 1989. Another strand uniting these vignettes is brief descriptions of the twenty-four roughly fifteen-day cycles of the seasons into which the traditional lunar calendar is divided each year; they precede new sections and foreshadow their contents. Johnson's mini-narratives also contain reflections on the fates of qigong and Falungong, plus various meditation fads that have come and gone over the past two decades. Arguably the most significant sub-narrative of this book, however, is its revelations about current Chinese Premier Xi Jinping's [End Page 274] involvement with Buddhism, and how the Party is trying to harness traditional Chinese religions as agents of social harmony. These make Johnson's tales relevant to the student of today's Chinese government, as well as society in general. Thus, this book has broader applications than just the sociology of religion, but it is mainly a first-person account of going on a quest to find the truth about what Chinese believe in today, and it is written in almost lyrical prose. The seven sections of Johnson's book are divided into thirty chapters, most of which deal with three religious groups: the Ni family in Beijing, which runs a "tea association" that provides free refreshments to Miaofengshan pilgrims; the Li family in rural Shanxi Province, who come from a long line of Daoist yinyang men and are torn about how to adjust their services to today's urbanizing Chinese; and Pastor Wang's Early Rain church in Chengdu, one of many unregistered Protestant congregations that worry the government. There are also a few chapters on Buddhist and Daoist meditation gurus who recruit disciples and students eager for spiritual relief amidst the hectic pace of Chinese society. Through Johnson's accounts of his conversations with them and observations of their practices, it is apparent that they are all trying to fill the immense spiritual vacuum created first by Mao's suppression of religion and then by the unbridled materialism of the Deng years. Johnson's first section thus begins with the theme of yuanxiao, the "First Night," or first full moon of the first lunar month (p. 4). At this time, he visits the Ni family in Beijing's Tolling Bell neighborhood, where of course the sound of temple bells is long gone; it is all new high rises (pp. 5–6). The complete lack of anything ancient in this quarter except its name does not deter Johnson, though, since he has realized that "Beijing's culture was not dead; it was being reborn in odd corners" (p. 6). This statement could be taken as the premise of the whole volume. The 81-year-old patriarch of the Ni family is Ni Zhenshan, who collaborates with the government official in charge of Miaofengshan, the capital's premier religious site (pp. 7–8), and the skill with which old Ni navigates the labyrinth of social and political obstacles to keep his Whole Heart Philanthropic Salvation Tea Association running, leads Johnson to pronounce on how things get done in the PRC; "Personal contact is how life is organized in China, whether running a pilgrimage, business, or political party. All of these have rules, regulations, or bylaws, but what really holds them together is a web of relationships that rarely fits on a flowchart" (p. 9). In every subsequent chapter, Johnson is therefore careful to delineate who is related to whom, who is whose guanxi, etc. While complex, these webs of relationships paint a detailed picture of how religion functions at the grassroots...

Rājādhirāt: From the History to an Influential literature for Mon-accented Thai traditional Repertoires

This article aimed to study Mon-accented Thai traditional repertoires through Rājādhirāt literature, which owe its origin from the Chronicles of the Mon. It is the story about the battle between the king Rājādhirāt of Pegu and King Farang Mang Kong of Ava. The translated Thai language prose version was arranged by Chao Phraya Phra Khlang (Hon), a poet master during King Rama I. Later during King Rama V, the Rājādhirāt was adapted for theatrical play – Lakorn Pan Tang – leading to development in musical front in order to assign appropriate Mon-accented musical pieces for the characters, their expressions, and story. Anthropologically, Rājādhirāt Literature was not only an entertainment, but also a revival of Mon-accented Thai traditional repertoires which have been associated with the Thai society for so long. The repertoires served as a reminder of once-flourishing Mon history through literature, play, music. Analysis of historical evidence, concerned persons such as the translator of Rājādhirāt from Burmese to Thai language, experienced Thai musician who played and assigned the repertoires; and expressive interpretation of musical repertoires from Rājādhirāt play by the Fine Arts Department are the integral process that made this article present another perspectives of Mon-accented Thai traditional repertoires while featuring relationship between literature, play and music in Thailand.

Greatness of female images in lyrical prose and Eremey Aypin's journalism

This article is devoted to research of female images in lyrical prose and Aypin's journalism. Comparing heroines of lyrical prose and journalism, the author reveals features of his art manner in different genres.

The No-Prospect Poem

This essay considers how poems and lyrical prose by J. H. Prynne, Kofi Awoonor, and Natasha Trethewey examine the conditions of possibility for a global subject in the light of finality: that which may no longer be prevented nor undone. Revising the tradition of the locodescriptive lyric and the prospect poem, Prynne, Awoonor, and Trethewey use the hill as a location for staging the ethical dilemmas of the putative “global citizen.” From poetic hills in England, Ghana, and New Orleans, the view stretches to accommodate global suffering, inequality, and the lives of others, who, however far or close, shape the contours, the possibilities and dangers, of the poem's immediate vicinity. Far from offering spectatorial mastery to the poet, however, the hill is transformed into the ground and habitation of precarious life. The hill makes visible an alternative trajectory of contemporary lyric subjectivity in which the lyric's “I” emerges from and is shaped by the collective immiseration of neoliberal globalization.

What has Happened to the Object?

It is well known that one of the most important questions of Bakhtin’s theory of discourse (теория прозаического слова) is the “image in artistic prose” (образ прозаического слова). In his widely read essay Discourse in the Novel, Bakhtin gives a detailed analysis of the word (слово), which “on all its various routes toward the object, in all its directions, [the word] encounters an alian word and cannot help encountering it in a living, tension-filled interaction”. Bakhtin named this phenonemon “the internal dialogism of the word”. According to his theory, the specificity of prose language (the “image in artistic prose”) consists of this kind of dialogism. There is a common process in each and every short story and novel: the prose language always prevents “the intention of the word, that is, its directionality toward the object”. Prose language sets the word against all the alien words and evaluations that are directed toward the same object. That is how the “dialogized image” emerges. While the subject of discourse seems to disappear behind the mass of words, the image of the object manifests itself in its greatest richness. It is easy to apply Bakhtin’s prose theory to the analysis of those words that are directed toward non-ostensive objects in a short story or a novel. In the cases of words like crime, punishment, war, peace, pride, prejudice, sense, sensibility and so on, the directed objects are non-ostensive, they have a discursive mode of being, so they are open to dispute. But prose language has another special aspect that is said to be―by other theroists―as typical as dialogism: the detailed description or depiction. Descriptive discourse in prose language always uses words that are directed to ostensive objects―to familiar objects that are hard to argue for or against. It is quite rare to hear quarrels over the meaning of words like chair, table, window, room, tree, knife and so on; and obviously it would be going too far to say that all these words “form concepts of their objects in a dialogic way”. But all these do not mean that the descriptive utterances of prose language are lacking in dialogism. My main aim is to revise and re-define the analysis of the processes of descriptive discourse in prose language with the help of Bakhtin’s theory of dialogism. How does prose language over-dialogize all those words that are directed toward ostensive objects? What happens to the ostensive object when it becomes a verbal “image in artistic prose”? A short story by Jack London―The Law of Life―will help me to develop these problems.