Literary Conventions Research Articles

Жанровые особенности антиутопического научно-фантастического романа Пьера Буля «Планета обезьян»: коммуникативный аспект

The enduring popularity of 20th century science fiction authors among readers of all age categories has been noted in numerous works of literary scholars. An extremely important aspect is the fact that the author and the reader must have a common language in order for communication to be effective. The relevance of the study is due to the growing interest in the problem of interpreting the genre of science fiction works. The aim of this study is to try to trace the synthesis of genre forms from the point of view of communicativism and the theories of C. Darwin and T. de Chardin in the novel "Planet of the Apes" by the famous French fiction writer Pierre Boulle. Darwin and T. de Chardin in the novel "Planet of the Apes" by the famous French fiction writer Pierre BoulleIn the course of the study, the methods of contextual literary analysis, cognitive-discourse analysis, as well as stylistic and genre analysis were applied. As a result of the study, the conclusions were obtained that the novel "Planet of the Apes" by P. Boulle combines elements of the genre of science fiction novel, philosophical parable, utopia and dystopia. The novel is a satirical work, touching upon the themes of scientific progress, communication, evolution and human society, which are topical at present. The author, when creating a work, follows literary conventions or deliberately goes against them, creating something innovative. The genre of science fiction has been and remains a synthetic genre, incorporating elements of various genres, which intricately intertwined, enter into communication with the reader, helping him to create fictional worlds. Scientific novelty of the research consists in the fact that for the first time in Russia the study of genre originality of P. Boulle's work in the aspect of communication with the reader is undertaken. The article may be useful for literary scholars, postgraduates, students and all those interested in the problems of genre synthesis in modern science fiction.

The Country and the City in the Kāñcippurāṇam

Numerous pre-modern literary works in Tamil begin with a lengthy description of a country and a city. This convention is a stock element of texts belonging to the kāppiyam and purāṇam genres, which can be defined as long narrative poems and mythological narrations, respectively. Such descriptions are particularly numerous in talapurāṇams, i.e., texts dealing with the mythology of sacred sites. This article discusses the description of the country and the city in the Kāñcippurāṇam (KP), a talapurāṇam of the city of Kanchipuram composed in the late 18th century by the author Civañāṉa Muṉivar. It will be shown that the description of Kanchipuram and its surroundings in the introductory chapters of the KP, rather than aiming at a realistic portrayal, is strongly based on Tamil literary conventions that can be traced back to ancient Tamil literature, but also to influential texts of the medieval period, such as the Kamparāmāyaṇam or the Periyapurāṇam. Moreover, the article examines how Civañāṉa Muṉivar correlates the literary landscape that he describes with the real-world geography of the region around Kanchipuram and Śaiva devotional topography, thus creating a complex multi-layered landscape.

Response to the article “Olaus Sirman runojen vertailevaa luentaa” [The comparative interpretation of Olaus Sirma’s poems] (SUSA 97, 2019)

The article communicates a possible interpretation of Olaus Sirma's pastoral poem / love song Morse faurog as a part of the European baroque literature. The folklore features of the poem--the so called rhyme anticipation and the irregularity of the metre and the rhythm--may be attributed to the literature of the baroque period as well, and the poem doesn't diverge from the baroque literary conventions. The generic inconsistency, expressed by a hesitation of the lyrical subject, was perhaps intended as a signal for the reader to understand the pastoral as an anagoge.

Contemporary Ibaloi Ba’diw: Defining Conventions through Formalistic and Sociolinguistic Standpoints

Abstract The study generally determined the literary conventions in contemporary Ibaloi ba’diw as a genre. It aimed to draw the figurative language and theme reflected in the ba’diw text; and, classify valuable insights contained by the select ba’diw pieces by occasion. It employed a qualitative approach to research specifically the text analysis method highlighting formalistic and sociolinguistic approaches in literary criticism. The pieces were found to be replete with the following figurative language: character, symbolism, connotation, repetition, personification, apostrophe, and family-name wording. Themes considered the occasion where these are chanted. Alongside these are valuable insights on “adivay” or social gathering, high regard for elders and the spirit of the dead, sacredness of marriage and family life, and the group’s daily activities. It is recommended that audio-visual documentation on the ba’diw may be designed purposely for information, persuasion, and entertainment; studies to determine the foreign influence on Ibaloi ba’diw in pursuit of discovering the Ibaloi poetics may be conducted; a center on Ibaloi language may be established; and, further research like ways of documenting oral literature, in general, may be further explored.

The Genre of Mark’s Gospel Is ‘Gospel’: Reconsidering Literary Innovation in the Markan Incipit

Classifying Gospels as ancient Graeco-Roman biographies addresses an array of scholarly questions about how these texts relate to their wider literary culture. That classification also requires considerable qualification since Gospels—particularly the Gospel of Mark—at times diverge from certain generic conventions. This study rearticulates the out-of-fashion claim that ‘Mark’ created a new literary genre, even if penned in a biographical structure. When this pioneer evangelist breaks the compositional silence, he reveals immediately that he is writing ‘gospel’. As a recognizable communication type, ‘gospel’ was an oral proclamation of deliverance and rescue that this writer innovatively narrativizes and textualizes. If this work is a biography, it is so only secondarily, because primarily, Mark is a ‘gospel’ announcing an interruptive divine deliverance that is narratable and so scripturally evocative that it is worthy of textual rendering. In opening the scroll to Mark, εὐθύς there is εὐαγγέλιον (immediately, there is gospel), a designation beckoning the audience to receive what follows as if the skies have been split open and the soundscape burst apart with a new story-shaped word that disrupts reality as well as literary conventions. What is the genre of this early Christian text? It is just what Mark tells us: ‘gospel’.

Recycling in the Poetry of Stanisław Grochowiak

The article analyzes Stanisław Grochowiak’s poetry through the metaphor of recycling, specifi -cally with reference to Josette Féral’s ideas, which emphasize both the assigning of new meaningsto items which supposedly fi nished their „life cycle” and the aspect of play with conventions, stylesand motifs. The category of recycling has been used to characterize Grochowiak’s lyrical characters,literary spaces, construction of metaphors and images, use of culture fi gures (Dante, Beatrice,Virgil, Three Kings) as ways of reinventing literary conventions and genre forms (carols, erotics).The metaphor of recycling refl ects the dynamics of the world envisioned by Grochowiak – suspendedbetween upcyling and downcycling. The motif of valuables and the metaphor of jewelryencapsulate the poet’s strategies of „recycling” and exemplify the innovative potential of his output.At the same time, there are aspects of Grochowiak’s poetry which are not subject to strategiesof recycling and undermine the poet’s label of a turpist and a „junk dealer”.

Mistaken Identities: Negotiating Passing and Replacement in Chinese Records of the Strange

The large corpus of early medieval Chinese narratives now classified as records of the strange includes an abundance of stories of mistaken identity. This essay focuses on stories in which an animal successfully impersonates a human but is eventually found out. The questions I ask of these materials touch on issues of identity, privilege, and narrative: What does it take to pass as and replace a human, and possibly even a particular human? How are personal identity and privilege conceptualized, also across species and gender? How do narratives of initially mistaken and finally revealed “true” identity operate and what literary means do they employ? I propose that the political and social changes that shook early medieval China moved questions about ethnic, social, and personal identity to the center of thought, and that the literary conventions of records of the strange made the genre particularly suited to deliberating and negotiating these matters, especially in terms of access to privileged social spheres. Considering the literary sophistication with which records of the strange were usually composed, I also propose to include them more seriously in discussions of literary practice in early medieval China.

Orienting a Nation: The Turkish National Anthem Controversies

As Turkey’s ruling elite founded a nation from the collapsed Ottoman Empire in the early 1920s, competitions for the Turkish national anthem’s lyrics and musical setting did not immediately yield clear winners. The original winning composition by Ali Rıfat Çağatay draws on Ottoman-era musical and literary conventions; however, the anthem was redacted six years after selection and replaced in 1930 by the current national anthem by Osman Zeki Üngör, a work iconic of European anthems yet infamous for its “broken” prosody. The anthem’s prosodic errors and enigmatic selection process have fueled national debates since its adoption. I argue that the Turkish ruling elite’s selection of a national anthem reflects the challenges of a broader nation-building project premised on rejecting a presumed Ottoman past and oriented towards the modernity associated with the imagined West. More broadly, I assert that understanding the anthem genre requires interrogating the Eurocentrism of non-European anthems that would seem to seek to emulate European exemplars. Exploring nearly a century of anthem controversies in Turkish media and film illuminates how prosodic errors have served as an innocuous proxy for politically sensitive topics, including tensions over religion in public life and governance as well as the Turkey-US relationship since the Cold War. On the other hand, the many-layered meanings within the anthem as well as its iconicity of the nation have enabled those acting in the name of the state to deploy the anthem as a tool of violent state coercion to discipline nonconforming subjects.

Books Published by I. P. Ladyzhnikov Publishing House in German and Other Languages

The object of the article is to reveal on the materials from the archive of I.P. Ladyzhnikow Publishing House (1905–1932), found by the author, various aspects of publishing literature in foreign languages.The company was one of the largest Russian-language publishing houses in Berlin, which, in addition to the mass publication of books in Russian, published in large volumes in the first two decades of the 20th century books in foreign languages, mostly in German. They published Russian classical literature, works of contemporary authors. The main volume fell on the works by L.N. Tolstoy, A.M. Gorky, L.N. Andreev. In addition to Russian writers, the company collaborated with various foreign writers. In its activities, the publishing house always respected the rules of copyright in accordance with the rules of the Berne Literary Convention. When translating books into foreign languages, the company interacted with a large number of translators, with some of whom, for example, August Scholz, it had not only literary, but also business relations. The publishing house left a big mark in the history of familiarizing the European reader with the best examples of native literature.

THE NOT-SO-NOBLE SAVAGE: BALKANISM IN MARY EDITH DURHAM’S THROUGH THE LANDS OF THE SERB

This paper deals with the representation of the Balkans in Mary Edith Durham’s travel novel Through the Lands of the Serb. It aims at analaysing the novel from a postcolonial perspective to expose instances of constructing the Balkans as ‘the other’ within Europe. Maria Todorova’s concept of Balkanism provides a useful theoretical framework to engage with western stereotypes about the Balkans critically. The paper's first part concerns the literary conventions of travel writing, and the second part critically examines some examples of Balkanism. The examples of Balkanism investigated include the depictions of the region as primitive, stuck in the past, impure, infantile, violent, and animal-like. Even though most of the stereotypes are negative, it should be noted that Durham also creates positive stereotypes that are not less harmful.

Saxo Grammaticus's Account of the Viking Age Site on the Danish Island of Hjarnø in Gesta Danorum

Saxo Grammaticus's Account of the Viking Age Site on the Danish Island of Hjarnø in <i>Gesta Danorum</i>

The Aesthetics of Affect in Susan Glaspell’s Trifles

ABSTRACT Susan Glaspell’s Trifles (1916) is a one-act play in which two women search for the truth about a murder in the absence of the play’s central character, Minnie Wright, who is accused of murdering her husband. The play’s dramatic components hinge on the affective shift of these two women as they break free of the masculinist ideologies that permeate the bleak setting. At the antipode of the masculine rationality, women’s affective intensity creates the connections between and among subjects and their environments. In this process, empathy toward the incarnation of Minnie arises and the reversal of values happens, recapitulating into the noncommunicative men’s rationality and communicative women’s affects. The tension between such opposing traits cast Minnie as a pharmakos, violating cultural gendered assumptions and literary conventions, enacting the emancipatory and participatory aesthetics in opposition to the coercive and transcendent male-centered aesthetics.

From Charlotte Smith to Jane Austen: The Evolution of the English Novel

Abstract The article focuses on two female writers from the late eighteenth century and the first half of the nineteenth century: Charlotte Smith and Jane Austen. Based on Smith’s first novel Emmeline, the Orphan of the Castle (1788) and Austen’s Emma (1815), the novel’s evolutionary trajectory from prose fiction at the end of the eighteenth century to the full flowering of the realist novel will be traced in an exemplary fashion. Thereby, the analysis will argue that Emmeline represents a case of transition in which subjective modes of storytelling (literary conventions, character perspective) have not yet been synthetically combined with the objectifying framework of the narrative situation. Finally, this has been achieved with the realist novel as will be demonstrated with Emma.

Hipponax am „neronischen Musenhof“. Zu Persius’ Satiren-Prolog

AbstractThe choliambic metre of the prologue poem of Persius’Satiresis key to understanding the poem’s message. On the one hand it creates a link to Hipponax as the canonical exponent of the iambic genre and to the tale of his inspiration transmitted by Giorgios Choiroboskos, and so attests the presence of the iambic poet in the cultured literary circles at Nero’s imperial court. On the other hand the poet alludes to Callimachus, his iambic poetry and his poetology, and so adopts his rejection of a poetry that has sunk to mere literary convention. This casts new light both on Persius’ own claim to be asemipaganusand on his mockery of the profit-orientedcorviandpicae.

Stopping the Boats, Changing the Narrative: How the Migrant Refugee Bildungsroman Became a Ghost Story

What literary conventions best help us understand the migrant refugee’s claim for protection, and the terms on which law claims to offer it? One contender to have attracted attention recently is “bildungsroman” (“formation novel”), since the narrative of the refugee escaping danger and oppression to find safety and stability within a host state arguably maps onto bilgungsroman’s themes of a protagonist’s difficult personal journey from margins to social acceptance and flourishing. However, this view is now seriously undermined by legislative initiatives in the UK aimed at ensuring migrant refugees who cross the English Channel in small boats should have no cause to hope for such a happy ending. By way of a close reading of the narrative implications of these initiatives, this article proposes a thorough rethink of our approach to figuring the irregular migrant refugee. Rejecting bildungsroman as now implausibly optimistic, the article suggests we look instead to the ghost, whose “presence” is typically the chief problem for those to whom it appears, whose “shape” is uncertain, and whose complaints and demands inspire dread and strenuous efforts to make it disappear. The article employs these conventions to draw a new relationship between refugee migration law and the arts, and argues that if the UK’s policies for “stopping the boats” may be characterized as an attempt to effect such a disappearance, then the migrant refugee’s reappearance in visual art offers a ghostly figuration of resistance and of admonishment at injustice unredressed and obligations unfulfilled. The article traces these qualities and explores their critical potential through two recent works of visual art, namely “The Walk” (2021–22) and Gideon Mendel’s “Dzhangal” [“Jungle”] (2016–17). Both of these works admit of multiple readings, but both also crucially resist the punitive and reductive framing of migrants in law in some surprising ways.

Empowering the Virgin. Rethinking the Agency of the Feminine Characters in James Joyce’s Works

In the literary convention of ‘Blessed Virgin’, female purity and spirituality are most often emphasized, as represented by the Virgin Mary in the Middle Ages and by the Angel in the House in the more secular nineteenth century. The patriarchal idealization of womanhood has deprived it of bodily desires and free will; the Blessed-Virgin women are praised and worshipped at the cost of individuality and sexuality. The Victorian conception of the ‘Angel in the House’ was the manifestation of the dominant patriarchal ideology of the nineteenth century, and was reflected in the works of a great number of male writers. As the heir apparent to the Victorian cultural heritage and the progeny of the Victorian literary forefathers, is James Joyce capable of transcending his own time? Or does Joyce actually expose the workings of ideology and desire in order to subvert such conventions, as some critics have argued? This article aims to rethink the issue of the centuries-old representation of the Blessed-Virgin and to reread James Joyce’s representation of Blessed-Virgin women in his works. The central argument of this paper is to demonstrate the Blessed-Virgin women’s individuality as thinking and desiring subjects, and their agency to influence the male consciousness and to challenge the patriarchal dominance, as exemplified by the feminine characters Gretta (“The Dead”), the Bird-Girl (A Portrait of the Artist as a Young Man), and Gerty (Ulysses), in Joyce’s works.

Addiction, Waste(d) Labor, and the Debate of the Carpenter's Tools

Addiction, Waste(d) Labor, and the <i>Debate of the Carpenter's Tools</i>

Atardece el barroco: ficción experimental en la España de Carlos II (1665-1700) ed. by Jorge García López and Enrique García Santo-Tomás

Reviewed by: Atardece el barroco: ficción experimental en la España de Carlos II (1665-1700) ed. by Jorge García López and Enrique García Santo-Tomás John Slater Atardece el barroco: ficción experimental en la España de Carlos II (1665-1700). Ed. by Jorge García López and Enrique García Santo-Tomás. (Albores de un Tiempo Nuevo, 2) Madrid: Iberoamericana Vervuert. 2021. 371 pp. €40. ISBN 978–9192–261–2. No longer Golden Age and not yet Enlightenment, the literary period between the death of Pedro Calderón de la Barca in 1681 and that of Carlos II in 1700 can be either 'bajobarroco' and 'tardobarroco'—looking backward—or 'primera' and 'temprana ilustración'—looking forward. In their Introduction the editors associate the period with the 'novatores', who were men of science, not poets; specifically, 'novatores' were scientists battling decadence, a cultural failing that scholars rarely bother to identify through comparison with that which is demonstrably not decadent. Addressing such problems head on, Atardece el barroco implicitly links experimental philosophy and experimental fiction, by focusing on the uses of periodicity, the relationship of science and literature, and what that relationship can tell us about both fields. Although the collection is subtitled 'ficción experimental en la España de Carlos II', there is little fiction in the traditional sense; instead, the term brings together disparate regimes of representation, allowing the authors to range widely across genres while meditating on time and knowledge. These meditations are roughly divisible into three camps. The first is composed of contributors—Miguel García-Bermejo Giner, Pedro Ruiz Pérez, Paula Casariego Castiñeira, and Nicolás Fernández Medina—who emphasize continuities between the late baroque and the period that precedes it. García-Bermejo Giner traces successive plagiarisms of advice to married couples in conduct manuals, starting with Antonio de Guevara and extending to Antonio Sánchez Tórtoles. Ruiz Pérez's study of the point at which literary biography becomes fanciful encomium indicates that biography's style becomes an artefact of influence when the biographer imitates the tone of his subject. The dramatic topos of the enchanted garden, Casariego Castiñeira shows, is an allusive crossroads where Ariosto and Spanish dramaturgy intersect. Finally, Fernández Medina, examining the work of Antonio de Fuentelapeña, first demonstrates that a narrative sensibility infiltrated scholastic dialectics and then poses a larger question: at what point does slavish scholasticism become literary parody? Jorge García López, Chad M. Gasta, and Alain Bègue comprise the second camp, and all three look forward towards the Enlightenment. García López demonstrates persuasively that Francisco Gutiérrez de los Ríos, a figure who in recent years has come to be seen as seminal for the period, eschewed Descartes's conceptual philosophy in favour of Gassendi's practicality. Gasta creates a vivid portrait of the [End Page 266] playwright Bances Candamo's oscillations between earnest acceptance and critical interrogation of astrology. Scrutinizing poets' 'afán de modernidad' leads Bègue to a marvellous exploration of scientific modernity as a question of taste: a world-view that entailed an aesthetic. More eclectic is the third camp—made up of Folke Gernert, María Elisa Navarro Morales, María Luz López-Terrada, Adriana García-Bryce, and Enrique García Santo-Tomás—in which historiographic sensibilities are varied and surprising. Emblematic of this group is Gernert, who, entirely unburdened by centuries of sclerotic historiography, portrays Carlos II actively patronizing early chemistry; Gernert creates a new context in which to understand the court as a place where dramatic spectacle and scientific practice met. Navarro Morales shows that Juan Caramuel de Lobkowitz, in his architecture manual, contemplated the ways in which the built environment can influence behaviours by positing that the artificer-prince might promote peace through legible architecture. López Terrada, treating the theatre of Juan Bautista Diamante as source text for the social history of medicine, argues compellingly that literature often represents medicine according to literary conventions that do not correspond to social realities; literature does not always tell us...

ИССЛЕДУЯ ПРОШЛОЕ В ПОИСКАХ ИДЕНТИЧНОСТИ. (МЕТА)ИСТОРИЯ, ФЭНТЕЗИ И ПОЛИТИКА В СОВРЕМЕННОЙ ПОЛЬСКОЙ ПРОЗЕ ДОРОТЫ ТЕРАКОВСКОЙ ДЛЯ ДЕТЕЙ

The encounters with the past, in which the children and teenage protagonists of Dorota Terakowska’s novels are ’entangled’, are present in the structure of her works mainly at the level of the figurative language of metahistory in which the poetics of imagination and fantasy used by the writer as a literary convention play an important role and are deeply rooted in social and politic context of Poland (here: totalitarian system, dictatorship and social changes). Such a narrative strategy is evident mainly in three works of the writer: The Witches’ Daughter (1991), Loneliness of the Gods (1998) and Lord of the Lewaw (1989). Terakowska’s work, which is clearly a part of the convention of fantasy, represents a universal message of an existential and ethical nature, but above all, which is worth emphasizing, is also firmly rooted in Polish tradition and history. Strongly exposed in Terakowska’s works is the element of poetics of space (including, for example, the ruins of palaces, as places of memory of the Polish romantic past, landscapes of romantic — wild and mysterious nature, or the motif of the Only Song — a symbol of national identity, also present in Polish romantic literature). The convention of space-time and the memory of the tragic past allows associations with important moments in the history of enslaved Poland (e.g. the romantic tradition of the 19th century), images of the enemy — the invader, the totalitarian system of communism, and models of figures of Polish national heroes fighting for freedom.

Facing Tradition: Dostoevsky’s Poor Folk as a Statement of Artistic Individuality

The present paper advances a new understanding of Fyodor Dostoevsky's first novel, Poor Folk (1846), - as a parody of literary patterns promoted by Natural School's ideology. Dostoevsky builds his text on an underlying network of literary conventions, artistic devices, and intertextual references, used in a parodic manner. In addition, the novel makes use of a complex