Literary Figures Research Articles

Narrative Matters: Ursula Le Guin's writings and adolescence.

Ursula K. Le Guin (1929-2018) was an influential American writer who was a leading literary figure of the 20th century. She is known for her contributions to the science fiction and fantasy genres. She wrote numerous novels, short stories, poems, and essays throughout her career, exploring various themes and pushing the boundaries of speculative fiction. In this article, I discuss Le Guin's writings on the developmental tasks of adolescence. In Le Guin's fiction, she examines how different social and cultural contexts determine patterns of maturation and the acquisition of the roles and responsibilities of adulthood. This article focuses on two novels, A Wizard of Earthsea from the Books of Earthsea (Le Guin, 2018), and Coming of Age in Karhide (Le Guin, 2017).

Mimesis, Alteration and Interruption. Bartleby, Antigone and a Feminist Politics

The article is proposed as a reading of A Feminist Theory of Refusal (2021), by Bonnie Honig. Under the assumption that Honig has the merit of introducing into feminist political theory a thought of rejection patiently elaborated from a commentary on literary figures such as Antigone and Bartleby, the article interrogates the logic of resistance that these figurations of negativity advance. From the perspective  of A Feminist Theory of Refusal, the names of Antigone and Bartleby are not only subjective indications of the interruption of a domain, but above all they are agonistic figurations of a politics that has the dispute of meaning as one of its main axes. In other words, the politics of rejection that Honig proposes is at the same time an agonal politics that is organized around the meaning of words, of the narratives that structure the commonality of a social order. Following this line of reading, the essay sets out to interrogate the politics of rejection elaborated by Honig from the figurations that embody it.

Shaken and Stirred: The Crisis of Masculinity in<em> Casino Royale</em>

This article evaluates the literary figure of James Bond as a manifestation and projection of the Masculinity Crisis of the 1950’s white western male. In his first outing in Ian Fleming’s 1953 Casino Royale, Bond functions as a figure of subjectivity-splitting anxiety through whom the Masculinity Crisis is channelled with catastrophic effects for the character’s own sense of self, mirroring wider social fears about changing roles in an increasingly altering post-war society. While a number of scholars increasingly note the utility of masculinity theory in James Bond studies, the origin of the character’s troubled relationship to his own masculine self is yet to be explored in Fleming’s first novel as cinematic critiques take centre stage in analytical discussions. This article argues that the demands of a hegemonic hyper masculinity, combined with the dualistic lifestyle of a spy, see Bond oscillate between "ideal" and "transgressive" versions of masculine embodiment. This is shown to ultimately work to dissociate the character from his own sense of self, propelling him into crisis. It examines three areas of binary conflict: wealth and ruin, virility and castration, and masculinity and femininity, arguing the extreme pressures of each create an unstable, uneasy, and unhealthy masculine entity in need of critical re-examination.

Al-Marrār b. Munqidh’s Life and Poetry

In the scholarly examination titled “al-Marrār b. Munqidh’s Life and Poetry”, a focused lens is turned towards the somewhat elusive figure of al-Marrār b. Munqidh, shedding light on his life and, more notably, his poetic contributions during the Umayyad era. The article’s methodological approach centers on a twofold analysis, first drawing from the limited biographical data available about al-Marrār to paint a picture of the poet and his socio-cultural environment, and then engaging in a meticulous exploration of his poetic oeuvre to discern the thematic and stylistic choices that characterized his work. Subject-wise, the research emphasizes the importance of studying lesser-acknowledged poets like al-Marrār b. Munqidh to fill gaps in the collective understanding of the Umayyad poetic landscape. His verses, although not dominantly featured in current literary circles, are intricate tapestries weaving the sentiments, intellect, and cultural motifs of his age. Thus, through his poetry, readers and scholars can glean nuanced insights into the multifaceted world of the Umayyad era, making his works indispensable for anyone seeking a comprehensive grasp of the period’s literary milieu. Regarding scope, while the article does delve into al-Marrār b. Munqidh’s biography, it primarily emphasizes the exploration of his poetry. Given the paucity of detailed records about his life, the emphasis on his poetic works is not just a choice but a necessity. This, in turn, allows the article to cast a wide net over the expanse of Umayyad poetry, positioning al-Marrār's contributions within this broader framework. By juxtaposing his poetic techniques and themes with those of his contemporaries, the research offers a holistic perspective on the dynamics and divergences that marked the Umayyad poetic tradition. The article underscores the importance of al-Marrār b. Munqidh not just as a poet, but as a key to unlocking the subtleties of his age. His poetry, with its distinctive thematic concerns and stylistic elements, becomes a mirror reflecting the broader societal, cultural, and intellectual shifts of his time. By studying his works, the research asserts that one can gain a deeper understanding of the underlying currents that shaped the artistic expressions of the Umayyad poets. As for the research’s purpose, it is manifold. Firstly, it aims to bring to the fore the life and works of a poet who might otherwise remain on the periphery of Arabic literary studies. In doing so, it not only champions the cause of al-Marrār b. Munqidh but also underscores the need to continually revisit and reassess historical literary figures, thereby preventing them from fading into obscurity. Furthermore, by anchoring its analysis in the broader context of Umayyad poetry, the research endeavors to enrich our understanding of the epoch, drawing attention to the intricacies and innovations that defined it. Methodologically, the research adopts a blended approach. It employs historical analysis to piece together the scant details of al-Marrār b. Munqidh’s life, cross-referencing various sources to ensure accuracy and reliability. Simultaneously, for the exploration of his poetry, a close textual analysis is employed.

Natsume Sōseki’s address to the new generation of literary figures: The writer’s thoughts on literary movements

Natsume Sōseki’s address to the new generation of literary figures: The writer’s thoughts on literary movements

Works by Andrii Levytskyi for the “Homage à trois” Project (Barcelona, Spain)

Andrii Levytskyi is a well-known Kyivan graphic artist, a recognized master of gravure printing (intaglio). The artist has been participating regularly in the “Homage à trois” (Tribute to Three) project, which takes place in Barcelona (Spain) on the initiative of the Duana de les Arts – AIDA International Association – since 2021. Only masters of graphic art can participate in the project. It should commemorate three literary figures on the occasion of their birthday anniversaries, and the artists should choose at least two of the three proposed personalities. Intaglio 2021, satisfying the conditions of the project, at the same time continues seamlessly the themes and motifs peculiar to Andrii Levytskyi’s heritage in general. Poem about a Henna Tree (Jean Lafontaine) is somewhat unexpected and paradoxical, but naturally connected with the artist’s favourite images of trees. In the Player the themes of confrontation, game, rivalry are developed. They are arisen, in particular, in the intaglio Motus Animi Continuus (2021). Three works of 2022, made in the computer design technique, are distinguished by a bright and at the same time elegant color solution. The artist is inspired by themes of the theater and, widely, carnival culture (Molière’s Mask), Japanese art (IchiyōHiguchi’s Stream). The work for the anniversary of the legendary German romantic Novalis (Ask Baron: Is Religion the Opium of the Peoples) is especially unexpected. In 2023, Andrii Levytskyi has returned to the intaglio technique again and at the same time abandoned color. The works dedicated to Federico García Lorca (At Five O’clock in the Afternoon) and Wisława Szymborska, winner of the Nobel Prize (Cat in an Empty Apartment), are the artist’s reflections on the theme of death, while the work Dream. My Ántonia (based on the novel by Willa Cather) softens their tragical essence. The Ukrainian artist’s works dedicated to Molière, Novalis and Willa Cather have been nominated and awarded by the organizers of “Homage à trois”. Taking part in the international artistic projects, and even more so winning in them, Ukrainian artists contribute actively to the creation of a positive image of the state. After all, the culture of Ukraine consists not only of the historical heritage, but also of the works of modern masters.

‘Armenianness’ in Indirect Translation of Byron’s The Prisoner of Chillon by Hovhannes Toumanian

This paper explores the Armenian translation of Lord Byron’s the Prisoner of Chillon by All-Armenian Poet Hovhannes Toumanian with Russian serving as an intermediary language. This research is captivating and rather responsible insomuch as it deals with the literary creations of three most eminent poets of the 19th century – Lord Byron, Vasily Zhukovsky and Hovhannes Toumanian. It is fascinating how poetry has united those three literary figures from culturally different geographical locations and how translation has disunited them. It comes as no surprise that Byron’s fine lyricism could be properly understood and passed on to target readers with such delicacy, nuance, and finesse only by Zhukovsky and Toumanian. The fact that Zhukovsky translated Byron is quite logical since the 19th century Russian literature was greatly influenced by Western literature, especially by Lord Byron. Yet, how come that a poet born and raised in a far-off mountainous region of Armenia with little to no knowledge of English decided to translate one of the masterpieces of a genius poet of “Foggy Albion”? There is one answer: the power of poetry…the power of translation! It is Zhukovsky’s translation that inspired Toumanian to take on the challenging and responsible task of translating the Prisoner of Chillon. It should be underlined that the cultural differences could not but be reflected in the Russian and Armenian translated versions. The primary purpose of my research is to shed light on some of the transformations Byron’s poem has undergone in the two-level translation process with a focus on elements of ‘Armenianness’ discernable in Toumanian’s translation.       

Кречетов Петр Иванович: жизнь и творчество

The article discusses the life and work of Petr Ivanovich Krechetov, a native of the city of Oryol, a graduate of a theological seminary, who studied law at the Yuriev University, an official in the Livonian and Amur provinces, and an emigrant in Manchuria. P.I. Krechetov was a literary figure who contributed to Russian literature and journalism at the turn of the XIX–XX centuries. His works are referred to by modern literary critics as small im-pressionist prose. His critical articles are devoted to outstanding figures of Russian culture of the early XX cen-tury. P.I. Krechetov was one of the pioneers of local history of the Oryol region. To write the article, sources are involved in scientific circulation, including those extracted from the funds of the State Archives of the Khaba-rovsk Territory, previously unknown to researchers of the work of P.I. Krechetov. Thanks to this it became possi-ble to trace his creative path in the Russian Far East and in emigration.

Unraveling the Complexity of Cleopatra in Shakespeares Antony and Cleopatra

William Shakespeare, widely regarded as the paramount dramatist and poet of the English Renaissance, crafted the renowned tragedy Antony and Cleopatra towards the end of his illustrious career. In this play, Shakespeare revitalized a Roman classic, breathing new life into its narrative, particularly through his portrayal of Cleopatra as a character of remarkable complexity. She emerges as both a sensuous oriental queen and an astute politician, inviting diverse interpretations from critics and establishing herself as a controversial literary figure. This paper delves into the intricacies of Cleopatras character, employing textual analysis and comparative methods to unveil the challenges and complexity inherent in her portrayal. The study begins by examining various interpreted versions of Cleopatra, illustrating the nuanced perspectives that contribute to her controversial nature. Subsequently, an exploration of Shakespeares dramatic techniques elucidates how he effectively conveys the multifaceted dimensions of Cleopatras character. The paper then delves into historical and dramatic sources to provide a comprehensive understanding of the factors influencing the complexity of Cleopatra. Shakespeares success in crafting a captivating and intricate Cleopatra has fueled continuous research and interpretation across subsequent generations. The complexity of Cleopatras image not only reflects the cultural dynamics of ancient Rome and Shakespeares era but also underscores the challenges faced by women in positions of power and love. Her characterization is a result of the intricate interplay between culture, gender, and power dynamics. This study aims to deepen our comprehension of Cleopatras portrayal in Antony and Cleopatra, offering examples and insights for future research endeavors centered around similar themes.

Introduction: the aesthetic agency of minor literature

This introductory essay traces a genealogy of the notion of the minor in critical theories of the past four decades to then articulate the notion’s aesthetic dimension. Foregrounding that dimension, we argue, offers a powerful analytical tool for fostering a dialogue between world literature and postcolonial studies. Through a critical survey of the important work of Gilles Deleuze and Félix Guattari, Abdul R. JanMohamed and David Lloyd, Pascale Casanova, Françoise Lionnet and Shu-mei Shih, as well as David Damrosch and Bergur Rønne Moberg, we contend that these theoretical formulations of the minor have rarely lived up to their methodological promise to articulate creativity, change, and solidarity in ways that are in the final instance not determined by vertical opposition to the major or by an overly restrictive account of aesthetic agency. Going back to the work of Kafka that is so central to Casanova’s and to Deleuze and Guattari’s account of the minor, we retrieve the figure of Odradek and propose to read it as instantiating a self-reflexive aesthetic intervention that configures its own relation to political constraints. This insistence on aesthetic agency, we submit, challenges and complements both Deleuze and Guattari’s groundbreaking philosophical and political account of the minor and world literature’s focus on circulation and postcolonial studies’ emphasis on sociohistorical contexts. The introductory essay concludes by presenting the six essays that make up the special issue, and emphasizes the ways in which these essays’ attention to the formal and imaginative devices of the minor pluralize the notion by articulating not only minor literatures and languages, but also literary figures (children, women, sisters, queer men), genres (short story cycles, flash fiction, buried laments), and literary practices (indirect translation, diasporic publication, rewriting, adaptation) in ways that capitalize on the aesthetic agency of the minor.

Hazel Motes and Midcult Religion in Flannery O’Connor’s Wise Blood

Abstract: Flannery O’Connor’s literary career often focused on Christian religion in the post-war United States. Not only did she seek to convert her audience to Catholicism, but she also frequently critiqued the growing post-war religious awakenings associated with various Protestant denominations. Such critiques are evident in her novel Wise Blood and can be connected to other critical concerns of mass culture among literary figures like Dwight Macdonald. In this paper, I seek to connect Dwight Macdonald’s conception of masscult and midcult to Flannery O’Connor’s criticism of post-war religion in the United States.

Abdullah Mohammed Ahmed The poet of contemporary literature and the literary figure among his contemporaries.

The study bears the title “Abdullah Muhammad Ahmad, the poet of contemporary writers,and the writer of poets of his time This paper aims to reveal the works of an eminent Sudanese literary figure and a scholar, namely Abdallah Muhammad Ahmad- may Allah bestow upon him everlasting health-” Abdallah is one of those writers who preferred to keep low profile and avoid publicity. The main goal of this paper is to unveil the unknown works of this well-read writer who drew upon Sudanese and Arabic literary and social heritage in his poetry and prose. Abdallah has a thorough knowledge and deep understanding about Arabic prosody. He proved to be talented since his early boyhood for he was famous for his great passion for Arabic literature and that enabled him to have an excellent command of Arabic language. He contributed enormously to Arabic literature in prose and poetry and his distinguished literary contributions put him in the vanguard of his peers. He composed exceptionally beautiful poems included in his anthology ‘The scent of memories” He also used literature as a tool to explore and combat difficult social issues in his book (insights on life and people.)” which is written in a figurative and impressive language. He drew upon the Holy Quran and the Holy Prophetic Tradition that influenced him greatly and enriched his writings with beautiful images and sublime language, simulating beautiful scenery paintings that captivate hearts and minds. Key words: contemporary – pioneers – Abdallah –literature – thought – culture.

From Ancient Zhiguai Tales to Contemporary Animation: A Study of Visual Rhetoric in ‘Yao-Chinese Folktales’ (2023)

This study delves into the use of visual rhetorical strategies in 中国奇谭 Zhongguo Qitan ‘Yao-Chinese Folktales’ (2023), particularly focusing on 鹅鹅鹅 E E E ‘Goose Mountain’ (henceforth ‘Goose’) directed by Hu Rui. We assert that ‘Goose’ transcodes and reinterprets the ancient Chinese zhiguai novella 阳羡书生 Yangxian Shusheng ‘The Scholar from Yangxian’ (henceforth ‘Scholar’) for a contemporary audience through the use of visual rhetoric, leading to a compelling contemporary rendition of this tale. As a silent animation, ‘Goose’ does so by adeptly incorporating visual depictions, especially animal-related imagery and ink painting aesthetics, drawn from the broader traditional zhiguai myths, or tales of the strange and traditional Chinese culture. The core argument hinges on visual rhetoric’s transformative potential. In ‘Goose’, the connection between tradition and contemporaneity is established through metaphor and metonymy. Initially a literary figure of speech, metaphor and metonymy now encompasses ‘visual rhetoric’, widely applied in interpreting visual arts. Visual rhetoric often employs various elements such as colour, shape, size, objects, composition and texture to convey information. This study highlights the role played by the inseparable link between traditional zhiguai narratives, the minzu/national style, and the contemporary animation technology in ‘Goose’, a transformative role that revitalizes ancient traditions to resonate with today’s viewership.

Analyzing the Differences in the Concepts of Love Between Korean and American Women Using the Female Characters in Kim Ji-young, Born in 1982 and The Sun Also Rises as Examples

This paper scrutinizes the differences in the conceptualization of love between Korean and American women.Grounded in an analysis of literary figures, Brett and Kim Ji-young, the study unravels the intricate interplay of cultural, historical, and societal forces shaping these perspectives. The contrasting landscapes of the United States, driven by ideals of freedom and individualism, and Korea, entrenched in Confucian values and collectivism, serve as crucibles for forming women’s roles, self-perception, and societal expectations. The examination extends to communication styles, illuminating the directness of American expression versus Korea’s reliance on formalism. Through this exploration, the paper illustrates the profound impact of cultural contexts on the intricate tapestry of love, offering a nuanced understanding of divergent viewpoints within a global context.

Allegories of Aging Masculinity: The Myth of Don Quixote in Albert Serra’s Honor of the Knights

This article develops a discussion of Albert Serra’s Honor of the Knights (2006) and his radical interpretation of Don Quixote on a final journey before death. The analysis explores Serra’s portrayal of the quixotic myth and argues that the film demythologizes the literary figure and unveils underlying meanings that can be read from the perspective of gender and aging. The article argues that rather than divest the myth, Serra’s film recognizes the quixotic mythology and reclaims the elements of the character that cast Don Quixote as the prototype of the sorrowful errant knight. Drawing from discourses on masculinity and aging the reading explores how Serra’s avant-garde esthetics and minimalist dialogues present an intimate and contemporaneous portrayal of the characters. Don Quixote’s journey through the landscapes becomes an allegory for a life journey where aging and decline, and the ordinariness of life, are juxtaposed with the chivalric ideals of the wandering knight. The discussion will focus on aspects of the film narrative where the quixotic myth as archetype speaks to us and voices his concerns about defection and decline, which resonates with present collective anxieties about senectitude and the perils of old age.

소용돌이 속에서 만난 엘리엇과 포우

This paper delves into the works of two influential literary figures, Edgar Allan Poe and T. S. Eliot, to explore their notion of vortex. While Poe’s “A Descent into the Maelström” presents a harrowing tale of a man’s encounter with a natural vortex, Eliot’s The Waste Land explores the destructive power of natural elements and their symbolic implications. Through a comparative analysis of these works, this paper aims to uncover the thematic and symbolic connections between Poe and Eliot’s vortex, shedding light on the psychological and existential aspects of human experience. While these works belong to different literary traditions and styles, they share certain thematic resonances in their treatment of the vortex as a metaphor for the turbulent forces that shape human existence.

Versified physico-theology of Paul-Alexandre Dulard

Paul-Alexandre Dulard was an eighteenth-century literary figure keenly interested in the science of his time and theology. He poetically blended tohether these two interests in his poetic work, The grandeur of God in the marvels of nature, where, as presented in this article, he addressed in the spirit of the then popular physico-theology the problem of the existence of God: the harmonious makeup of the universe points directly to its divine Designer. He also addressed the problem of theodicy by using the orderliness of the universe is explaining the existence of what is deemed to be evil. Finally, Dulard discussed the immortality of the soul as indicated by the desire of happiness which cannot be fulfilled in this world.

A Study of the Contract Spirit in Shakespeare’s The Merchant of Venice

As a famous playwright and one of the most remarkable literary figures in Britain and the world, Shakespeare is the master of humanist literature in the European Renaissance. The Merchant of Venice is one of his the most representative of works. In this play, a conflict arose from different laws: that is Roman law and Christian law. Shakespeare depicts two laws together perfectly. The spirit of contract and Shakespeare’s humanist ideas are profoundly reflected throughout the play. Shakespeare achieved his desired humanist sentiment while complying with the social and legal system of Venice. The spirit of contract plays quite an important role in social relations. This paper will explore the spirit of contract from three aspects in The Merchant of Venice: family relationships, individual relationships, and societal and individual relationships. It aims to analyze the essence of Shakespeare’s contract spirit, understand the Western countries in the dialectical way and recognize the spiritual essence of Western people.

From Italy to the Indian subcontinent: Dante and his Divine Comedy in Urdu

Dante Alighieri (1265–1321) is one of the most important Italian writers, well-known for his magnum opus the Divine Comedy. This article investigates the Urduphone world's engagement with Dante from the late 19th century to the post-colonial period. As India was ruled by the British, English writers, specifically Shakespeare and Milton, were the most famous foreign literary figures in colonial India. Dante, even though he had no official patronage, also made his appearance in Urdu print culture and is frequently referred to by Urdu writers and critics. There are three distinct ways in which Dante is engaged with in Urdu. The first dimension concerns essays about Dante's life and work in Urdu periodicals, and this article will present an overview of these. Secondly, several full and partial translations of the Divine Comedy have been produced in Urdu. This dimension is particularly significant because of Dante's treatment of Prophet Mūḥammad in the Divine Comedy, and the article will attempt to highlight the strategies used by translators to deal with those passages. Finally, Dante has frequently been juxtaposed with Mūḥammad Iqbāl because of the similarities between the Divine Comedy and Javed Nama, both said to be modeled after the story of Miʿrāj in Islam. The article argues that this engagement with Dante in Urdu resulted due to the Divine Comedy's inspiration from Muslim sources, as claimed by the Spanish orientalist Miguel Asin Palacios in his book Islam and the Divine Comedy.

Ebû Züeyb el-Hüzelî ve Mersiyeleri: Oğullarına Nazmettiği Mersiye Örneği

In the vast expanse of classical Arabic literature, the works of Abū Dhu’ayb al-Hudhalī stand out, particularly his elegies, which provide a pro-found glimpse into the sociocultural dynamics of his era. The research presented in this article delves deep into the life and artistry of Abū Dhu’ayb, meticulously examining how his personal experiences and surroundings shaped his poetic expressions. Elegies, often characterized by their mournful tone and reflective nature, become especially significant in Abū Dhu’ayb’s repertoire as they offer poetic lamentations and provide insight into the world in which he lived. The subject of this research focuses on Abū Dhu’ayb’s elegies, providing an in-depth literary analysis, and aiming to discern the intricate interplay between his life’s events and his poetic manifestations. By situating Abū Dhu’ayb’s elegies within the broader canvas of classical Arabic poetry, this research seeks to shed light on their distinct characteristics, thematic concerns, and stylistic nuances. Within the scope of this article, special attention is given to his deeply moving elegy dedicated to his sons. Drawing from a wide spectrum of his poems, we ensure a comprehensive understanding of Abū Dhu’ayb’s unique approach to the art of elegy. The rationale for this inquiry becomes particularly salient when we position Abū Dhu’ayb within the milieu of his literary peers. Although numerous poets of his era ventured into the domain of elegy, Abū Dhu’ayb’s compositions stand apart, characterized by their intimate resonance and the intricate threads of narrative woven seamlessly into his poetic tapestry. Engaging with overarching themes of fate, destiny, honor, and the human condition, his works do more than just lament the loss of loved ones or ponder the transient nature of life. Through this research, we aim to elevate the understanding of Abū Dhu’ayb’s contribution to Arabic literature and underscore the importance of his elegies as both literary mas-terpieces and historical documents. The primary purpose of this study is twofold. Firstly, it seeks to explore the artistic depth and breadth of Abū Dhu’ayb’s elegies, understanding their thematic richness and linguistic excellence. Secondly, the study aims to draw connections between the poet’s life—a life replete with its share of joys, sorrows, triumphs, and tribulations—and the elegies he crafted. By doing so, the research offers a holistic view of the poet, not just as a literary figure but also as a person deeply affected by the world around him. The methodological framework employed in this research is rooted in both literary analysis and historical contextualization. By closely reading Abū Dhu’ayb’s elegies, the research deciphers their symbolic and metaphorical elements, laying bare the poet’s craft. Concurrently, by positioning these elegies within their historical context, the study provides a broader understanding of the socio-political and cultural milieu of Abū Dhu’ayb’s era. This dual approach ensures a well-rounded exploration, enabling readers to appreciate the elegies both as individual pieces of art and as part of a larger poetic tradition. The research methodology used in this study involves a combination of literary analysis and historical contextualization.