Literary Intention Research Articles

Süezer smac. Gardens as a refuge for leisure in literature of the Middle Ages

The depictions of gardens in literary texts from the Middle Ages are not aimed at mimetic referentialization, but represent mental concepts, i.e. conceptions, ideas or imaginations that are shaped by very different literary intentions and contexts. Intertextual references, i.e. the connection to the tradition of the literary field, as well as functions within diegesis play an important role in their interpretation as places of action. Therefore, the tradition of depicting gardens (ancient literature, the Bible) and the inner-literary functions of the garden as a setting (place of relaxation/leisure, sexual seduction, harmonious/disharmonious interaction with nature, etc.) and its symbolisations are taken into account in the article. The investigation focuses on the dichotomous evaluation of the garden as a place of auspiciousness and at the same time of sensual seduction. Right from the start, the vernacular literature of the Middle Ages was not only an affirmative medium of aristocratic representation and community building, in which gardens were portrayed in their positive functionality as recreational spaces, but also one of the most important media of aristocratic self-criticism based on Christian values. These Christian values condemn the pleasures of the worldly man as manifestations of an Epicurean way of life.

İbni Sîrîn’den Tercüme Edilen Bir Rüya Tabîr-Nâmesi

The works on the interpretation of dreams in our literature are known as “tabîr-namah” and most of them are translations from some Arabic works. In particular, the work Ta’bîrü’r-rüyâ by Ibn Sîrîn (d. 729) of Basra is the most widely translated into Turkish. These texts, most of which are written in prose in a language that even today's people can easily understand, briefly explain the meaning of dreams, what to do to reverse the dream, and whether the dream is good or bad for the future in a style free of literary intentions. There are hundreds of such works in manuscript libraries. A tabîr-namah, which is not mentioned in the literature, is the subject of this article. The work in question, whose translator is unknown, is a brief tabîr-namah apparently translated from Ibn Sîrîn. It is estimated to have been written in the 15th-16th centuries, towards the end of the Old Anatolian Turkish period. In the tabîr-namah, the phrase “if ... sees” is used to describe around 300 dreams with various possibilities. In our study, this tabîr-namah, which is recorded between leaves 1b-5b of a 27-variety mecmua registered in Süleymaniye Library, Hacı Mahmud Efendi Collection, 06241-001, has been introduced, analyzed and transferred from Arabic letters to Latin alphabet and presented to the use of researchers. Keywords: Ibn Sîrîn, dream, interpretation, translation, Old Anatolian Turkish

„Toczy się ciemna rzeka”. Aporie i ambiwalencje "Nokturnu" drugiego Władysława Sebyły

Władysław Sebyła’s Second "Nocturne" is a major chord in this partly literary, partly musical series of poems. The author of the article tries to unravel the mystery of the dark tones and black color that dominate the tenor and landscapes of this text. The “aporias and ambivalences” mentioned in the title are the key to the semantics of this represented world. The analysis of individual lines shows their compositional dominant and great carrying power of meanings. Aporia, which is a semantic vortex, and ambivalence, which always sees the two opposing banks of this metaphorical river, illustrate well the literary intention of Sebyła and the interpretative intent of the author of the article.

The Translation Gap in Moment in Peking and its Metaphor of Identities

Lin Yutang adopted two translation methods at the same time, including foreignizing and domesticating, to demonstrate the names of the female roles in Moment in Peking, forming an obvious translation differences in the text. As the subject of the writing and translation process, Lin Yutang took use of this language difference to suggest the identity symbols behind the characters, implies the social and cultural identities of them. Combining their words and deeds, personalities in the life and their destinies, Lin Yutang tried to reveal the social reality of modern China , showing the fusion and conflict of Chinese and Western cultures in the wave of cultural change, calling for the transformation of social thought so as to realize his literary intentions.

Ekphrasis in V. Shukshin’s story Pedestal

An attempt is made to analyze the ekphrasis of Shukshin's story Pedestal. Intertextual, compositional, plot-forming techniques in the construction of ekphrasis are revealed, its poetic and semiotic functions are determined. Ekphrasis is a phenomenon is not that typical of Shukshin's prose, but at the same time has a definite specificity. In Shukshin's literary paradigm, ekphrasis-symbol prevails. Shukshin's literary intentions are always a synergetic means to intensify the narration, which, with the help of the visualization effect, can be included into other, not textual discourses. The double mimesis thus contributes to the compactness of the form and the content expansion of the writer's works. At the same time, it is important that Shukshin's ekphrasis is mainly dialogical (constructed with a change of viewer positions – author, critic, observer, etc.) and non-mimetic – it does not contain references to the real author or work, but is created directly in the text. In the Pedestal ekphrasis acts not only as a philosophical generalization of the problems of creativity, the artistic experience of the author himself, but also represents a complex of immanent allusions that overcomes the boundaries of a literary work up to the extensive field of culture.

THE CONTEXTS OF KYIV ROMANTICISM: ‘UKRAINIAN GERMAN’ MYKOLA HULAK

The paper highlights the personal profile of the Cyril and Methodius Brotherhood member M. Hulak. The main focus is on studying his contribution to the development of Ukrainian romanticism. The tools of the theory of literary life allowed finding the optimal theoretical approach for systematization and comprehension of the available research materials. The biographical and cultural-aesthetic context plays an important role, emphasizing a number of essential aspects of the activity undertaken by the Cyril and Methodius Brotherhood. The research material also includes facts concerning education, social skills, and life principles that M. Hulak acquired in his university days. In the work, the study of Hulak’s education and national-cultural identity agrees with the understanding of his romantic interests, in particular his special interest in folk customary law and the peculiarities of the national character.
 The paper aims to determine the main circle of Hulak’s Kyiv acquaintances, characterizes his important organizational, educational, and scholarly initiatives, clarifies the psychological motives of these actions. As far as it is possible, based on some facts and indirect evidence, the literary intentions of M. Hulak, not fully realized due to the arrests of the members of the Cyril and Methodius Brotherhood in 1847, have been analyzed. The cultural ideas adopted during his studies at the university, combined with romantic self-awareness, significantly determined the features of aesthetically marked behavior. The manifestations of romantic irony and grotesque were the key features of M. Hulak’s personal positioning in his communication with the investigators.

Anthony Burgess, Obscenity, and America

ABSTRACT Fifty years ago, in December 1971, Stanley Kubrick’s A Clockwork Orange premiered in America, releasing nationwide in January 1972, causing the British author of the novel, Anthony Burgess, to be routinely called upon to discuss the topic of violence and obscenity in society. What many observers continue to overlook is that Burgess had been writing and speaking about these topics for close to a decade before the release of the film and its effects on popular culture. Using newly discovered archival and historical materials concerning his time in the United States, and being informed by Burgess’s entire canon, this essay details the untold story of Anthony Burgess’s long and particularly American association with and commentary on the topic of pornography as it related to contemporary cultural debates about obscenity, censorship, and literary and nonliterary intentions in the 1960s, 1970s, and 1980s. The findings of such research and analysis, it is argued, are crucial not only for understanding Burgess’s aesthetics and the evolution of discourse surrounding pornography in the second half of the twentieth century but also for better understanding and contextualizing American culture at the time.

What We Talk About When We Talk About Author-Editor Relationships: Collaboration and Intention in the Production of Twentieth-Century Literary Texts

This article is an examination of the author–editor relationship as it relates to the production of literary texts in the twentieth century. It begins by rejecting the dominance of the false romantic ontology in literary and textual criticism, which has obscured the production of texts and the editor’s role therein. The invisibility of the editor is then connected to editing in practice and contemporary research on editing studies. Gaps in the research reveal the need for further examination into author–editor relationships in order add nuance to how autonomy functions within them, and to develop an ontology of collaboration in textual production. This is done using qualitative and historical research methods to examine a chosen historical case: Raymond Carver and Gordon Lish. The study’s analysis of the case is framed by field theory and a sociology of culture, which underpin the study’s proposed model of the field of literary authors and editors. The field’s scope is restricted to Anglo-American literary textual production between the 1940s-1980s and focuses on the relation between symbolic and cultural capital and the position of influence of authors and editors in the literary field. The historical case of Carver and Lish is used to examine the application of the field in textual production in practice. Beginning with Carver’s pre-Lish production and tracing their collaboration through to its dissolution, the study is able to trace the effects of their changing positions in the field on their collaboration and textual production, and from this, draw conclusions about the nature of authors’ negotiations between their literary and social intentions. The analysis closes with a discussion of Lish’s qualities in relation to the wider field of editors. The article concludes that textual production, regardless of the author’s possession of cultural capital, is inherently social and collaborative, though the extent and source of editorial intervention may vary. It, therefore, calls for the death of the romantic author and a new approach to literary and textual criticism. Finally, it suggests further areas for research, including other factors such as race/ethnicity or gender, which may also influence authorial negotiations with editors and their textual production. Most importantly, the underlying power structures of the literary field revealed in this article are evidence that the literary canon must be reconsidered.

Re-thinking McOndo and its Canonization

ABSTRACT Through Pascale Casanova’s theory and methodology of world literary space the McOndo intervention and its process of canonization can be rethought beyond prevailing interpretations and misinterpretations. Through micro- and macro-analysis of the literary context which McOndo intervenes into, its various interventions (here explored exclusively in its prologue), its reception and analysis of its critical production, and informed by interviews with the editors and contributors, the literary value of this polemical Pan-Hispanic short-story anthology can be reconsidered. Here McOndo’s profoundly literary intentions come to the fore as a fundamental regional expression of isolated but comparable projects carried out by a whole generation of writers attempting to step out of the shadow of the Spanish American literary Boom, reject magical realism and the resulting international horizon of expectation, seeking to create a more autonomous literary space for Spanish American writers and assert their own position within the Latin American literary canon.

THE SYMBOLIC FUNCTION OF IMPERIAL SIGNS AND IMAGES IN THE LITERARY WORK OF ISMAIL KADARE

THE SYMBOLIC FUNCTION OF IMPERIAL SIGNS AND IMAGES IN THE LITERARY WORK OF ISMAIL KADARE The literary work of Ismail Kadare is overloaded with signs, images and what this essay terms “imperial figures.” Imperial figures in our usage of the signs of empires marked upon the past, often continue to resonate in the present. Kadare’s poetry, and even more his prose, overwhelms the reader with structures, symbols, details and imperial subjects. In their entirety, these signs of historical, ideological and cultural character originate from various Roman, Ottoman, fascist and communist sources, and deliberately intrigue reading from the socio-political aspect, which is oriented through allusive, confrontational and propositional mechanisms. Our study analyses the literary functions of imperial signs and images in some of the author’s novels. By assuming that the implication of imperial images and signs in Kadare’s books is a characteristic of his style, we also aim to explore, through the investigation of specific examples, the essence of literary intent and perceptual projection which stems from their frequent use. The paper shows that Kadare draws deeply from cultureembedded values, invoking the reader’s desire to make meaning or interpret signs and images in order to associate his fictionalized imperial signs with his depiction of Albania’s history.

СИНТЕЗ ВОСТОЧНОГО И ЧУВАШСКОГО В ПОЭМЕ В. КЕРВЕНЯ «ЛЮДИ»

The article is devoted to the analysis of the combination of the Oriental and Chuvash lore traditions in the modern Chuvash literature. The subject of the research is the poem “Çынсем” (“People”) by V. Kerven. It is ascertained that in the work, the story basis is connected with the depiction of the hero Kayano’s life; the introduction of the publicistic and philosophical principle allows conveying reflections on the small-numbered indigenous peoples’ fate. The literary intention is identified through the use of legends and lore plots, the descriptions of rituals, and the peculiarities of the worldview. The authors reveal that through the story of the Oriental people’s fate the writer shows the problems of the Chuvash reality.

In Kleio’s and Melpomene’s service: Simonas Daukantas in literary scholarship and poetry

Simonas Daukantas is not only the canonical historian of Lithuania who wrote its first history in the native language but also the subject of a myth that began to be created in the 19th century and continues to our own day. The conditions for this myth to arise are due to Daukantas’s personality, his way of life, his literary intentions, and the nature of his texts. As a historian he does not restrict himself to his scholarly interests but vividly and emotionally expresses his relationship to his nation, reveals the myth of its Genesis, recreates the period of its harmonious existence, and shows the moments of its destruction, thus reiterating the essential mythical models. The mythologization of Daukantas himself was influenced by his varying reception in literary and historical studies, poetical texts, and public discourse. This paper aims to show how the way Daukantas is treated in the scholarly literature is guided not only by scholarly interests but also by the dominant ideologies, and how this is connected to issues of historical self-consciousness and national identity.

Los ecos de la ausencia. Sobre la traducción del Agamenón de Esquilo por Ferdinand de Saussure

Este artículo aborda la traducción, realizada por Ferdinand de Saussure, de Agamenón, la tragedia de Esquilo. Mediante la comparación con otras traducciones al francés, observamos el doble mecanismo de la condensación-diseminación, que le permite al traductor escribir una versión especialmente plástica de las imágenes poéticas del dramaturgo. Teniendo en cuenta la condensación-diseminación de los rasgos presentes y la de los rasgos ausentes, estos últimos evocados con combinaciones sintagmáticas estudiadas, el traductor se apropia además de la intención literaria del autor, y logra hacer experimentar al lector lo que este pudo haber descrito en su tiempo. El proceso desarrollado por Saussure es especialmente interesante por la conjunción entre su teoría lingüística, su estilo de escritura y su quehacer traductor y pedagógico. Por esto, esta traducción también expresa la didáctica del profesor traductor, basada en dos etapas cronológicas, que se pueden vincular con dos teorías traductológicas, la del sentido y la del skopos.

Koiné y aticismo en el tratado de Galeno Sobre los procedimientos anatómicos

El tratado Sobre los procedimientos anatómicos ofrece un extenso corpus para el estudio de la lengua literaria de Galeno. La naturaleza de ésta ha sido alineada tanto en las filas de un aticismo moderado como en las del antiaticismo. Frente a esta segunda opción, que abunda en la definición de la obra desde una óptica que excluye todo fin literario de la misma, los frecuentes recursos retóricos muestran un buen conocimiento de la prosa artística por parte de nuestro autor. Ahora bien, el análisis de la lengua demuestra que está basada en la koiné no literaria.

O (dez)iluzji oraz drogach i bezdrożach przeznaczenia w "Ofierze królewny" Jana Lemańskiego

The article analyses the phenomenon of identity crisis in a “modern man” (“at the threshold of modernity”). Lemański employs a fairy-tale convention, the result, however, is an anti-fairy-tale (to use Anna Czabanowska – Wróbel’s term). Irony, laughter or grotesque elements suggest that the literary intention of the author of Bajki was an interesting commentary on reality (critics, including Zenon Przesmycki, pointed the renaissance of fairy tales found in modernist literature). Lemański’s work is characterised by a somewhat careless approach to the form, which becomes the principle describing the world represented. The theme of destiny, the topos of wandering as well as initiation themes match the fairy-tale convention, albeit processed in an interesting way.

The Baltic and Arabic Character of the Sovius Tale. The Origins of the Mythonym

The object of the article is the tale of Sovius, the origins of which (whether oral or written – translated) still inspire heated debates. The mythic personal name Sovius should be regarded as an artificial construction, and its appearance attributed to a mistaken deciphering of the copied original, as result of which the first syllable of the possessive adjective  was interpreted as the aorist of the verb ‘to be’, while the rest of the adjective – as a name:   >    >   . The name of questionable authenticity is not part the folkloric narrative itself, since it is found before and after the etiological legend, i.e. in the portions of text where the literary intentions of the author are expressed.Functioning of such a “name” is determined by the euhemerism of the written monument of the 1262. The first sentence    is a continuation of the literary title: *            “The tale of the pagan fallacy, this Sovius is called god, [although] Sovius was a man”. The deductive conclusion follows: Sovius is called god – Sovius was a man → man is called god. The hitherto established statement that folklore piece starts with words    “Sovius was a man” is bound to be corrected. The beginning of the etiological tale should reasonably be related to the following fragment of text:     “when he caught the wild boar…”Discussions of the possible written sources are lacking in argumentation based on textual analysis, since there is considerable shortage of the written artefacts that could be paralleled to the Sovius tale in terms of their narrative structure and semantics. Folklorists possess such textual parallels in their store – primarily, the Lithuanian tale “Rooms in Heaven” (AT 802*). The oral nature of the narrative in question is supported by the chronograph itself. The title of its 18th chapter *         “The tale of the pagan fallacy, this Sovius is called god” contains an important indication of the genre  “something that exists orally, that is told”. The notion  lays and obligation on the modern researchers to use and consider primarily this authentic denomination.

Revelation: A New Covenant Commentary by Gordon D. Fee

Reviewed by: Revelation: A New Covenant Commentaryby Gordon D. Fee Margaret Mollett Fee, Gordon D. 2013. Revelation: A New Covenant Commentary. 2ded. Cambridge: The Lutterworth Press. Paperback. ISBN 978-07188928071. Pp. 332. ₤27.50. Gordon Fee, a seasoned theologian, NT scholar and textual critic has capped the New Covenant Commentary Series with a commentary on the book of Revelation. It was first released in 2010 by Cascade Books, a division of Wipf and Stock Publishers, Eugene, Oregon, USA. Fee’s commentary differs from other commentaries on the book of Revelation in that he does not cite any scholarly works, although he does include a selected bibliography divided into “Useful commentaries on Revelation” and “Special Studies.” After recalling in the preface that two students whom he asked to analyse the exegesis of Hal Lindsey’s Late Great Planet Earthhad found that there is “not a single exegetical moment in the entire book,” Fee states his literary intention: The purpose of the present book is therefore singular: to offer one New Testament scholar’s exegetical reading of a text, with very little concern for anything except to help people hear it for the word of God that it is. And therefore none of the so-called alternative ways of understanding the book will hereafter be mentioned in this book. (ix) However, as an exception, Fee expressly follows the lead of Craig Koester ( Revelation and the End of All Things; Grand Rapids: Eerdmans, 2001) as a window through which analogies “between us and them” are summarised (62). Given the intricate and colourful canvas of Revelation, a chapter-by-chapter comment on Fee’s commentary is unsuitable for this review; it is more advisable to focus on his exegetical viewpoints, concerns and expectations. These have been culled from the Preface and Introduction but also from an interview that took place before publication of the book, namely “Gordon Fee on Dispensationalists reading of the Book of Revelation” (Posted August 4, 2010. Online: https://nleaven.wordpress.com/2010/08/04/gordon-fee-on-dispensationalism/). Expressing his concern that exegesis should lead to theological understanding Fee asks: [W]hat does it mean for God and his Christ: to be the one and only sovereign(s) in a universe in which others compete for [End Page 192]sovereignty and worship; and what does it mean for contemporary people of God to be a countercultural alternative in such a world, just as John himself was, and was encouraging us to be? (x) He endorses John’s recognition that Christian theology should lead to doxology: “That is, descriptions of God that do not lead to worship of God might be intellectually useful but they are unrelated to biblical reality; and biblical reality is what John wants his readers to hear” (ix). According to Fee it is imperative that the Bible not only be studiedbut also read well, and this requires knowledge of the genre one is reading, in this case Revelation. Too often, he insists, the books are all read at the same level and therefore out of context; readers using the King James version are inclined to seeing verses as paragraphs and do not think of the text as narrative, or parable or any other genre. Fee’s dictum is, “Get rid of the numbers, and you can read the Scriptures.” Following the mode of the New Covenant Commentary Series, Fee does not give a verse-by-verse commentary “but instead focuses on larger units of texts in order to explicate and interpret the story” (front matter). In overcoming a disjointed reading of paragraphs due to numbering, Fee illustrates in the chapter, “Revelation 19:11-21–20:15,” how the two paragraphs, both of which begin with “I saw” are “best understood together as an interlude between the divine overthrow of the unholy triumvirate (Satan, the empire, the cult of the emperor) delineated in 19:11–21 and the final judgment of all evil, both demonic and human in 20:7–15.” (270–280). The “thousand-year hiatus” is only there to assure the martyrs that they are divinely being taken care of (280). But how is the commentary presented to the reader? Fee comments...

A Study on the Literary Intention of the Baekyeon(白蓮) Poetical Circle

A Study on the Literary Intention of the Baekyeon(白蓮) Poetical Circle

The Korea Magazine의 출판 상황과 문학적 관심

The Korea Magazine의 출판 상황과 문학적 관심

The Korea Magazine의 출판 상황과 문학적 관심

The Korea Magazine의 출판 상황과 문학적 관심