Literary Men Research Articles

Sigla Effe, editore genovese di Mio padre comandante di Fiume di Mario d’Annunzio

The collection Carte Tito Rosina, preserved in the Biblioteca universitaria of Genoa, contains the correspondence between Tiro Rosina (a genoese literary man), Ernesto Fassio and Gambaro (the first was the owner and the second the Director of Sigla Effe, a publisher in Genova). In the letters we can find the informations about a book by Mario d’Annunzio. This book is the way to discover Sigla Effe history and production.

Сюжет «начинающая писательница-провинциалка – известный литератор» в беллетристике середины XIX века (роман Н. Д. Хвощинской «Встреча»)

Сюжет «начинающая писательница-провинциалка – известный литератор» в беллетристике середины XIX века (роман Н. Д. Хвощинской «Встреча»)

“The one question is not what you mean but what you do”: Michael Field’s Ekphrastic Verse

“The one question is not what you mean but what you do”: Michael Field’s Ekphrastic Verse Dominique Gracia (bio) As poets, dramatists, and life writers, Michael Field (Katherine Bradley and Edith Cooper) have already been much rehabilitated into the late-nineteenth-century canon, with conferences, critical essays, collected editions, and monographs dedicated to their work. Sight and Song (1892) has attracted particular attention.1 Twenty-first-century critics have highlighted the revolutionary aspirations of that volume but tend not to dwell on the fact that the volume consolidates the downturn in Michael Field’s literary career begun by their preceding verse drama, The Tragic Mary (1890). Through three comparative analyses of poems from Sight and Song with poems from Algernon Charles Swinburne’s First Series, I examine the possible aesthetic reasons for the (arguably justifiably) lukewarm response from those contemporary aesthetes and art critics whom Michael Field had most wished to impress with their efforts to challenge existing aesthetic practice and produce an original poetics.2 In doing so, I highlight how the volume reflects the aesthetic and creative hurdles that Michael Field faced operating in that strongly male homosocial milieu. In brief, I argue that Michael Field’s ekphrastic poetry suffers because of their preemptive efforts to insulate themselves from the gendered criticism that their lived experiences had conditioned them to expect. Michael Field failed to distinguish themselves as fin-de-siècle art critics—and to repair their reputation as poets3—with Sight and Song precisely because they were so eager to do so. Sight and Song sought to establish its poems as representative of how one should respond to art objects, as a model to be followed, but comes instead to exude a Stimmung of fixity that found little favor with the contemporaries whose decisive aesthetic judgments Michael Field were aping. I here deploy Hans Ulrich Gumbrecht’s theory of Stimmung as a pervasive mood that emerges from the reading of a text, even centuries after its writing, which he associates in particular with the fin de siècle. For moods to become so pervasive that they are “articulated in texts other than on the level [End Page 345] of representation,” Gumbrecht argues that there must be a “requisite density of feeling” in the social context around their production that amounts to “forms and tones” becoming “‘charged,’ as if by electricity.” That is to say, wherever we detect a Stimmung, whatever it might be, “we may assume that a primary experience has occurred [to the author] to the point of becoming a preconscious reflex.”4 Sight and Song’s Stimmung of fixity, in respect of both art interpretation and representation, I argue, reflects a “preconscious reflex” in Michael Field, conditioned by their experiences of being aesthetically instructed and corrected by Walter Pater, John Ruskin, Bernard Berenson, and others.5 The forms of art criticism prevalent during the late-nineteenth century, such as the public lecture or published commentary, were strongly associated with masculinity. Although numerous studies have highlighted the growing participation of women in the field in the second half of the nineteenth century,6 it remains true that “the Victorian art critic’s voice as a public noise can be generalized as a male voice, and those individual critics whose voices have been distinguished from the chorus by later generations . . . were all men.”7 To Swinburne, as Stefano Evangelista suggests, “the art gallery is a workshop in which the sensibility of the literary man is modified by its sensuous experience of the visual arts in their material form.”8 As women, however, Michael Field seem to have been more used to having their aesthetic sensibilities “modified” not just by their encounters with art objects but also by male counterparts. Cooper records an experience of being under the pressure of possible “modification” from such a “male voice” when visiting the National Gallery with Berenson, Mary Costelloe, and others: “we are taken to the Giorgione—in the dimness I cannot find out which is the picture—I mistake it and try to work up enthusiasm for a poor figure above,” reflecting, she says, “what an awful element of sham there is in mortals.”9 My...

The Ghost Amusement Scroll by Luo Ping (1733~1799)

Luo Ping, a representative artist of the Yangzhou painting school, produced a wide range of paintings. Li Dou (1749~1817), who was closely associated with artists of the region, mentions highly of Luo: “[He] learned how to paint plum blossoms from Jin Nong (1687~1763) and later produced Daoist and Buddhist figure paintings in the manner of old masters. One of his achievements is the Ghost Amusement, now on everyone’s lips.” The comment by the author of Yangzhou huafang lu (Chronicles of the Painted Barques of Yangzhou) that the Ghost scroll has received remarkable attentions leads this essay to assign great scholarly considerations to understanding the celebrated scroll. After taking a brief look at Luo’s life and career, thus the essay first explores the context of the widespread production of ghost paintings in Yangzhou. It then goes on to discuss the art-historical significance of the Ghost scroll while analyzing pictorial motifs in each scene and its colophons. This paper also examines the import of the scroll in the history of cultural exchange between Korea and China as Korean literary travellers have left many written accounts about the scroll. Ghost paintings have a long tradition, as old as recorded in the Han Feizi from the third century, but they were particularly favored by Yangzhou artists who liked to depict strange and unusual subject-matters. The Ghost Amusement scroll by Luo Ping (now in the P.T. Huo collection in Hong Kong) comprising eight pictures and 127 colophons epitomizes, due to its monumentality, the vogue for painting the apparitional beings in Yangzhou. While the scroll comes likely from no later than 1766, the dates of the colophons by leading literary men are largely concentrated on the periods of Luos’ first sojourn in Beijing (1771~1773) and the third (1790~1798). The afterlives of the scroll suggest that Luo the itinerant artist between Beijing and Yangzhou took great advantage of his work in affiliating himself with prestigious Beijing elites. Luo Ping incorporates light washes and exquisite strokes to distinctively render a visionary realm of ghosts while imbuing the scroll with preexisting popular ghost motifs of the Qing period. The Ghost scroll facilitates an allegorical reading, associating the demoniac deformity with vile and foul human behaviors or alluding to worldly corruptions by setting up a hierarchy between a slave ghost and his master. The social commentary implied in the scroll aligns itself with thematic concerns underlying a wealth of supernatural stories from the period, the notable collections of which include Liaozhai zhiyi (Liaozhai’s Records of the Strange), Zibuyu (What the Master Would Not Discuss), and Yuewei caotang biji (Random Jottings from the Cottage of Careful Scrutiny). The parallels between the scroll and the literature show that the Ghost Amusement scroll is not inseparable from the social and cultural milieu of the eighteenth century.

A Deconstructive Reading of Dickinson’s Poetic Texts

Deconstruction, as a critical theory, maintains that language is a system of signs and, more precisely, a system of oppositions, differences and contradictions. Accordingly, the theory is operative in the sense that meanings are ultimately, unstable, and that a text, any text, contradicts, dismantles and even destroys itself. Hence, literary texts do not work as they appear to be working. They, in fact, ‘subvert’ and/or ‘betray’ themselves. Literary men cannot, therefore, control their works because any work, according to Derrida, the exponent of this theory, tries to defer or suppress its meaning which is ultimately shown as being unstable. Poetry is a unique act and Dickinson’s poetry reveals its gaps, inherent oppositions, and subversions. It is in the light of the theory of deconstruction that this paper tries to show that Dickinson’s poems ‘I’m wife’, ‘This is my Letter to the World’ and ‘Hope is the Thing with Feathers’ unmask their contradictions and enact the instability and indeterminacy of their meanings. Eventually, the newly established meanings of these pieces can hardly be sure of themselves and/or of being decidable.

Dīwān Rasāʾil al-Ṣābī, by Abū Isḥāq Ibrāhīm ibn Hillīl ibn Ibrāhīm ibn Zahrūn al-Kātib (384 AH./994 CE.), ed. Ihsan Dhanoun al-Thāmirī

(First paragraph) Books written in various periods of Islamic history are accepted as primary sources for their respective periods, notably those written by clerks (kātibs) of dīwāns and by persons who served in the state´s institutions or who were close friends with the senior officials of the state. These include letters written by ʿAbd al-Ḥamīd al-Kātib (d. 132/750), the clerk of Marwān II (127-132/744-750), the last Umayyad caliph; Ibn al-Muqaffāʾ, a witness of the transition period from the Umayyads to the ʿAbbāsids; Ibn al-Mowṣalāyā (d. 497/1104), who served as a man of letters (kātib) in Dīwān al-inshāʾ for over fifty years beginning from the era of al-Qāim bi-Amr Allāh (422-467/1031-1075) and Abū Isḥāq al-Ṣābī, a member of the al-Ṣābī family recognized in training adībs (literary men) and kātibs in the 4th/10th and the 5th/11th centuries.

백곡처능(白谷處能)의 생애와 호법(護法)활동*

This study examines the life and activities of Baekgok-Cheoneung in a Buddhist monk of the late Joseon Dynasty and differs from his Buddhist guardian and Buddhist protections. His name was Jun, and he attended Uihyun, the student of Byukam-Gakseong in a Buddhist monk, and studied Confucianism for four years to Shin Ik-sung, a literary man of the time. Then he studied in Byukam-Gakseong for 20 years. While staying at temples in Suncheon and Jeonju Songgwangsa, Hwaeom Temple, Haeinsa, and Beopju Temple, he praised the prehistoric image of Jinul, an auxiliary Korean temple. He wanted to stay at Ansim temple for the longest time to revive Buddhism, and died in his later years after Sanrimbyubhoe at Geumsan Temple in Gimje. Baekgok tried to protect Buddhism by publishing the Buddhist scriptures of the Buddhist monk Huh Eung-bowu and his selection. He disseminated Buddhist rituals by publishing Buddhist books such as "Chunseokmunjeok" by his teacher, Byukam. At the time of the strengthened Buddhist oppression, there were the removal of monks, and the removal of the Buddhist temple, Bongeunsa and Bongseon Temple, and There was the abolition of the temple

Translating Metaphorical Expressions in Political Discourse: A Comparative Conceptual Study (English – Arabic)

This paper is to analyze the conceptual metaphors underlying the metaphorical expressions in political discourse, it explores the role of conceptual metaphors on political language and the translation strategy adopted to translate. To prove this, a cognitive approach to metaphorical expressions translation in political discourse is used. The study focuses on the analysis of the conceptual mapping of the abstract concept of politics into some other source domains. The given examples are used to argue that we use existing physical concepts to conceptualize abstract concepts for easy understanding. The results obtained reveal that the set of conceptual metaphors underlying the political expressions are almost similar in both languages in terms of the source domains used as well as their collocation patterns. The paper adds a further support to the claim that metaphors are not only a rhetorical tool used by literary men but it reflects our thinking when dealing with abstract issues in terms of concrete experience. The study has pedagogical implications for media translation students. They can compile their own glossaries using the collocation patterns relevant to each metaphorical expression.

Translating Metaphorical Expressions in Political Discourse: A Comparative Conceptual Study (English – Arabic)

This paper is to analyze the conceptual metaphors underlying the metaphorical expressions in political discourse, it explores the role of conceptual metaphors on political language and the translation strategy adopted to translate. To prove this, a cognitive approach to metaphorical expressions translation in political discourse is used. The study focuses on the analysis of the conceptual mapping of the abstract concept of politics into some other source domains. The given examples are used to argue that we use existing physical concepts to conceptualize abstract concepts for easy understanding. The results obtained reveal that the set of conceptual metaphors underlying the political expressions are almost similar in both languages in terms of the source domains used as well as their collocation patterns. The paper adds a further support to the claim that metaphors are not only a rhetorical tool used by literary men but it reflects our thinking when dealing with abstract issues in terms of concrete experience. The study has pedagogical implications for media translation students. They can compile their own glossaries using the collocation patterns relevant to each metaphorical expression.

Islam dan Pembangunan Manusia Di Era Globalisasi

<p>In the globalization era, people are increasingly competitive and increasing their ability to become productive human beings. Human development is the main thing in doing change and progress in life. In the discussion Human development in the era of globalization which is a world program through the unity of nations is inseparable from the study of Islam. So that Islam as a religion can enter to become a very important discussion in development issues of course. National development becomes the main task of the government from the regional level to the province, thus providing human resources as a form of mover and its managers. Policies on human resource development always experience dynamics and perkembangnnya in terms of sociology, anthropology and culture. Islam as the majority religion in Indonesia becomes a determinant and has a major influence on development issues nationally. Islam and human development in the era of globalization becomes the most important thing to build Indonesia into a culture, character and progress. Thus the development process becomes the main part to reconstruct the infrastructure, human, network and every aspect. Construction in religious thought that is the study of Islamic thought in the development process becomes the goal for tercipatanya development in the era of globalization. It is also a form of advancing the society and mindset of a digitally literate man and aware of science, technology, development and life in the era of globalization in the form of international relations.</p><p><strong><em>Keywords</em></strong><em>: Construction Of Islamic, Human Development</em><strong></strong></p>

Islam dan Pembangunan Manusia di Era Globalisasi

Di era globalisasi membuat manusia semakin terus besaing dan meningkatkan kemampuan untuk dapat menjadi manusia yang produktif.Pembangunan manusia merupakan hal utama dalam melakukan perubaan serta kemajuan dalam kehidupan.Dalam pembahasan Pembangunan manusia di era globalisasi yang merupakan program dunia melalui persatuan bangsa-bangsa tidak terlepas dari kajian Islam.Sehingga Islam sebagai agama dapat masuk untuk menjadi pembahasan yang sangat penting dalam isu-isu pembangunan tentunya.Pembangunan nasional menjadi tugas utama pemerintah dari tingkat daerah sampai provinsi, sehingga mempersipakan sumberdaya manusia sebagai bentuk peggerak dan pengelolanya.Kebijakan terhadap pembangunan sumberdaya manusia selalu mengalami dinamika dan perkembangnnya dari segi sosiologi, antropologi dan budaya.Islam sebagai agama mayoritas di Indonesia menjadi penentu dan memiliki pengaruh besar terhadap isu pembangunan secara nasional.Islam dan pembangunan manusia di era globalisasi menjadi hal terpenting untuk membangun Indonesia menjadi negara yang berbudaya, berkarakter dan berkemajuan. Dengan demikian proses pembangunan menjadi bagian utama untuk merekonstruksi infrastuktur, manusia, jaringan dan setiap aspeknya. Konstruksi dalam pemikiran agama yakni pemikiran studi Islam dalam proses pembangunan menjadi tujuan agar tercipatanya pembangunan di era globalisasi. Hal tersebut juga sebagai bentuk memajukan masyarakat dan pola pikir manusia yang melek digital serta sadar akan ilmu pengetahuan, teknologi, pembangunan dan kehidupan di era globalisasi dalam bentuk hubungan internasional

17세기 전반 北人系 南人 文士들의 교유 - 지식교류의 일 양상 -

본고는 17세기 전반 북인계 남인 문사들의 교유 활동을 고찰하여 지식교류의 일 양상을 살펴보기 위해 이루어진 글이다. 17세기는 왜란을 겪은 후 얼마 되지 않아 호란이라는 국가적 위기를 맞이하고 이를 극복하기 위해 부단히 노력하던 시기였다. 연이은 전쟁으로 인해 기존의 성리학적 질서가 흔들리면서 이를 재건할 새로운 사상과 지식이 요구되었다. 이 시기 북인의 사상을 지니고 남인의 당색을 띤 북인계 남인의 등장은 근기남인의 지식체계에 변화를 가져왔다. 북인계 남인 문사들은 근기와 영남지역, 당파를 넘나드는 폭넓은 교유를 통해 활발한 지식교류를 전개해 나갔다. 지식교류는 지식이 전달되고 수용과 변이 과정을 거쳐 새로운 지식으로 재생산되는 근간이자, 지식이 확장되는 원동력이 된다.BR 본고에서는 17세기 전반 북인계 남인 문사들의 지식교류 양상을 서신을 통한 지식의 수정과 보완, 서적을 통한 지식의 유입과 확산이라는 측면에서 고찰하였다. 한백겸과 정경세 그리고 이수광과 정경세는 수차례의 서신 왕래를 통해 열띤 지적 토의를 이어나갔고, 상대방의 의견을 수용하거나 반박하는 등 지식의 수정과 보완을 통해 지적 영역을 확대해 나갔다. 또한 김세렴은 이식과 함께 일본에서 가져온 『성리자의』의 교정을 보고 이를 간행하여 북방지역에 성리학적 지식을 확산시키는데 노력하였다.

Reception Frame of Iris Murdoch’s Critical Studies

The article analyzes the enrichment of the reception frame of I. Murdoch's oeuvre due to the complementation of different discourses (fiction, philosophy, culture study, criticism and theory of literature). In this context the rethinking of post-structuralism and deconstruction theories as a conceptual basis of literary postmodernism for revealing specific features of the writer’s literary text is shown. Murdoch’s theoretical views regarding the role of criticism in the contemporary literary process are considered, in particular her categorical rejection of deconstruction. The literature of postmodernism is a phenomenon that unites different discourses; in this perspective Murdoch's oeuvre fits the outlined framework. Readers know Iris Murdoch both as a writer, theorist and critic of her own works, as well as works of other writers; and also as a moral philosopher, that resorts to an artistic, poetic way of thought verbalization. However, concerning Murdoch's works, postmodernism is related only as a specific way of world perception, world outlook, and not as a concept of postmodern fiction or literary criticism. Approximation of the writer's literary manner to postmodernism is not defined as a theoretical philosophical reflection; it is rather a semi-conscious emotional reaction to the crisis of the modern world, crisis of faith in established values. In Murdoch's novels, the echo of the signs of postmodern consciousness is realized through manifestations of philosophical pluralism and genre metamorphism.

엇갈림과 어울림, 한･일 문사 교류의 두 시선 ― 원중거와 축상을 중심으로 ―

엇갈림과 어울림, 한･일 문사 교류의 두 시선 ― 원중거와 축상을 중심으로 ―

A Study of the Poetry View and the Poetry World of Doam Lee Jae : Focusing on the Poem Writing during the Seclusion Period in Yongin

A Study of the Poetry View and the Poetry World of Doam Lee Jae : Focusing on the Poem Writing during the Seclusion Period in Yongin

Related Aspect of Kwon Pil s Sahwashi(四懷詩) and Dubo s Palayshi(八哀詩)

본 연구는 장편 오언고시로 연작시인 권필 <四懷詩>와 두보 <八哀詩>의 관련양상에 대한 연구이다. 이 두 시는 각각 격동기인 임진란과 안록산의 난을 시대적 배경으로 삼았다. 권필의 <四懷詩>는 전란동안 소식이 끊긴 4 명의 벗을 회고한 작품이고, 두보의 <八哀詩>는 전란 때 나라를 구한 8명의 순국선열에 대한 애도를 표현한 작품이다. 권필의 <四懷詩>는 두보의 <八哀詩>를 모의하여 주제, 제재, 표현기법 등에서 자신의 독창적인 시세 계를 구축하였다. 본 연구는 먼저 <四懷詩>와 <八哀詩>의 제작 연원과 내용을 밝혀 두 작품의 차이점을 비교하고, 다음으로 두 시의 인물의 형상화를 세 가지로 분류하였다. 첫째, 인물의 宣揚이다. 인물의 재능을 칭송하고, 저명하고 고아한 인물이지만 정치구조의 모순으로 불우한 삶을 산 자를 재조명하였다. 둘째, 인물을 통한 사회비판의식을 투사하였다. 전란으로 인한 피폐한 사회현 실을 인물들의 우국우민의식을 통해 바로 잡고자 하였다. 셋째, 서사기법의 유사성이다. <四懷詩>와 <八哀詩>는 오언 고시의 서사시로 제작되었다. 이러한 기법은 詩經에서부터 시작하여 漢代 樂府詩로 발전하여 두보에 의해 唐代에 새로운 형태로 구축되어 조선에 전래 되었다. <四懷詩>는 <八哀詩>의 영향을 받아 詩史적 측면, 사료적 측면, 장편 서사시의 측면에서 독특한 문학사적 의미를 구축하였다. <八哀詩>에서 영감을 얻은 <四懷詩>는 조선 시대 전이나 소설이 아닌 시를 통해 입전하는 서사적 전통을 계승하였고 나아가 자신의 창작 능력과 독창성을 유감없이 발휘하였다. 그리하여 권필은 당시 盛唐시풍으로 경도되는 문단에서 문인들이 으뜸으로 여기는 독보적인 존재로 자리매김하였으며, 독특한 자신의 시업을 성취하였다.The topic of this thesis is about the related aspect of two long five-letter old Style Poetry(五言古詩). One is that of Kwon Pil s Sahwashi(四懷詩) and the another is that of Dubo s Palayshi(八哀詩). Background of these poems was the turbulent era, such as Japanese invasion of Korea in 1592 and rebellion of Ahn Rok San in 755. Kwon Pil s Sahwashi is a memoirs of his four friends lost during war period. And Dubo s Palayshi is a poem of condolence to eight patriotic martyrs during war period. By imitating Dubo s Palayshi, Kwon Pil built his own poetic identity in theme, material and expressions. In this thesis, I found out the differences between the two quatrains by claryfying their origin and content. Also, I found out three characteristics of both two masterpieces. First one is the exaltation of characters. Both poet praised the character s talent and reilluminated their underprivileged lives under inconsistent politic condition. Second, it projected the social criticism through the characters. Both tried to rectify the depraved social reality through worrying minds to the nation. Third one is the similarity of narrative technique. Both Sahwashi and Palayshi is a five-letter epic. Such technique was originated from Shi Kyung (詩經 One of the best collection of poems in ancient China),developed as Ak Boo Shi(樂府詩 Poem with rhythm) during Han Dae(Han Dynasty), built in a new form during Tang Dae(唐代 Tang Dynasty) by Dubo and transferred to Chosun dynasty. Sahwashi got influence by Palayshi and constructed a unique literary historical meaning in the aspect of Shi Sa(詩史 Reflecting history by poems), long epic and historical records. Inspired by the Palayshi, Sahwashi inherited the epical tradition during Chosun Dynasty(朝鮮). By the epic, Kwon Pil fully demonstrated his creative ability and originality. Thus, he became one of the foremost beings of the literary men in the literary world which experienced a sudden change to Sung Dang Dynasty (盛唐) style of poem, and achieved his unique work.

Henry VIII: King and Man in Literature, History, and Faction

Henry VIII: King and Man in Literature, History, and Faction

The Restoration of the Spirituality of Blackness In "Everett LeRoi Jones’s Selected Plays"

LeRoi Jones (Imamu Amiri Baraka, 1943-2014) is one of the American literary men whose drama rocked the American stage with its violence and innovative vision. His ups and downs in life as well as his changing political phases formed his theatrical vision and influenced his audience. This research is an attempt to explore his views at a certain era in his career through studying three selected plays; The Toilet(1964),The Slave Ship(1967),and The Motion of History(1977).

Melodramatic Ends: &lt;em&gt;Winter Sleep&lt;/em&gt; (&lt;em&gt;Kiş Uykusu&lt;/em&gt;)

Reviewed by: Melodramatic Ends: Winter Sleep (Kiş Uykusu) dir. by. Nuri Bilge Ceylan Susan Potter (bio) and Matias Perez (bio) Melodramatic Ends: Winter Sleep (Kiş Uykusu) Dir. Nuri Bilge Ceylan. Scr. Ebru Ceylan and Nuri Bilge Ceylan. 2014 This review arrives late to the red carpet, following the award in 2014 of the Palme d'Or, Cannes Festival's most coveted prize, to Nuri Bilge Ceylan for Winter Sleep. The accepted critical narrative is that the film is not Ceylan's best but that the recognition of his directorial talent was long overdue. Feted in the director's home country, the Turkish-French-German co-production had a wide national release and consequently generated the director's highest box office in his career to date. Reviewers across the period of festival releases were divided about the film's merits, some hailing it a masterpiece (Karin Badt, Film Criticism), while others experienced it as enervating literary exercise (Gavin Smith, Film Comment). For us, Winter Sleep, for all its stagey and durational faults, remains weirdly compelling, in part because of its seeming last-minute reliance on melodrama to conclude its two intertwined plotlines. It's not as if the Ceylans' films have not been identified with melodrama before. In the aftermath of another award, for Best Director at Cannes in 2008, Three Monkeys was described by critics as "distressingly empty melodrama" (J. Hoberman, The Village Voice) and, in a more negative evaluation of Ceylan's work, "failed melodrama" (Kent Jones, Film Comment). In some of the reviews of Winter Sleep, melodrama returns as a salient, if suppressed, genre. Peter Bradshaw, writing in The Guardian, calls the film tragicomedy, but his review has the key words of melodrama written all over it: pathos, domestic drama, soap opera, and swells and surges of emotion. Moreover, he faults the director for failing to realize the full potential of the film's most dramatic scene, finding it "overstated and misjudged." Even if other critics endeavor to rescue the Ceylans' films from melodrama by [End Page 86] pointing to the quality of direction and the understated performance of the actors, overstatement and misjudgment are qualities that melodrama might happily lay claim to. Indeed, the film's melodramatic register is key to its subtle but trenchant theme of social inequality. Click for larger view View full resolution Figure 1. Nihal (Melisa Sözen) appears unbidden outside the imam's family home. Screen capture from Winter Sleep (Kiş Uykusu). Winter Sleep's opening sequence introduces the protagonist Aydin (Haluk Bilginer), a wealthy retired actor who has returned to his childhood province of Cappadocia to run a boutique hotel. His main income, however, comprises rents from local families who occupy properties that Aydin has inherited from his father. Aydin retreats from his role as landlord by employing Hidayet (Ayberk Pekcan) and a series of unnamed and unseen lawyers to manage his tenancies, freeing him to write a weekly column for a local newspaper, Voice of the Steppes, and to research his long-anticipated book on the history of Turkish theatre. While Aydin endeavors to sustain his identity as an educated, artistic, and literary man by distancing himself from his own status as landlord and the cruelties inflicted by his agents, he is drawn into a conflict with the family of the local hodja or imam, Hamdi (Serhat Kiliç), as their eviction looms. It is the action of a child, Hamdi's nephew Ilyas (Emirhan Doruktutan), that propels Aydin into closer proximity to those people with whom he has a relationship based less on community than on property. Seeing Hidayet driving Aydin in his distinctive orange jeep through the village, Ilyas lies in wait further down the road and throws a stone to smash the passenger window where Aydin sits. We soon discover in a following scene that the stone's throw is retribution not only for the repossession of the family's fridge and television but also for the humiliating beating suffered by Ilyas's unemployed father, Ismail (Nejat Isler), at the hands of the police who were also present during the repossession. With his stone's throw, Ilyas catalyzes one of the film's plotlines, which involves Hamdi [End...

Personalized History of Futurism: the Experience of Reconstruction the Mikhail Semenko’s Literary Milieu

The theoretical significance of formal and logical structure of “personalized history of futurism” is considered within the context of biographical method, as it was the literary milieu of M. Semenko who played specific role in establishment and development of Ukrainian futurism model. The methodology of the study is defined by the following general theoretical principles applied to analyse humanitarian problems: systematization, historicism, and objectivism. The novelty lies in systematization of M. Semenko’s literary milieu as well as in defining the significance of the role that some representatives of futurism played in its history. For the first time in Ukrainian humanities moral and legal approaches within biography factor are employed to analyse M. Semenko’s literary milieu. Conclusions. 1. It is shown that personalization as a constituent of biography method and fundamental principle of culturological analysis enables to reconstruct adequately personal aspect within logics of ‘construction’ the aim and goals of any radically new literary and artistic group and evaluate creative contribution of each member unbiased. 2. It is emphasized that literary men surrounding the founder of Ukrainian futurism M. Semenko came in gradually shaping Ukrainian model of futurism as an integral and original phenomenon in the culture of the 1910s–1930s. 3. Gradually widening the circle of Ukrainian futuristic movement members, this study reveals life and creative work of D. Buzko, V. Polischuk, O. Vlizko and O. Slisarenko.