Literary Formation Research Articles

Dos primeiros versos às últimas linhas: Mário de Andrade na trajetória literária de Pedro Nava

Este artigo discute a importância de Mário de Andrade na formação literária de Pedro Nava. Para isso, aborda uma carta de Mário, escrita em 1925, na qual encoraja Nava a privilegiar, em vários sentidos, a diversidade de referências linguísticas brasileiras. Inicialmente bastante preso ao modelo mariodeandradino, Nava irá adotar, cerca de 50 anos depois, uma prática ampliada dessa concepção em suas Memórias. Esse considerável intervalo temporal permite rever, ainda, o alcance de alguns pressupostos do modernismo brasileiro, retomados ou mesmo recriados pela prosa de Nava.

THE CONDITION OF MUSIC IN VICTORIAN SCHOLARSHIP

Many Victorian commentators, from Herbert Spencer and Charles Darwin on, saw music as the most primitive of all the arts, an inarticulate precursor of language, and yet many Victorians, particularly towards the end of the century, also saw music as the purest of all art forms. The tremendous tension between these two views meant that music provided, and provides, an ideal way to understand more completely Victorian ideas about evolution, gender, and race in relation to aesthetics, although scholarship on music has only begun to consider those relationships. But as Vernon Lee long ago pointed out, in a series of thoughtful essays about music published inFraser's Magazineand other periodicals in the 1870s and 1880s, music has always been slower to develop than other arts or fields of study. This is in fact why musicologists speak of “nineteenth-century music,” rather than Victorian music: the Romantic period in music, for example, is starting as the Romantic period in literature had largely ended; the English Musical Renaissance comes after the renaissance period in British literature; and so on. Musicology, likewise, is a comparatively young field, and the study of nineteenth-century British music – long limited to Gilbert and Sullivan, if considered at all – younger yet. Studies of literature that engage with music as an important part of the historical context of a given text depend on developments in musicology for a proper understanding of that context, which is why such works are comparatively few.Whymusic should be slower to develop than other fields is a question outside the scope of this essay, but the good news is that in the past ten years a number of useful and valuable works of scholarship on nineteenth-century British music have appeared, examining not only neglected composers and musical works, but also performers, concert organizers, music publishers, instruments and their history, and evolutionary, Orientalist, and nationalist discourses about music. This scholarship, valuable in itself, not only expands our knowledge of musicology and cultural history; by pointing out some of the deep connections between literature and music in the Victorian period, such scholarship also suggests new ways to think about literary forms, canon formation, and aesthetic theories.

THE ROLE OF SHOGENTSUKOV A.A. IN EXTENDING THE SEMANTICS OF WORDS IN THE KABARDINO-CIRCASSIAN LANGUAGE

The history of Kabardino-Circassian literary language formation is inseparably linked with the name of the founder and classic of the Kabardinian literature Ali A. Shogentsukov (1900-1941). Therefore it is obvious that it is important to learn the language of his works - it is necessary for linguists, first of all, in order to develop ways of further development of the language. This article discusses the methods and techniques that have been used by Ali A. Shogentsukov to enrich the semantics of words. In his works, the poet used various means of word-figurative art (metaphors, comparisons, paraphrases), through which he extended the meaning of the word, giving to it new shades of meaning. Another way - lexical and morphological expression, that is the expression created by the composition of the word - by inclusion in a word prefixes and suffixes of subjective evaluation, transmitting a variety of shades of feelings. Along with the above context has a vital role: neutral words can be perceived, depending on the environment as high solemn, and the high vocabulary in different conditions becomes mockingly ironic form.

Prizing African literature: creating a literary taste

This paper explores the significant role played by international literary awards in African literary canon formation. It focuses on the Commonwealth Short Story Prize (CWSSP) and the Caine Prize for African Writing (CP) as major award institutions for contemporary African literatures. The paper aims to position these prize competitions in the context of African literary and cultural production by foregrounding the intricate relationship between the text and the award institutions to point at the different roles they each play in the process of canon formation. It argues that canonicity through the award sector is influenced by several factors from the point of production to the presentation of the literary award. The paper uses the word “taste” to refer to the aesthetic qualities of a text as prescribed by the literary award. It then explores the process of this judgement of the aesthetic qualities of the prize texts, exploring factors such as economic and political patronage and its effects in literary taste creation. It concludes that taste in literary production, mediated through the institution of the award industry, is significantly influenced by the economic, political and cultural contexts of production.

London and the Making of Provincial Literature: Aesthetics and the Transatlantic Book Trade, 1800-1850 by Joseph Rezek

Reviewed by: London and the Making of Provincial Literature: Aesthetics and the Transatlantic Book Trade, 1800-1850 by Joseph Rezek Natasha Tessone REZEK, JOSEPH. London and the Making of Provincial Literature: Aesthetics and the Transatlantic Book Trade, 1800-1850. Philadelphia: University of Pennsylvania Press, 2015. iii + 286 pp. $59.95 hardcover. Joseph Rezek’s London and the Making of Provincial Literature examines the crucial role of early-nineteenth-century London for the advent of Irish, Scottish, and American literatures of the period. London’s centrality on the busy stage of transatlantic publishing prompted the birth of what Rezek calls “a provincial literary formation” (2), an influential body of work by authors such as Sydney Owenson, Maria Edgeworth, Walter Scott, Washington Irving, and James Fenimore Cooper, whose visibility and success depended on the whims of the “London-centered marketplace” and its readership (3). It was a necessary process, Rezek argues, whereby provincial authors, through their uneven “struggle with the London book trade” (8), developed literary strategies—“appeals to readers’ sympathy, aestheticized displays of national character, figurations of cross-cultural communion” (18)— that allowed them to transcend politics and establish the “the independence of literary experience” (8). This illusion of literature’s autonomy fostered by provincial authors was a direct product of “the aesthetics of provinciality” that marks their literary productions (8). There is a creative paradox at work here, Rezek insists: this ameliorative “representational mode” was designed to mitigate these authors’ “subordinate position in the literature field” by at once appealing to their “national character” and “projecting literary exchange into an exalted realm” (64). By mid-century, as a result of “a parallel trend toward nationalization,” this “center/periphery model” was replaced by a “binational model of literary competition” between the US and Great Britain (38). As Rezek contends in his reading of The Scarlet Letter in the book’s epilogue, Hawthorne completes this process by embracing “literary autonomy in its purest ideological sense” (197), thus rescuing the literary exchange from its earlier “cross-cultural purpose” (198). The complexity of the story of the “transnational movement of texts” between these three “provinces” and London reveals itself in Rezek’s astute account of the book trade as an “interconnected” and “dynamic” system (25). Texts travelled from one province to another and from all three to and from England, with London all the while exerting its imperial influence on the trade, not least due to its uncontested political, economic, and demographic advantage. The study is at its most impactful when it puts its three-pronged interpretive strategy—the material, the transatlantic, and the aesthetic—to work. The accounts of what Rezek calls “the transatlantic revision[s]” (86) of Irving’s The Sketch Book (chapter 4) and Cooper’s The Pioneers (chapter 5) for the London market, for example, best illustrate just how “mutually illuminating” the “history of books and history of aesthetics” can be (8). Similarly, when Rezek brings to life long forgotten marginalia—written by American readers in response to negative portrayals of US culture by some prejudiced British travelers—he [End Page 395] makes good on his promise to let “readers take center stage as anonymous participants in transatlantic print culture” (151). In these ways, Rezek “tune[s] in to another archive” in order to “denaturalize texts” and expose “the contingencies that shaped them” (88). Less convincing are those moments in the book that tend to provide one master narrative, reiterated throughout, according to which the works by the book’s central novelists “banished politics” (18). In the case of Owenson, Edgeworth, and Scott, such evasions served to “mitigate the effects of distance between their subjects and their audience” (63). Irving and Cooper did so to “promote[] Anglo-American literary fellowship” (102) and “Anglo-American camaraderie” (116), respectively. In Rezek’s readings of Edgeworth’s and Owenson’s oeuvres, for example, the reader is asked to accept at face value the causality between the fact that both novelists often resort to narratives of cross-cultural encounter between Ireland and England and the book’s claim that such narratives necessarily symbolize these authors’ “idealized aesthetic relationship between an Irish writer” and the London marketplace, in general, and “her English readership,” in particular...

Історіографія маланюкознавства: регіоналізація дослідницьких практик

Native Malanyuk study structurally is composed of diasporic and continental options that have close connections. Historiographical study of this literary direction formation allowed to define a leading role and function of research strategies developed by scientists of independent Ukraine in the process of formation. Integration of Malanyuk’s personality and creativity in cultural and literary sphere of Ukraine started in the 1990s by publications of Slovak Ukrainian M. Nevrlogo and I. Dzyuba, who outlined the major strategic issues of this branch of literature. T. Salyga (Lviv) and L. Kutsenko (Kirovograd) actively participated in the same period in works popularizing of E. Malanyuk, their analytical thinking. There was a proper regional forming of Malanyuk study centers. Thus, T. Salyga from Lviv provided publication of Malanyuk’s lyrics in 1992 describing in the preface solutions to some problems of Malanyuk study. The problem of creativity of E. Malanyuk is also significant for Galicia scientists such as M. Ilnytsky, M. Krupach, L. Senyk, P. Ivanyshyn, O. Bagan and others. Writer’s heritage was considered by them in connection with the ideological and artistic phenomenon of visnykivstva, which required the study of aesthetic dimensions of national centric pathos and patriotism of Malanyuk’s lyrics, his ideosophia. Significant role in the native Malanyuk study played Kirovograd. L. Kutsenko, using cultural and geographical principle established fundamental monographic study of the artist creativity “Dominus Malanyuk: background and personality” where he actually reconstructed life and career of the writer. In addition, the scientist introduced into scientific turnover previously unprinted works of the artist (Russian poetry, “Black poetry”, journalism, notebooks, etc.). The peculiar ones were the studies of other scientists from Kirovograd region who complemented and expanded the range of problems of Malanyuk study (S. Barabash, G. Klochek, V. Marko, O. Golnyk). In 2005 there appears the largest in Ukraine Malanyuk’s publication of works of different genres “Return” (compiled by T. Salyga). The structure of the book contains a number of scientific works of L. Kutsenko showing successful integration of regional studies and scientific practices in national literary context. We can assume that this symbolic act of research centers symbiosis finally underlined the formation dynamics of Malanyuk study in Ukraine overcoming properly regional boundaries and becoming national dimension.

The Mediatized Zlatan, Made by Sweden

Abstract The present article analyses the mediatization of the brand and celebrity Zlatan Ibrahimović using the reception and marketing of the footballer’s life story and autobiography as its main case. It is shown that the construction of a myth such as Ibrahimović transcends the materiality of the book as well as geographical, vernacular and media boundaries, as it is constituted as content in a digital network that produces signification. This ‘Zlatan content’ is framed by national Swedish values and a traditional Western myth of individual masculine excellence. It is also marked by emotions, class and race, telling a tale about the marginalized emotive immigrant becoming both a national icon and part of an imaginary Western ghetto experience and global literary canon formation. It is argued that the performance of excitable speech acts is crucial in the mediatization and branding of mass market literature and celebrities such as Ibrahimović.

Return to Tiraboschi: On Italian Literary Canon Formation and National Identity

Abstract This essay traces the interrelationship between Italian literary canon formation and constructions of national identity in the literary histories of Girolamo Tiraboschi and Francesco De Sanctis. It examines both the ruptures and the continuities between eighteenth- and nineteenth-century literary historiography, analyzing the political, teleological agenda of De Sanctis’s Storia della letteratura italiana (1870–71) while revealing the equally powerful theoretical underpinnings of Tiraboschi’s vision of the Italian canon. Tiraboschi’s own Storia della letteratura italiana (1772–82; rev. and exp. 1789–94), because of its precise geographic grounding of literary phenomena, its conceptual proximity to what is now considered cultural studies, and its attention to minority writers, represents a more compelling model for contemporary Italian literary historiography than De Sanctis’s, which was developed for and in a different nationalist context.

한국여류문학상 이라는 제도와 1960년대 여성문학의 형성

한국여류문학상 이라는 제도와 1960년대 여성문학의 형성

BÖLL'S WAR: CATHOLIC INNER EMIGRATION, APOCALYPTIC DYSTOPIA, AND ‘STUNDE NULL’

ABSTRACTHeinrich Böll's stature in the canon of West German postwar literature grew out of his association with the so‐called cultural ‘Stunde Null’. Recent scholarship has questioned this commonplace paradigm, which suggests problematic distinctions between literature written before and after 1945 and inside and outside of the Third Reich. The posthumous publication of Böll's prewar juvenilia and wartime correspondence allows for new perspectives on his literary formation. This article demonstrates Böll's intellectual dependence on pan‐European interwar Catholic culture, in particular key German writers who became Christian ‘inner emigrants’ in the Third Reich. The motifs of this body of thought course through his wartime correspondence, so much so that his early postwar work deserves classification both as ‘Trümmerliteratur’ and as a continuation of the inner emigration. This continuity between Böll's pre‐ and post‐1945 thought contributes not just to our re‐reading of his oeuvre but also to a revision in inner emigration studies. The term deserves extension to include both writers who wrote against the grain of Nazi literary politics and their readers, with whom they formed a coherent interpretive community. Out of this shared discourse, Böll crafts a narrative of survival, foreseeing a kind of perpetual inner emigration in a dystopian and apostate postwar Germany.

Poems and Festivals, Art and Artefact and the Commemoration of Robert Burns, c.1844–c.1896

The following article examines the major Burns festivals of the nineteenth century, particularly the Ayr Festival of 1844, in the context of the wider creation of cultural memory through the monumental celebration of national heroes in these years. It argues both that what we now think of as Burns’ literary reputation was substantially created by iconic objects, celebrations and events, rather than literary criticism, and that the cultural memory of Burns was ultimately beyond the control of those who sought to stage-manage it. Given the centrality of Burns in Victorian Scotland, both conclusions have much wider implications both for literary canon formation and banal manifestations of cultural and national identity.

Tradição de Camões na poesia brasileira durante o Arcadismo ou a reinvenção do imaginário épico em O Uruguay de Basílio da Gama e n’O Caramuru de Santa Rita Durão

THE TRADITION OF CAMÕES IN BRAZILIAN POETRY DURING THE ARCADIC PERIOD OR THE EINVENTION OF THE EPIC IMAGINARY IN O URUGUAY BY BASÍLIO DA GAMA AND O CARAMURU BY SANTA RITA DURÃO
 In colonial Brazilian epic, exemplified in here by the poems O Uruguay (1769) by Basílio da Gama and Caramuru (1781) by José Santa Rita Durão the tradition of Os Lusíadas (1572) by Luís Vaz de Camões has been affirmed as strong literary influence, even though a new poetic attitude appears, one which exalts differences, narrating the heroic deeds of Brazil, consecrating the Brazilian soil and identifying its people, if not the construction of the paradigm of Brazilianism. In the scope of interest are the two poems which represent the ambiguity of the senses of construction and ideological expression, the Classicist and modern spirit, tradition and, before all, the break with the colonial ideology. The literary formation in Brazil seems to have been born out of the juxtaposition of the tradition of Os Lusíadas (1572) by Luís Vaz de Camões as one of the strongest factor in the process of formation of global Lusophone conscience and its gradual overcoming and substitution by national Brazilian models.

The Literary Dimension of the Absurd and Black Humour in Catch-22

In the center of this article, it is going to be a literary movement which was named absurdism, theatre of the absurd, articulates the meaninglessness of the total existence. Such meaninglessness deprives you from any importance human existence as in his overall personality also in his particular personality display, in every act, feeling and effort. As a literary trend, absurd belongs more to a literary formation order, which makes it different from many simultaneous activities and other literary movements in XX century, which found themselves in different forms of art- in paintings, music, cinamtography, sculpture, as there is on the one hand e.g symbolism, impressionism, expressionism, on the other hand, there is grotesque, montage, colazh etc. Secondly, this article will treat the ways how these tropes are elaborated by the postmodernist writers beginning from the ealier ones up to the latest representative authors such as J. Heller, K. Vonnegut, J. Hox, A. Jarrie etc. How do these writers reflect through their powerful word of art in their works? Thirdly, this article will deal with the efforts to be released from the “tyrany” of words and by the oppressivness of traditional literary contexts part of this, and “antiliterarism” as its distinguished trait. Finally,it is going to be concluded by the evaluation of significant critics and reviews, that will makes us understand better what happens especially seen from the Heller “Catch-22” point of view, and realizing major postmodern elements such as Black humor, grotesque, parody , irony , sarcasm etc. DOI: 10.5901/mjss.2013.v4n9p376

The Qumran Scrolls of the Book of Judges: Literary Formation, Textual Criticism, and Historical Linguistics

This is a pilot attempt to combine literary-critical, text-critical, and historical linguistic approaches in an analysis of selected linguistic variants between the MT and DSS with an application to the book of Judges. The result of this interdisciplinary exercise is that future research on the history of BH will have to contend more earnestly with the “fluidity” (or “changeability”) of language and the “non-directionality” (or “patternlessness”) of linguistic variants in biblical texts.

The Qumran Scrolls of the Book of Judges: Literary Formation, Textual Criticism, and Historical Linguistics

This is a pilot attempt to combine literary-critical, text-critical, and historical linguistic approaches in an analysis of selected linguistic variants between the MT and DSS with an application to the book of Judges. The result of this interdisciplinary exercise is that future research on the history of BH will have to contend more earnestly with the “fluidity” (or “changeability”) of language and the “non-directionality” (or “patternlessness”) of linguistic variants in biblical texts.

Homer’s Influence on Naim Frashëri’s Poem ‘History of Skanderbeg’

Naim Frasheri—the most ardent sonneteer of the beauty and antiquity of Albanian language, of his fatherland’s countryside, of the charm and antiquity of Albania’s most gorgeous cities and locations, of its national historical figures, of its lofty ideals of freedom, independence, and education—is certainly the apostle of the Albanian people’s newly-found faith in its literature and cultural history. The Naimian literary work is an oeuvre of high purposes and values, in that it “seeks and finds its purpose in the outside self”; it is “the esthetic, moral and meaningful nimbus” of the great Albanian Renaissance Literature, but not only.(Qosja 2000). Naim’s influence on Albanian writers has been and will continue to be extraordinary. From the time he was alive, many of his verses were set to music and performed as folk songs, while bringing the Albanian language up to the level of a beautifully weaved literary language. An interesting object of study for the experienced and new researcher alike would be the influence of Greek and Roman antiquity and philosophy on the poet’s humanist and literary formation, even though an Eastern influence appeared to be stronger. In comparative studies, Naim has often been aligned with Hesiod or some other ancient poet, but unfortunately we see a serious void and absence in illuminating this brilliant figure. More than other Greek and Roman writings, Naim studied and estimated Homer’s writings. Homer would become his true guide in the world of epic poetry. DOI: 10.5901/mjss.2013.v4n4p235

Stefanie Preuss. A Scottish National Canon? Processes of Literary Canon Formation in Scotland

Stefanie Preuss. A Scottish National Canon? Processes of Literary Canon Formation in Scotland

Preuss, Stefanie. 2012. A Scottish National Canon? Processes of Literary Canon Formation in Scotland

Preuss, Stefanie. 2012. A Scottish National Canon? Processes of Literary Canon Formation in Scotland

한문성경 『대표본』 (代表本, 1854)의 번역 특징 : 전도서를 중심으로

The Chinese Delegates’ Version, which was released in China in 1854, can be called “Classical Chinese Targum.” Most of all, this Wenli Bible freely quotes and rewrites from Chinese Classics, when translating the Hebrew Bible. Ecclesiastes 7:14 can be taken as one of the preeminent example of it: 福來可喜, 禍至可廬, 上帝使二者迭相倚伏, ?人不能逆料. The sentence can be read, “We can be joyous, when good fortune comes. We can be worried about, when bad fortune arrives.” Interestingly, the wordings and dicta of Ecclesiastes of the Delegates’ Version are so similar to that of Tao Te Ching. The Wang Pi’s Edition(王弼本) of Tao Te Ching(道德經) reads “禍兮福所倚, 福兮禍所伏, 孰能其極”(ch. 58), which means “Bad fortune is what good fortune leans on. Good fortune is what bad fortune hides in. Who knows the ultimate end of this process?” (John C. H. Wu) Both Delegates’ Version and Tao Te Ching share with each other the important terms like “福”(fu, 복), “禍”(huo, 화), “倚”(y?, 의) and “伏”(fu, 복). As such, when reading the Delegates’ Version, we might feel that we read Chinese Classics together due to their similar wordings and expressions.<BR> Some of characteristics of the Aramaic Targum can be termed “addition,” “substitution,” and “rewriting,” according to Philip Alexander. (Anchor Bible Dictionary vol. 6, p. 329). The Chinese Delegates’ Version shows the similar features to Aramaic Targum. For example, the catch-phrase of the book of Qoheleth in the Wenli Bible can be “空之又空, 虛之又虛,” which occurs in 1:2 and 12:8, because it forms an inclusio within the whole book of Qoheleth. It can be literally read, “Empty and again empty. Vain and again vain,” or the like. This Chinese expression is quite close to that of Tao Te Ching in terms of its literary formation, when we read chapter one: 玄之又玄. (“Mystery and again mystery”). We can get to know that “空之又空, 虛之又虛” shows us addition, substitution and rewriting, when we read it in Hebrew originals.<BR> The Masoretic text of Qoheleth reads in 1:2, “h?v?l h?v?lim ’?mar qohelet h?v?l h?v?lim hakol h?vel,” which literally means “The vanity of vanities, says Qoheleth, the vanity of vanities. Everything is vain.” This phrase is somewhat different from 12:8. There the second “the vanity of vanities” is omitted, but the Delegates’ version has the same expression in both verses. It seems likely that this kind of reading in the Wenli Bible presumably refers to rewriting in order to emphasize on inclusio as its literary structure within the whole book of Qoheleth. At the same times the wordings in both 1:2 and 12:8 follow the Classical Chinese expressions and rhymes as well.<BR> Over all, the Chinese Delegates’ Version seems to faithfully follow the functional equivalence by Eugene A. Nida, even though it was issued 100 years before the coming out of his theory. From the perspectives of communication theory, it definitely successful in delivering the biblical message to the East Asian people of the literates in that far more than 70 reprints had been showed up in China up until the 1930’s.

Peripheral Visions? Literary Canon Formation in Revolutionary Cuba

Peripheral Visions? Literary Canon Formation in Revolutionary Cuba