Literary Aspects Research Articles

Réflexions sur l’étude de la critique d’art, à propos d’un livre récent.

Après avoir enseigné à l’Université Paris-Sorbonne (Paris IV), Pierre Vaisse est élu professeur d’histoire de l’art contemporain à l’Université de Lyon 2 en 1981, à celle de Paris X-Nanterre en 1984, à celle de Genève en 1992. Pierre Vaisse a présidé l’Association des professeurs d’archéologie et d’histoire de l’art de l’Université de 1986-1989. Il a été membre du Comité artistique de la Casa de Velázquez et de la Commission supérieure des Monuments historiques (Paris). Ancien membre du comité de rédaction des revues Romantisme, L’Information historique et de La Revue de l’art , il a fondé en 1988 la revue Histoire de l’art . Il a également assuré la critique d’architecture au quotidien Le Figaro de 1981 à 1989. Ses recherches et ses publications portent en particulier sur la peinture allemande de la Renaissance, la peinture française du xix e siècle et les institutions artistiques, les rapports artistiques franco-allemands au xix e siècle, la tapisserie aux xix e et xx e siècles, l’architecture du xx e siècle (Le Corbusier, Tony Garnier), les rapports de l’art et de la politique et l’historiographie de l’art.

A Psychological Report is Literally a Mind on Paper

In psychological assessment, there is a tension between oral and written language. This tension is rarely troubled or even noted in clinical practice. For report writing purposes, psychologists routinely transform oral, socially embedded material into written texts. In this paper, I highlight three points in the psychological assessment process where this transformation occurs: one during testing, the second in the analysis and interpretation phase, and the third while writing the final report. As written language is not oral language put on paper, a conceptual linguistic leap is needed that has the potential to subtly distort how the minds of others are represented and constructed. Furthermore, there are literary aspects of scientific psychological report writing that are often invisible to both writers and readers, which leads to additional distortions. Underlying the above-noted conceptual leap is the assumption that the borderline between oral and written language is porous and the principles and rules of each are interchangeable. Some alternative approaches to psychological assessment are offered that acknowledge the specific nature of oral and written language.

Poética de la ruina: construcción del espacio en la obra de Roberto Burgos Cantor

Este texto gira en torno a la construcción del espacio en la obra de Roberto Burgos Cantor. Esta propuesta se afirma sobre la base del análisis de dicha construcción como gesto de autor. Para ello, se consideran aspectos de la obra que pueden marcarse como constantes de un libro a otro y que determinan una estética: la oralidad y el espacio. Al analizar los personajes puede verse una configuración ética cercana al estoicismo, pero que bebe de las fuentes del hombre absurdo de Camus. Al analizar los espacios bajo el lente de los personajes se identifica la devastación, el ripio, el despojo, la carencia, la marginalidad como constantes que configuran una forma del fragmento. Ambos, ética y forma constituyen una poética: la escritura de la ruina.

Jagged Little Pill

Jagged Little Pill Phoebe Wagner (bio) and Brontë Wieland (bio) Oval Elvia Wilk Soft Skull Press www.softskull.com/dd-product/oval/ 352 Pages; Print, $16.95 Set in a near-future Berlin, Elvia Wilke’s Oval follows partners Anja and Louis as they navigate life under greenwashed turbocapitalism. The pair live on the Berg: an artificial mountain in Berlin, built by Finster Corp. as ground zero for their experiments in smart houses and sustainable urban living, experiments that seem to go sideways from the very start. When Louis returns from the United States after his mother’s funeral, Anja expects him to be grieving in a way she can understand, but instead he seeks normality, feigns unaffectedness, and dives back into his work as an artistic consultant for Basquiatt, a large nonprofit. Anja, once employed by the omnipresent and looming Finster Corp. as a researcher studying cartilage for biological homes, is sacked from her research division and rehired (along with her lab partner Michel) as a consultant — an indefinite, formless job that she suspects was created to pay for her silence on the suspiciously abrupt death of her research project. Communication continues to deteriorate between Anja and Louis, and their home on the Berg becomes increasingly unlivable until eventually the two separate; Anja stays with her friends (soon to be evicted by Finster), while Louis sleeps at his office, nose to the grindstone on a secret project. This secret project is the titular Oval, a newly developed drug that temporarily rewires one’s brain so that the act of giving induces intense pleasure. Louis wants to release Oval to the public [End Page 12] (the lower middle class particularly) in order to create a culture of giving, which he suspects will, among other things, fix the rampant houselessness in Berlin and ultimately save humanity from itself. Instead, to no reader’s surprise, the drug induces those who take it to give wantonly, without regard for need. Eventually, the drug’s popularity leads to a days-long rager in the heart of the city, and the party starts a blaze that burns Berlin to its foundations, which Anja only barely notices because she has isolated herself on the Berg and discovered that all of the mountain’s livability issues were part of Finster’s planned obsolescence scheme all along. The world these characters inhabit is one in which climate destabilization has made the weather so unpredictable that some have begun to suspect that the government’s wholly inaccurate meteorological reports are an elaborate lie meant to supersede reality. It’s a world in which the only work for artists is corporate-contracted consultant work, and those who fail to meet the terms of their agency’s contracts have their disembodied, shrunken heads put on display at lavish parties. It’s a world in which companies and non-profits trip over themselves to see who can make the most money off of “sustainability,” without fundamentally altering the consumption-dependent capitalist business model. The setting is clearly dystopic, but it is also not inconceivable. In fact, it’s familiar. Houselessness has spiked; the seasons are increasingly unrecognizable; the middle class averts their eyes from what’s below them and parties away the weekends on designer drugs; well-meaning individuals believe they can save the world from within powerful global systems invested in the status quo and find themselves disarmed, disinterested, or burnt out; and multinational businesses are still pumping out endless, resource-heavy consumer goods meant to be thrown away while claiming to be environmentally friendly. In Wilk’s near future Berlin, perhaps the scale of exploitation and control has grown, but the systems are very much the same, omnipresent in our contemporary lives. But despite this often-accurate portrayal of the path global capitalism is forcing us down, Oval ultimately offers little to the wider field of dystopian literature, neither illuminating a lurking threat to the prosperity of human and non-human life and liberty, nor portraying any methods of active resistance to oppressive power structures. Especially in environmental dystopias, these considerations are crucial. Throughout the novel, Wilk attempts to balance the story’s literary aspects — namely the evolving dynamics...

Anti-Empire: Decolonial Interventions in Lusophone Literatures by F. Daniel Silva

Reviewed by: Anti-Empire: Decolonial Interventions in Lusophone Literatures by F. Daniel Silva Débora Zamorano Silva, F. Daniel. Anti-Empire: Decolonial Interventions in Lusophone Literatures. Liverpool UP, 2018. Pp. 319 ISBN 978-1-78694-100-8. Anti-Empire: Decolonial Interventions in Lusophone Literatures is a ground-breaking attempt to explain Portuguese imperialism through a more extensive interpretation of imperial power. The study explores different literary works from different Lusophone places and periods during the last century, such as Cabo Verde, Brazil, Portugal, and others. The works enable the reader to understand the political contexts in which the texts were written, as well as their opposing views about the Empire and forms of decolonization that such works provide. According to Silva, decolonization generates the reconstruction of eroding indigenous life. The book encourages the reader to reflect upon anti-imperial awareness and meaning. As Silva points out, "the works explored thus far in this volume have, in different ways and through different approaches, grappled with Empire's signification of time, space, and bodies, confronting imperial taxonomies of human life, while offering interrogations of the performance of subjectivity in relation to power" (237). One of the book's strength is the examples of decolonization it provides in the first six chapters, which contain reflections about topics such as race, ethnicity, gender, sexuality, and others. A good illustration of this is the author's elucidation on Mario and Oswald de Andrade's version of Antropofagia and its post-discourse, which touches upon the Brazilian myth of racial democracy, existent in Brazil until this day and age. The arguments are well-rounded and make it simple for the readers to perceive the struggles between the colonial power and the decolonial projects that attempted to object to the dominant forms of power and challenge them. Another interesting example Silva shows of decolonization is through Olinda Beja's work. In her first collection of poetry, Beja describes her trajectory as an African girl who migrates to Europe. In her poem "Visão," Beja demonstrates how the European elites transformed her into an European girl so that she could be accepted in this new society. A riveting example of her transformation relates to her physical and cultural changes. Beja's poetry certainly offers reflection on Empire's dominance and decolonization. Another highlight is certainly the "Transgendering of Jesus" through the work of Mario Lucio Souza, where the figure of Jesus embodied as white masculinity walks the earth in the body of an elderly African woman. Through this literary work, the author provides the reader with different forms of knowledge in relation to issues such as power and masculinity. Anti-Empire is an informative book that provides an understanding of important factors that led to anti-imperial thoughts in Lusophone countries via scholarly texts from different literary movements. The book is rich and enlightening both in terms of its literary aspects and the alternatives they propose for decolonization, and thus the idea of a more inclusive society. The study explores texts from different twentieth-century colonial contexts and provide precise and pertinent reflections on decolonial alternatives to imperial culture, history, politics and knowledge. However, there is more information that the author could have included to enrich the book even more. For example, Silva could have provided more details about the process [End Page 628] of independence in Angola, which was not as smooth as it was in other Lusophone nations. Therefore, it would be interesting to see a sequel of this book with more decolonial reflections through different texts and facts. This study is extremely relevant and of interest for anyone who researches about Lusophone countries literature and their political and historical contexts, as well as decolonial forms of knowledge. The book is enlightening, easy to understand and presented in a logical manner. In addition, it certainly provides an important contribution to the field of Lusophone studies and their post-colonial historical, cultural and economic issues. Débora Zamorano University of Texas at El Paso Copyright © 2020 Middlebury College Publications

О соотношении понятий «жанр автобиографии», «автобиографический дискурс», «автобиографизм»: литературоведческий аспект

О соотношении понятий «жанр автобиографии», «автобиографический дискурс», «автобиографизм»: литературоведческий аспект

Review

Review

In Denial: A Fresh Approach to Naḥmanides and Aggadah at Barcelona

The Jewish Quarterly Review (Fall 2020) Copyright © 2020 Herbert D. Katz Center for Advanced Judaic Studies. All rights reserved. T H E J E W I S H Q U A R T E R LY R E V I E W, Vol. 110, No. 4 (Fall 2020) 679–701 In Denial: A Fresh Approach to Naḥmanides and Aggadah at Barcelona YAAKOV TAUBES IN J ULY 1263, in front of King James I of Aragon and his court, the Dominican friar and Jewish apostate Paul Christian publicly debated R. Moses ben Naḥman, known as Naḥmanides, about ­ whether or not Jewish texts supported core Christian beliefs such as the messiah­ having already arrived in the person of Jesus. In an impor­ tant volume of essays dedicated to Naḥmanides published in 1983, Isadore Twersky noted how the disputation had commanded more scholarly attention than any other aspect of Naḥmanides’ thought and legacy.1 Since that time, scholars have examined a number of other aspects of Naḥmanides’ work, but the disputation still receives the lion’s share of research.2 Most studies focus on the two written accounts of the disputation: the Christian Latin one3 and Naḥmanides’ own Hebrew one, known as the I wish to thank David Berger, Shaul Seidler-­ Feller, and the anonymous readers at JQR for their helpful comments on an ­ earlier draft of this essay. 1. “Introduction,” in Rabbi Moses Naḥmanides (Ramban): Explorations in His Religious and Literary Virtuosity, ed. I. Twersky (Cambridge, Mass., 1983), 8, n. 20. 2. It is worth noting that many of Twersky’s suggested subjects for further study (Explorations, 6) unfortunately remain as unexamined ­ today as they ­ were in 1983. See Ephraim Kanarfogel, “On the Assessment of R. Moses ben Naḥman (Naḥmanides) and His Literary Oeuvre,” Jewish Book Annual 51 (1993–94): 158–72, for a more extensive, although now dated, account of what areas have received attention. 3. The Latin text can be found in Yitzhak Baer, “Le-­ bikoret ha-­ vikuḥim shel R. Yehiel mi-­ Paris ve-­ R. Moshe ben Naḥman,” Tarbiz 2 (1930–31): 185–87, based on the text first prepared by James Villanueva. See Robert Chazan, Barcelona and Beyond: The Disputation of 1263 and Its Aftermath (Berkeley, Calif., 1992), 212, n. 1, for the manuscript details. 680 JQR 110.4 (2020) Vikuaḥ (Disputation).4 The Hebrew account has been reprinted several times with translations into vari­ ous languages. Of the dif­ fer­ ent historical and literary aspects of the debate, Naḥmanides’ attitude ­ toward aggadah has attracted perhaps the most attention . At a number of junctures throughout the debate, Naḥmanides allegedly rejected the authority of passages from the aggadah, even ­ going so far as to claim that he did not believe in them.5 In a lengthy statement, he seems to relegate aggadah to a relatively low level of importance and authority, even comparing it to “nothing more than ­ matters that one person tells another.”6 What Naḥmanides ­ really meant by this continues to be a central focus for scholars. Much has been written to clarify his stance on aggadah, especially in the context of the disputation.7 While some do not accept the proposition that Naḥmanides would ever blatantly deny aggadah ’s authority and therefore excuse his comments on grounds of the coercive context in which they ­ were made, ­ others find his comments consistent with his general thought.8 In the first part of this essay, I ­ will discuss Naḥmanides’ view on this topic, pinpoint what I believe to be basic methodological prob­ lems in current scholarly approaches, and offer an alternative framework. Although much has been written on the disputation in general and particularly the passages addressing aggadah, a careful study of Naḥmanides’ use of aggadah remains the scholarly desideratum that it was when David Berger labeled it as such in 1995.9 I hope this essay ­ will lay the groundwork for 4. See Robert Chazan, Barcelona and Beyond, 204, n. 4, for a bibliography of the substantial scholarship on the disputation. To this list should be added Chazan’s book itself, which remains the most detailed study of the events...

ЖАНРОВІ АСПЕКТИ ШЛЯХЕТСЬКОЇ ҐАВЕНДИ ЮЗЕФА-АНТОНІЯ РОЛЛЄ

The article deals with aspects of the literary genre “gavenda” and its varieties: “noble, historical, romantic, commoner, beggar, soldier gavenda.” Its uniqueness, diversity, artistic value and relevance are revealed. The research studied the literary aspects of the genre in short stories written by Joseph-Anthony-Apolinariy Rolle, who is also known under the pseudonym Dr. J. Rolle. His figure stands out among the outstanding “govendar writers” of the XIX century, who described the events of the region. He was a Doctor, historian, publicist and an interpreter of events in Volyn, Kyiv region, and Podilia. He lived most of his life in Kamianets-Podilsky, where he wrote “Zameczki Podolskie na kresach”, “multańskich”, “Opowiadania historyczne”, “Gawędy z przeszłości”, “Opowiadania”, “Szkice i opowiadki”, “History etc. The article highlights the problems of historical prose development on the Ukrainian-Polish background of the XIX century, the research reveals social and political conditions that influenced the formation of literature. In this article, we explored the trends observed within one genre, as well as the diversity of its forms and features. A. Rolle interpreted historical events in his pages, he also depicted images of his characters that are complemented by social and artistic generalisations. Many of the characters are extraordinary women of the 18-19th cen., their destiny and life’s events, which are a reflection of the historical epoch, traditions and mentality. Dr. A. Rolle reproduces both the external aspects of realities and the preconditions of one’s own position and motivation of actions. The narrator’s subjective point of view, the free form of the story-telling, which usually takes place in a friendly circle of listeners, are the main features of the genre. The peculiarity of gavenda is also that the person who retells was a participant or witness of events. The variety of images depicted by A. Rolle testifies to the breadth of his worldview, interest in the history of the region, his concern about social and political processes, folklore and literature. His consciously chosen active civic position prompted him to do some research. He has made a significant contribution into historiography, literature and other spheres of social activity. A. Rolle was the first to portray such figures of the Ukrainian liberation movement as Ivan Pidkova, Semen Nalyvaiko, etc. His great merit was that he had interpreted U. Karmeliuk in «Opryszek» and inspired M. Smotrytsky to write a novel «Karmaliuk robber». In his works he skilfully combines historical facts and folklore elements, which were appreciated by his contemporaries, including I. Franko and V. Antonovych. The interest in the past of the state was not accidental, because this is the period (XIX century) of the emergence of a new political and cultural thinking in Europe, which was formed in Podilia due to A. Rolle’s work. The research studied the author’s style in writing gavendas, his genre features in his works as a representative of the “Ukrainian school” of the Polish romanticism.

Artifice, Fantasy, and Exaggeration: The Boundless Limitations of Puppets

Artifice, Fantasy, and Exaggeration:The Boundless Limitations of Puppets Sean Macdonald (bio) Without a doubt, Jin Xi (1919–1997) is one of the masters of puppet animation in China. Jin Xi's "On the Distinguishing Characteristics of Puppet Films" is among the first explicit theoretical discussions of animation in Chinese. Jin Xi's theory shines a light on puppet animation production in China in the 1950s through a detailed discussion of themes and techniques in an international context, especially contemporary Czech and Russian (Soviet) puppet animation. In her 2011 study of the Quay Brothers, Suzanne Buchan bemoaned the scarcity of theory that focuses on puppet animation. Jin Xi's article adds an important theoretical statement to a growing body of work on international puppet animation.1 Puppet animation in China has been all but forgotten as part of animation's predigital past. Although cel-animated films such as Danao Tiangong (Uproar in Heaven; Wan Laiming, 1961, 1964) are deservedly celebrated as artistic and technical triumphs, Jin Xi's work is rarely discussed in or outside of China.2 A possible reason for the relative obscurity of Jin Xi in particular, and puppet animation in general, is an implicit selection process by which the Shanghai Animation Film Studio promoted cel animation over other forms. While films such as Danao Tiangong and Nezha naohai (Nezha Conquers the Dragon King, 1979) have received anniversary DVD packages, most puppet animation has been released only on VCD, including Jin Xi's masterpiece, the feature Kongque gongzhu (Princess Peacock, 1963). [End Page 114] By the time Jin Xi published "On the Distinguishing Characteristics of Puppet Films," he had already written and directed four films, including the first film in China to combine live-action actors and stop-motion puppets, Xiao Mei de meng (Xiao Mei's Dream, 1954), and Shen bi (The Magic Brush, 1956). Lauded at home as representative of minzu fenge (national style), The Magic Brush had just shared first prize for best children's film (category B, children aged 8–12) in the International Children's Film section of the 1956 Venice International Film Festival.3 This was also the first time an animated film from China won an international award.4 The year Jin Xi's article was published, 1957, was also the founding year of the Shanghai Animation Film Studio (SAFS). "On the Distinguishing Characteristics of Puppet Films" is the first article on animation by Jin Xi, whose writings constitute some of the earliest theory about this medium in Chinese. Jin Xi was born in the northern city of Tianjin in 1919. He studied in the Department of Western Painting at the Tianjin Municipal Museum of Fine Arts, which explains his references to Western oil-painting techniques in "On the Distinguishing Characteristics of Puppet Animation." Jin Xi joined the Eighth Route Army in 1937 and the Communist Party in 1938. During the Sino-Japanese War, he served various functions as propagandist and fine-arts journalist. In 1949, he joined other animators from the Northeast Film Studio (the first Communist-controlled film studio in China) to form the animation unit of the Shanghai Film Studio, which became the SAFS.5 When the first All China Congress of Literature and Art Workers was held on July 2, 1949, Jin Xi's speech on the artist Cao Zhenfeng was published in an account of the conference in the official government newspaper, the People's Daily.6 Like Jin Xi, many of the early animators at SAFS had a background in fine arts, which probably influenced their choice of neologism for animation, meishu pian (美术片), literally, "a fine-arts film."7 [End Page 115] Jin Xi's writing is distinguished from other film and animation writing during this period by its comprehensiveness. He not only discusses the literary aspects of puppet filmmaking—the way plots are derived and thematic aspects of the films—but also demonstrates interest in the technical aspects, from the camerawork down to the construction and movement of the puppets. China's revolutionary period (1949–1976) is often remembered as a time of little red books and propaganda, but from 1949 until the early 1960s and the debacle of the Cultural Revolution, the...

Cemaleddin Afgani'nin Edebi Kişiliği ve Şiirleri

XIX. yuzyil Islam dunyasinin onemli fikir ve siyaset adamlarindan Afgani’nin edebi ve sanatsal yonunu yansitan, duygu ve dusuncelerinin anlasilmasinda onemli yer tutan bazi siirleri mevcuttur. Arap ve Fars edebiyatinin yani sira farkli dillerin edebiyatlarina da asina olan Afgani, cesitli munasebetlerle yazmis-dillendirmis veya not almis oldugu siirler vasitasiyla mesajlar vermis veya kendisi ile halvet etmistir. Onun siirleri arasinda en uzun ve en hacimli olani toplam doksan beyitlik Sakinâme’dir. Bunun disinda rubai, gazel, mesnevi ve kaside kaliplarinda yazmis oldugu Arapca ve Farsca siir ve tek beyitleri de mevcuttur. Afgani soz konusu bu manzumelerle siir, edebiyat ve estetik zevkini yansittigi gibi; calkantili hayat(in)a bakisini, yasadigi siyasi zorluk ve mihnetleri de bir tur rumuz diliyle aksetmistir. Osmanli devlet adamlarina gondermelerin de yer aldigi soz konusu siirlerin cevirisini sunup; ulkemizde edebi yonuyle pek taninmayan Afgani’nin siir, sanat ve edebiyat anlayisina isik tutmaya calisacagiz. Abstract There are some poems that have an important place in understanding of his emotions and thoughts, reflecting the literary and artistic aspect of the Afghani, one of the important ideas and politicians of the 20th century Islamic world. Being familiar with Arabic and Persian literature, as well as literatures of different languages, the Afghani has despacthed messages or has been alone with his own inner world through the poems he had written or noted in a variety of ways. The longest and most voluminous of her poems is Sakinâme with a total of ninety couplets. In addition to this, there are also poetry and single poems written in Arabic, Persian and Persian in the form of rubai, gazel, mesnevi and kaside. As these poems reflect the poetic, literary and aesthetic taste of Afghan; the political difficulties in his view of the turbulent (his) life and his political difficulties are reflected in his pseudonym language. Based on these poems, which include references to Ottoman statesmen, he presented the translation of poems; we will try to shed light on the poetry, art and literature understanding of Afghani, who is not recognized in our country with his literary aspects.

La Crónica abreviada de don Juan Manuel en la historiografía post-alfonsí

El estudio de la Crónica abreviada estuvo tradicionalmente vinculado a la crítica de su fuente, la Estoria de España de Alfonso X. En el análisis e interpretación de la obra, los trabajos se han centrado especialmente en aspectos textuales o literarios. Respecto a la figura de don Juan Manuel como autor, se pueden identificar dos líneas de estudio principales. Una que lo ha relacionado con la cronística nobiliaria post-alfonsí, detractora de la ideología regia castellana, y otra que se ha centrado en el aprovechamiento de la imagen autoral del “Rey Sabio”. En este texto examinamos el anclaje textual e ideológico de la Crónica abreviada dentro de la cronística post-alfonsí. Para ello presentamos un enfoque de carácter historiográfico que nos permita comprender la realidad de don Juan Manuel como cronista post-alfonsí a inicios del siglo XIV.
 

Literatura Brasileira no Modernismo tardio, sob o prisma do "Grande sertão: veredas"

Empregou-se o Modernismo brasileiro para realizar, por meio do Grande sertão: veredas (1956), essa travessia pela identidade da área compreendida entre Goiás e Minas Gerais. O objetivo é demonstrar que a retomada, por Guimarães Rosa (1908-1967), dos esteios estéticos que demarcaram essa fase em seu momento inicial nos anos 1920 sem abandonar as obras e vertentes literárias que a seguiram e fatos históricos marcantes, gerou um Modernismo atípico que, por não romper, completamente, com a tradição, recebe a designação de Modernismo tardio. Na obra do ficcionista em questão a ruptura aparece de modo mais contundente que em quaisquer outras obras do terceiro momento do Modernismo, o que levou à inauguração do Pós-Modernismo. O não finalizar encontra, no Grande sertão: veredas, um ponto de contato com a historiografia, até porque o símbolo do infinito, no final da obra indica ser a travessia de Riobaldo e Diarorim uma viagem que transcende a narração. Para se chegar aos resultados procedeu-se à leitura da obra, comparando-a com outras obras do mesmo período e da primeira fase do Modernismo; além disso, praticou-se a compatibilização entre a obra e o contexto cultural em que a mesma se insere. Dessa forma, empregou-se, como metodologia a leitura comparativa e as teses da Hermenêutica. O resultado a que a pesquisa subjacente a este texto chegou é de que a culpa de Riobaldo é a mesma de todos os homens que se deixam levar pelas circunstâncias, restringindo o olhar na superfície da realidade enquanto nas profundezas pululam as ocorrências que determinam e orientam os destinos do mundo. Outro resultado inscrito no objetivo expresso acima indica que a obra em questão contribuiu para que se iniciasse nova fase na literatura brasileira.

La estrella de Belén en el Evangelio de Mateo, en el Protoevangelio de Santiago y en otros tres textos apócrifos: un análisis literario y comparativo

Este artículo explora el rol literario de la estrella de Belén del Evangelio de Mateo en cuatro textos apócrifos. Algunos aspectos literarios de los textos apócrifos son examinados. Este examen inicialmente determina las relaciones editoriales que existen entre estos y el texto canónico de Mateo. El estudio comienza con el Protoevangelio de Santiago, el cual edita y emplea con creatividad el Mateo canónico en lo tocante al relato de los magos y la estrella. Seguidamente, el artículo examina la actividad editorial que tres apócrifos realizan del Protoevangelio, en relación al astro. Estos son el Evangelio Árabe de la Infancia, el Evangelio Armenio de la Infancia, y el Evangelio de Seudo-Mateo. Un examen comparativo de los cuatro, permite concluir que, si bien existen elementos editoriales, el motivo de la estrella comprende un cuadro semejante presentado por el Mateo canónico, delineando su actuar en términos de movimiento.

COMPARATIVE ANALYSIS METHODS IN MODERN POLISH AND UKRAINIAN DRAMAS

The article states that comparison of a certain range of Ukrainian and Polish dramas, for example, about the power of land in the second half of the 19th — beginning of the 20th centuries, requires a systematic presentation of methods of comparative analysis. The subject is studied differently in Slavic and Western European literary studies, and involves the problem of defining genre, genre canon, text poetics. This creates the need to present the principles of receptive aesthetics, post-structuralism, genealogy, interdisciplinary studies, and semiotics. Modern principles of comparativism mentioned above are described in the framework of contact-genealogical and typological methods, which emphasizes the commonality of drama topics not only from the perspective of artistic connections in the borderlands, but also due to typological coincidences in the world literary process. Thus, thanks to modern horizons of comparative studies, for example, the subject of earth is analyzed not only within the poetics of the text, but is interpreted as a multilevel figurative-mental (cognitive) structure with layers of literary, national, meta-artistic meanings.Having looked at a number of theoretical-methodological and historical-literary works of comparative or descriptive character, some theoretical and methodological foundations, which are used in comparative study of the mutual influence of the thematic complex and genre nature in modern Polish and Ukrainian drama, are characterized and generalized. The conclusion emphasizes the importance of using techniques and principles of formal analysis method, structural-semiotic, hermeneutic, phenomenological, genological, cultural-anthropological, intertextual, interdisciplinary methods, method of receptive aesthetics when comparing thematic aspects of literary aspects. These approaches are predominantly involved in the historical and typological direction, but some aspects, such as thematology, influence, archetype theory have been considered from the perspective of contact-genetic artistic relations.

So tall within: sojourner truth’s long walk to freedom

Purpose The purpose of this paper is to support teachers in utilizing the 2019 National Council for the Social Studies (NCSS) Notable Tradebook, “Sojourner Truth’s Long Walk to Freedom” (Schmidt, 2018). The authors found this book to be useful, beautiful and well-written but with several complex and dense literary aspects. Thus, this lesson offers supports for students in decoding similes and metaphors within “juicy sentences” (Fenner and Snyder, 2017, p. 131). These tools are especially important for English language learners’ (ELLs) unlocking the meaning of a book. Through this lesson, learners are supported in understanding Schmidt’s “So Tall Within” retelling the life of an extraordinary citizen, Sojourner Truth, who worked for the enforcement of emancipation promised in the 13th amendment. Design/methodology/approach In this lesson, students learn to recognize similes and metaphors in texts as a tool to decode a text’s meaning. In the beginning of the lesson, students listen to a rap about Sojourner Truth’s life to initially recognize in-text similes and metaphors. Then, students apply this new skill to unlock the meaning of metaphors and similes in the “So Tall Within” book to better understand the author’s message about Sojourner’s life. Last, students each make an illustrated and written postcard to Sojourner Truth called “Walking Tall Postcards” with their given metaphor or simile and add reflections on how they do or can “walk tall.” Finally, students chronologically re-construct the postcard statements and create a class book called, “Postcards of Walking Tall.” Findings Students, especially ELLs, must be given supports to unlock the meaning of dense texts (Fenner and Snyder, 2017). To promote equity in the classroom, the lesson was created to make this text more understandable for all learners. Originality/value Like many NCSS Tradebooks that are beautiful in illustrations and lyrical prose, this book requires supports for young learners to decode and understand. This lesson plan scaffolds students’ understanding, especially ELLs’ understanding, of simile and metaphor as a tool to unlock a text’s meaning toward increased historical understanding of Sojourner’s life. Understanding the legacy of Sojourner Truth is evermore important to teach today – she was a woman empowered with knowledge of the law to recognize human rights violations and act on behalf of others.

Disputed Temple: A Rhetorical Analysis of the Book of Haggai by John Robert Barker

Reviewed by: Disputed Temple: A Rhetorical Analysis of the Book of Haggai by John Robert Barker Matthew Seufert john robert barker, Disputed Temple: A Rhetorical Analysis of the Book of Haggai (Emerging Scholars; Minneapolis: Fortress, 2017). Pp. xvii + 295. $79. To give a sense of the extent and value of John Barker’s work: pp. 261–88 are bibliography. Twenty-eight pages at roughly fifteen items per page gives 420 books, journal articles, essays, and reference works that went into the production of this one book of six chapters (one introductory chapter; one text-critical, redaction-critical; one historical; two rhetorical-critical: one on Haggai 1 and one on Haggai 2; one summary) written on one slight prophetic book of two brief chapters of thirty-eight verses, B.’s translation of which is exhausted in less than three pages. Barker’s first chapter calls attention to the hole his study fills: “Despite the recognizably rhetorical character of the book of Haggai, it has been subjected to only limited rhetorical analysis” (p. 7), “[t]hus a full-length exploration of the book of Haggai specifically as a persuasive text is still needed” (p. 10). His exploration goes beyond previous rhetorical studies of Haggai by analyzing the whole of, rather than only a part of, the text itself (the literary aspect of rhetorical criticism). A special focus of his work is “the milieu in which the text was formed and to which it contributes” (the sociohistorical aspect), which some earlier studies have neglected; this latter extratextual consideration plays an “organic part” in the analysis” and, for B., distinguishes rhetorical criticism from literary criticism (p. 14). B.’s belief in the importance of the situation of the rhetorical document finds expression in his substantial third chapter (about seventy pages), which details pertinent historical information gleaned from both biblical (e.g., Ezra, Zechariah, and Isaiah 66) and extrabiblical sources (e.g., the Cyrus Cylinder) in order to provide insight into the specific obstacles faced by Haggai’s contemporaries to the rebuilding of the temple. “A main argument of this study is that all of the prophet’s speeches, not just the first one, were intended to urge the Yehudites to work on the temple” (p. 12). Even more, the framework [End Page 106] within which the speeches were placed, and so the book itself, contributed to the “specific policy dispute” in favor of rebuilding the temple, countering prevailing objections. Barker establishes the text of Haggai in his thorough second chapter on text- and redaction-critical issues. While acknowledging several text-critical challenges, “[with] few exceptions the MT reading was accepted” (p. 253). By and large, then, it is the MT text that addresses the ill of Haggai’s community, the cause of the ill, the remedy for the ill, and the consequences; these make up the “stock issues” of a policy dispute, “a subgenre of deliberative speech” (p. 17). “These stock issues provide a helpful framework for understanding the persuasive aim, strategies, and dynamic of the HN [i.e., Book of Haggai], as reflected in the reported oracles of the prophet and the narrative additions of the composer” (p. 143). The ill of the community “depicted in v. 6 [of chap. 1] . . . serve[s] rhetorically as both evidence of a need for a new policy and motivation to adopt that policy immediately” (p. 164; italics original); this ill “is the inability to meet basic needs despite all efforts” (p. 165): the people have sown much but brought in little, eaten without fullness, drunk without inebriation, dressed without warmth, and earned wages for a bag of holes. The cause of these ills is the unbuilt temple; the remedy, naturally, is to “build the house” (Hag 1:8). The remainder of Haggai, says B., addresses “the potential disadvantages to adopting the proposed policy,” which are the consequences (p. 142), the final component of the official policy dispute. “By urging his fellow Yehudites to rebuild the temple, Haggai was engaging, in effect, in a political campaign or policy debate to influence the outcome of a public decision” (p. 6). Barker views and analyzes Haggai not primarily as “a theological document with some ‘rhetorical’ features” but as “a...

ААЛЫ ТОКОМБАЕВДИН ЛИРИКАЛЫК ЫРЛАРЫНЫН КӨП ВАРИАНТТУУЛУГУ

The article describes the creative laboratory of the writer, which is one of the main problems of modern literary criticism, its theoretical and methodological aspects. First, a brief excursus on the scientific sources in which the problem of creative laboratory of the writer is investigated. And then this the problem, which is important from a scientific point of view, is revealed with the help of comparative analyses of several poems, which are the classic of Kyrgyz literature, the great poet Aaly Tokombaev's works. These analyses indicate specific features of creative writer's laboratory, a new level of the first option poems', which, by the year, reworked by the author again. Passed through the creative laboratory of the poet.

Uma epígrafe inventada por frei Bernardo de Brito

Num dos capítulos da sua monumental obra Monarchia Lusytana, em que dá conta da campanha do procônsul romano Décimo Júnio Bruto para submeter os povos do Ocidente peninsular, frei Bernardo de Brito mostra que uma batalha travada perto do rio Távora (onde há, de facto, muitos vestígios romanos) não teve vitória fácil. E para o demonstrar, salientando a bravura dos “Portugueses”, inventou os epitáfios de dois importantes membros das tropas romanas: um signifer e um eques. É o epitáfio deste último que se analisa do ponto de vista epigráfico e literário.

REFLEXÕES LITERÁRIAS E FILOSÓFICAS NA BASE DE “OS GÊNEROS DO DISCURSO”: CONSIDERAÇÕES PARA O ENSINO DE ESCRITA

RESUMO Objetiva-se, neste artigo, refletir acerca de aspectos literários e filosóficos que embasam o ensaio “Os gêneros do discurso” de Bakhtin. Essa reflexão se mostra oportuna, pois, passados 20 anos do lançamento dos “Parâmetros Curriculares Nacionais: terceiro e quarto ciclos: língua portuguesa” (BRASIL, 1998), o texto bakhtiniano que lhe serviu de base continua a fomentar documentos oficiais e políticas públicas acerca do ensino de escrita no Brasil. Desse modo, divisar facetas pouco exploradas da reflexão bakhtiniana pode levar a se repensar os gêneros do discurso e, por consequência, seu ensino.