Literary Names Research Articles

INTEGRATION OF NAMES INTO TEXT IN LÁSZLÓ VÉGEL’S NOVEL TRILOGY

The study examines literary naming, the use of geographical and personal names , and their characteristic vehemency in László Végel’s three-volume series of novels (Neoplanta, avagy az Ígéret Földje (Neoplanta, or the Promise Land), Bűnhődés (Atonement) and Balkáni szépség, avagy Slemil fattyúja (Balkan Beauty or the Bastard of Slemil)). In his urban novel and its sequences, Végel places the action in a multi-ethnic, multi-confessional city, and tells its story from the perspective of the people living there, through their life stories. With the onomastic corpus of the texts, he creates the socio-national background, points out the connection between politics and naming, and the problem of the relationship between identity and personal name. The set of names of the novels originate from a network of real and fictitious names: the streets and institution names to be found at the novel’s scene that have changed throughout history several times, as well as the place- and era-creating character of the real names of historical figures embedded into the text, denotative and connotative meanings attached to the fictitious names (personal, interlocutor and metaphorical names), associations, intertextual aspects provide the opportunity for a new interpretation of the novel.

„Hál’ Istennek abban a könyvben, amibe belekezdtem, nincs Rezeda Kázmér...”

Functional cognitive linguistics and cognitive stylistics provide the linguistic background and methodological foundations of this paper. The most significant tenet of cognitive stylistics is the proposition that the formation of linguistic structures does not function merely as stylistic embellishments; instead, style represents an integral aspect of textual meaning. Names created by literary naming can be interpreted and analysed as defining elements of style. Following an introduction to the theory of language and style, the paper examines the fundamental issues of translating literary proper names. The most relevant question is whether it is necessary or possible to translate proper names in literary works. The following section presents an analysis of the significance of naming in Krúdy’s prose, followed by an examination of the main types of Krúdy’s names with ironic stylistic purpose. The third section analyses the German translations of Krúdy’s ironic names. In conclusion, it can be stated that the appropriate reproduction of Krúdy’s ironic names, which reflects the stylistic effect and meaning formation of the source language, is a particularly challenging task for translators. It is not uncommon to observe that connotational meanings and shades of meaning present in source language texts are not fully conveyed in translation. In certain instances, pre-existing linguistic coincidences (e.g., Hungarian Rezeda ‘reseda’ – German Reseda ‘reseda’) can assist in the translation process. In other cases, however, the translator’s professionalism, linguistic sophistication, and creativity are crucial to ensure such names’ accurate and effective translation.

Az epitheton ornansok Petőfi Sándor A helység kalapácsa című művében és fordításaiban

Observing literary names and fictional name translations is essential in applied onomastics, contrastive stylistics and literary comparatistics. This paper examines the significance and characteristic function of the proper names and epitheta ornantia in the mock epic poem entitled A helység kalapácsa [‘The Hammer of the Village’], both in the source language text and in the Russian and English translations of the poem. The Petőfi text contains a multitude of epitheta ornantia, either in conjunction with proper names in fixed noun constructions or dispersed throughout the text. The latter adjectives serve as substitutes for proper names. The Russian and English versions of the proper names with epitheta ornantia are mainly equivalent to the source language versions. The proper names are primarily unaltered. In Russian, they are either transliterated or translated in meaning. The epitheta ornantia are usually word-by-word translations, sometimes with additions or omissions.

The symbolic construction of literary naming at the crossroads of tradition and modernity: towards new historicism in Ahmed Abodehman’s memoir The Belt

The symbolic construction of literary naming at the crossroads of tradition and modernity: towards new historicism in Ahmed Abodehman’s memoir <i>The Belt</i>

Ways to Form a Literary Reputation: F.G. Klopstock in Russia in the 19th Century

The given article is devoted to the reconstruction of the apologetic literary reputation of F.G. Klopstock. Klopstock is a canonical author in the history of literature; his work has not received due attention in Russia. Literary reputation is a multidimensional phenomenon. It develops under the influence of various factors and can be the result of random circumstances. Klopstock is a great sentimentalist and epicist; his work is included in the curriculum of educational institutions of the 19th century. But there are almost no translations into Russian. Serious studies of the works of the German poet in Russia were created only in the 20th century. This article is based on the fundamental works of N.I. Rozanov and I.A. Reitblat and analyzes the paradoxical nature of Klopstock’s literary reputation. The image of the poet, discreetly outlined by N.M. Karamzin acquires the features of a saint under the pen of subsequent critics. A review of translated critical reviews of Klopstock shows ways of distorting the original. Klopstock is deliberately described as an ideal pious poet. The article describes the beginning of the formation of Klopstock's literary reputation: the most important stage that influenced the German poet's entry into the reading circle of a cultured person in Russia in the 19th century. Consistent attempts to place Klopstock within the convenient framework of great epics lead to peculiar results: Klopstock enters the circle of compulsory educational reading and at the same time disappears from the field of view of literary scholars. Until the mid-twentieth century, Klopstock remained a canonical literary name without due attention from researchers.

Red and Black: On the Semantic Invariant in Fyodor Dostoevsky’s The Brothers Karamaz

The article examines the onomastic aspects of the Karamazov surname in Fyodor Dostoevsky’s novel The Brothers Karamazov, reviewing its primary interpretations. The majority of studies on this subject suggest a Turkic origin, associating the surname with the word qara ‘black’. Existing interpretations of the anthroponym are categorized based on two criteria: the way they interpret the method of encoding information into a literary name and the approach to tracing its transtextual connections. This analytical framework facilitates a novel interpretation of the surname Karamazov, revealing its embedded opposition of “red vs black” (qara ‘black’ vs. kirmiz ‘red’), which permeates various levels of the text, including etymological, historical, literary, textual, and intertextual dimensions. Additionally, the paper compares this opposition with a similar thematic contrast in Stendhal’s novel The Red and the Black, focusing on typological parallels rather than specific names, characters, or plot elements. The authors assert that Karamazov represents a distinctive feature of Russian literature, accommodating multiple interpretations supported by compelling and comprehensive motivations. This nuanced understanding is pivotal for decoding the text, as it underscores the oppositions and conflicts that shape the narrative across different layers of the novel.

Literary Names of the ‘Undershot’ Authors: History of emergence, functions

The article focuses on the pseudonyms of those authors who fell into the category of “undershot” (the metaphor is used to emphasise the incomplete nature of the authors’ works, early deaths and interrupted careers of literary figures). Semen Pidhainyi, a historian and long-term prisoner of the Solovetsky camps, included the generation of the 1920s, i.e. those who came from families of participants in the national liberation struggle, clergymen, dispossessed, repressed, starved to death, and persecuted for offences invented by the authorities. Disillusioned with the communist system, abandoned, persecuted, they were looking for a way to the West to start a different life there and to reveal the horrors of the Soviet concentration camps they had gone through. As living witnesses of the events, they focused their efforts on exposing the crimes of the totalitarian system. Ivan Bahrianyi’s pamphlet “Why don’t I Want to Return to the USSR?”, due to numerous translations, helped many displaced writers and other men of art avoid repatriation. Viktor Kravchenko’s book “I Chose Freedom. The Personal and Political Life of a Soviet Official” was crucial for conveying the truth about the situation of the post-Soviet people, in which the author recreated unique facts from the life of the Soviet elite, the consequences of repression, the atmosphere of fear and persecution. Former prisoners of the Soviet camps Vasyl Dubrovskyi, Mykola Lazorskyi, Yuriy Lavrinenko, Vasyl Savchenko, and Semen Pidhainyi left reliable testimonies about their stay in the camps. It was the literature of fact, which is scrutinized using the historical and comparative method, which allows us to trace the influence of socio-political processes in the country on their narrative. To identify the connection between the author and his / her pseudonym, we use the biographical method, which helps to clarify the origin of a name through the details of his / her life. The biographical method of research enabled us to reveal that writers formed pseudonyms from the names of ethnic regions and settlements of Ukraine (Saltychivskyi, Liskovytskyi), and less often from places of detention, to emphasise the place of torture. Instead of their names, the “undershot” authors indicated their profession or occupation (Istoryk / Historian), names of plants (Mak / Poppy, Veres / Heather), birds (Horlytsia / Turtledove, Odud / Hoopoe), insects (Gedz / Gadfly, Zhuk / Beetle), names of gods (Svarog), saints (Trifon), historical figures (Zalizniak), and literary characters (Halaida). Although the passionate energy of our compatriots aimed at conveying information about the genocide of the Ukrainian people had a noticeable resonance, it could not change the situation, because the Western world was involved into other problems in the context of confrontation between states with different social systems.

Armageddon: A History of the Location of the End of Time

Abstract Rev 16:16 is a textbook case for any reception history analysis. Indeed, its reception has several successive tipping points, as in any reception history. In Revelation, as the text makes clear, it is a Hebrew literary name whose interpretation was not easy: from Tyconius to the most contemporary commentators, Armageddon is understood as a code name whose key remains lost. It was not until the 16th century that the name of a mountain was recognised, har Mageddo, the mountain of Magedon, linked to the fortress of Megiddo in the Jezreel plain. From Joachim of Flora onwards, the location of the eschatological battle is sought geographically. This change of lexical category marks a major interpretive revolution, for if one can locate the place on a map, then the war that takes place there becomes concrete. By virtue of geography, what belonged to myth—and thus to non-time—becomes tangible and is inscribed in a future temporality. From Alexander the Minorite to Hal Lindsey, the battle of Armageddon becomes a mirror of the geopolitics of the Latin and Anglo-American world. This ubiquity of the term over the last forty years has had a paradoxical effect: its withdrawal from geographical considerations. Thanks to the mechanism of antonomasia, the toponym tends to cover, by synecdoche, all the events of the end of time. It thus becomes the proper name of the end of time.

Linguistics of literary names in Navoi’s works

Linguistics of literary names in Navoi’s works

MUSIC OF NAMES IN EDGAR ALAN POE’S WORKS

This paper is an attempt to survey aesthetic potential of E. Poe’s anthroponomy and to analyse the author’s unique strategy in the process of creating the names of his characters. This study aims at explicating the functioning of literary names in the works of American romanticist and at defining the specific features of their semantic content. The writer worked out theory of musicality within the frames of his own concept of “unity of effect”. Masterly balancing the sounds as figure melodies of a musical staff became the basis of his nomination principle, adding special emotional content both to the name itself and the tale or the poem, mobilizing reader’s emotional intelligence in the process of poetic reception. As a result, several kinds of Poe’s musical devices have been sorted out. Among the most widely used components of writer’s musical approach to anthroponomy are sonority (phonetic musical level); symbolic content of sounds or psychological parallelism (sematic musical level); rhythm (repetition of sounds in the nominative segments, acoustic symmetry); melodiousness (as a tendency towards elegiac, muted beauty); connection with visual arts. The above characteristics became the markers of Poe’s idiostyle, demonstrated the unity of “sound and thought” as a prerequisite for creating new meanings. These factors help to underline the specific features of E. Poe’s aesthetic and philosophical perception. Such an approach may be used for investigation of modern technique in the works of contemporary writers and poets as it helps to delve into some principles of synthesis of Arts in Post-modern paradigm.

Успіх як поразка, поразка як успіх

The article under studies outlines the parameters of the paradigm “success” in relation to the concept of “category”. Hereby, success is interpreted as an ontological phenomenon, as a creative objective of any activity. The metaphysical parameters of success are outlined through a number of additional concepts-markers: avant-garde (innovation), historical time, goal, conjuncture, context, method, style, leap, boundary, summit, victory, authority, even a lucky coincidence. All of them require compliance with their own criteria. Success can come to authors years and even centuries after their death (Homer, Dante Alighieri, Shakespeare, Friedrich Hölderlin, Byron, Emily Dickinson, Vasyl Stus). The same happens to certain texts that may even be alienated from the author (for example, Scheherazade’s fairy tales, chivalric novels, Ukrainian dumas, which are currently successfully exploited by the genre of fantasy). The transit of such successful themes and texts was recorded by A. Volkov’s school of TPI (last quarter of the previous century). Its representatives agreed that imitation is mainly produced by the success of the original source. Referring to the canonical circle of literary names (for example, those identified by H. Bloom), we observe the lack of argumentation for common criteria for evaluating each of these writers. The most interesting things can happen to an artist in the future, in the shadows, because success is mostly a turning point, not the end of his or her life trajectory. Success as a specific emotional cleansing of the soul, in fact, its devastation, can put a tragic end to a biography. Therefore, when taken together, success and failure appear as an important dichotomous compound, the most essential intentional levers of subjective self-determination. The author’s interpretation of the paradigm of “success” is regarded in this article on the example R.-M. Rilke’s poetic text “The Beholder”.

کرنل ڈاکٹر ابدال بیلا بحیثیت سیرت نگار: منہجی و اسلوبیاتی مطالعہ

The God Almighty blessed Pakistan with precious diamonds. These diamonds are forces of Pakistan. It is only because of these forces that was spend peaceful life. These soldiers spend their whole lives to protect borders of our country. We are always proud of them. Our soldiers are not only successful in performing their duties, they also express their feelings and emotions through their writings. There are many literary names in our army that painted the land of literature with the pen. In literature they have created such master pieces, for which their names will remain till the end of this universe. These master pieces are good addition in literature. Among one of these military men, one famous name is Col. Abdal Bela. Doctor Abdal Bela was born on 14 December 1956 in Sialkot. Your father's name was Chaudhry Fazal Din. Who was a resident of Ludhiana. And came to Pakistan at the time of establishment of Pakistan. Abdal Bela received his primary education and college education from Lahore. Apart from this, he also studied from Faisalabad Punjab Medical College. He started his career in Pakistan Army as MBBS Doctor, Captain. He also served in Pakistan Navy and Saudi Army. In 2007, Abdal Bela retired from serving Pakistan as Deputy Director ISPR Primary education sailkot. After that, he obtained degrees in nutrition, journalism, and MBA from other educational institutions. Commissioned as Captain in Pakistan Army on 21 June 1980, promoted to Colonel in 1999. Retired from the army in December 2008, Abdal Bela wrote more than 10 books and his books have been translated into many languages like Arabic, Hindi, English and Sindhi etc. His books are unparalleled in modernity and literary style in Urdu prose, Islamic teachings in his works. Ishq Rasool is prominent in Islamic civilization and Sufism. Deeply immersed in the love of Rasool, he wrote the book Aqa on the Zaat Mubaraka of Rasoolullah. In it, the blessings of the Holy Prophet (peace and blessings of Allah be upon him) have been described in a very beautiful way and in very touching words

ذوالفقار احمد تابش کی شاعری میں مذہبی ، صوفیانہ اور معاصر مسائل

Zulfiqār Ahmad Tābish a big name who was born in 1938 at Kamonki. He was the only son, also saw many tribulations in his early life. He was deprived of money to meet the requirements of the time for education. He wrote on of the verse in his early age, in his primary school, which according to him forget since the verse emerged in my mind. In the late 20th century, when big literary names came, one of them is Zulfiqar Ahmad Tabish, he has tried to show novelty in Urdu poetry. Zulfiqar Ahmad Tabish has written poetry keeping in mind all the rules of poetry. In Urdu poetry, along with religious poetry, he has also tried to convey current issues. In religious poetry, two of his long poems and a poem in the name of Salim-ur-Rehman are where he tried his hand at poetry, and there is also a glimpse of his prose work. In which a travelogue was published under the name of “Jawār Bhātta”. His poetry collection “Kalam Lab-e-Larzān” contains independent poems, while ”Dar-e-Neem Wā”, a collection of poetry that came out in 2019, also includes ghazals. He has expressed his deep love and devotion to religious and Sufism.

Unnaming and mis/naming as a thematic strategy in Bulawayo's We need new names and Tagwira's The Uncertainty of Hope

Previously, names in literary contexts were generally treated as peripheral lexical items or mere identity tags for the personages and geo-spaces in texts. Yet, recently, the subject has become a polemical one, accorded much scholarly attention as evident in a remarkable upsurge of fascinating examination of literary names and a profound increase in academic conversations about naming practices in fictive landscapes. What is more interesting is the argument that names in fictive discourse are an inherent and indispensable part of the textual composition which contributes to the overall semantics of the text. Drawing from this realisation, the study further explores the premise that naming is not arbitrary but rather, a salient and (sub) conscious artistic technique that provides significant semiotic avenues for the articulation and signification of nuanced and dynamic meanings. This study interrogates the stylistic, thematic functions and semantic possibilities of some toponyms, anthroponyms and charactonyms in selected contemporary Zimbabwean novels from an onomastic perspective. The study proposes that onomastics could offer critical and refreshing interpretive insights aimed to provide rich avenues of reading and decoding thematic preoccupations in the chosen novels.

The People Jhumpa Lahiri Little Likes

This paper makes the claim that despite the culture-page and scholar classes' favorable reception of just about everything she offers, Bengali-American writer Jhumpa Lahiri thinks meanly of them and of their progressive mindsets. Telling in the second's regard are her counter-normative usages of their favored tropes--of, for example, the madwoman-in-the-attic trope. Telling in the first's regard are the literary academics who appear in her fictions. Nine for nine, they are shallow, feckless, and bullying sorts. Yes, literary academics--they are the people Jhumpa Lahiri little likes. In its later pages, the paper also observes that for much of her career writer Lahiri has been in the throes of a crisis of literary faith. An early symptom of this crisis is discernible in that plot strand of her second book, The Namesake, wherein the protagonist Gogol does everything in his power to dispossess himself of his literary name. Another symptom of the crisis is the sparsity of literary allusions that mark her fourth and latest fiction's pages (as opposed to the great number that marked her earlier works). And, lastly, toward the end of the latest fiction, Whereabouts, when the writing-prof protagonist begins her journey out of the city that has been her lifelong residence, that’s Lahiri wishing she could do the same vis á vis her literary faith. KEYWORDS: Jhumpa Lahiri, Critical Reception, Academic Culture, Immigrant Fiction

From the Publisher’s Authorial Forge: Pseudotranslations and the Invention of Oscar Vaudin and Jorge Merovell

This article explores one of the most telling dimensions in the identity and activity of Romano Torres, a Portuguese publishing house that operated between the end of the nineteenth century and the end of the twentieth century, namely the invention of authors, based on a system of pseudonyms and pseudo-translations to which a number of writers, often anonymous, contributed. The pseudonym was a strategy widely used by large sectors of the publishing world for the creation of texts, literary names, and even whole collections, misleading the readers as to the authorship of the texts and the national origin of the published writers. Indeed, this practice was common in the editorial activity of Romano Torres, who published a considerable number of original texts written in Portuguese and by Portuguese authors, while offering them to the reading public as books of foreign origin. Thus, book publishing produced fiction for the public in which the idea of authorship is linked to a specific referential universe (being foreign, for example) and credibility, different from the context and the writer or writers who effectively produced it. In the Romano Torres catalogue there appear French-sounding authors such as Oscar Vaudin and Jorge Merovell who were invented and published in pseudo-translations, to which several writers contributed. These processes were not random, but were structured by criteria defined and executed by the editor, Carlos Bregante Torres, constituting examples of the publisher’s creative forge and his ability to configure the printed culture and the literary universe.

Dualism in Fiction: A Comparative Analysis of Peyami Safa and D. H. Lawrence

Although men have been accepted as the superior and dominant force in many patrirachal societies, due to the changes after the wars and the Industrial Revolution in the western culture, gender roles shifted as women began to participate in public spheres for labor force. Moreover, with the emergence of the ‘New Woman’ concept, women became active, social and independent in the western societies during the 20th century. After the impacts of westernization and Tanzimat Reforms, in Turkish culture, similar changes in regards to gender polarity and the changing status of women were experienced. Many male authors have tended to reflect the clashes between the old values and the new modern life to criticize the changing status of women both in the western and Turkish literatures. The Turkish author, Peyami Safa and the British writer David Herbert Lawrence could be considered not only as the authors, who focused on the essentiality of the balance between men and women, but also, they were accepted as the most controversial literary names because of their ideas on gender. Therefore, this study aims at a comparative investigation of the ideas of Safa and Lawrence in regards to gender shifts and roles of women. Within this scope, Fatih-Harbiye by Peyami Safa and “Two Blue Birds” by D. H. Lawrence were analyzed. Finally, it was concluded that although written in different cultures, the above mentioned texts involve the similar messages by Safa and Lawrence: for a harmonious society, there should be a balance between men and women, women should submit the superiority of men and gender role shifts should be avoided.

Semantic Interpretations of Proper Names in Literary Translation: Terry Pratchett’s “Wyrd Sisters” in Bulgarian

Name crafting has been and still is of importance when devising a literary character with certain traits and features that are meant to outstand a character’s personality. Thus, literary names serve as a handy tool in any piece of writing, since they complete their bearers in a discrete, yet a vivid way when given an appropriate name by the author of a piece of writing. As far as fantasy is concerned, the choice of literary names is freer, but still requires more creativity, given the fact that fantasy names can be translated. When rendered from one language into another, names undergo various structural alterations, semantic modulations, or even syntactic reconstructions. Therefore, the current paper aims at analysing literary names in Terry Pratchett’s fantasy novel “Wyrd Sisters” with focus on their rendering into Bulgarian. Etymology and semantic interpretations are to be sought for as well as morphological and syntactic structure of names in both languages of interest in favour of the hypothesis that literary names carry meaning which, when revealed, gives a more concrete idea of a personage in a novel.

Kimlik Arayışındaki Modern İnsan: Şövalyeler Birliğinden Mr Stone

This article will analyse V. S. Naipaul’s Mr Stone and The Knights Companion (1963) which has special importance for being the first novel that Naipaul does not draw from his hometown, Trinidad experiences. Although this novel deals with the problem of belonging, rootlessness and relatedly the search for identity like those before penned, it is quite different in structure, setting and characterisation. The setting is England, and the main character is an old Londoner. These radical changes in the setting and the character indicate that he writes this very specific novel as a farewell to his cultural materials as well as a welcoming gesture to modernist traces in literature. With this understanding and sensibility, it can be inferred that the novel embodies Naipaul’s inner conflict in his identity process through an English man, Mr Stone, by referring to the proclaimed modernist literary names. Therefore, the leading aim of this article is to try to read this novel by mimicking modernist works as a reflection of Naipaul’s ambivalent identity during his authorship.

ONOMASTIC CODE IN DYSTOPIAN NOVELS BY RUSSIAN WRITERS

We present the history of the emergence and development of literary onomastics, the relevance of which is currently not in doubt due to the involvement of its data for the analysis of the artistic world of different authors as linguists and literary critics. The aim of the study is to acquaint readers with those works in which reflections on the function of the proper noun in fiction can be considered as prerequisites for the emergence of onomastics. An important role in the development of science about the proper noun not only scientists, but also critics, writers and journalists, for example, V.G. Belinsky, N.S. Leskov, O.I. Senkovsky. Despite the initial interest of researchers to the etymological meaning of a literary name, in onomastic works middle of 20th century lighting find such problems, as reflected in the anthroponyms of the essential characteristics of the literary character, stylistic conformity onomastic units, social conditionality of name, etc. We point out the primary importance in the problems development of the new branch of linguistics for the 1950s of the works of such scientists as V.N. Mikhailov, R.P. Shaginyan, E.P. Magazanik, D.S. Likhachev. In conclusion we note the modern Voronezh onomastic school research specificity, founded by G.F. Kovalev, the successor of the already classical traditions of Russian onomastics. Surnames came late in human history to the world at large. They did not exist before the fifteenth or sixteenth century. Russia is no exception. In fact the very word for “surname” in Russian, familija, was borrowed from the West only in the seventeenth century, and a lot of Russian peasants did not have surnames right up to the day of the emancipation of serfs in 1861.[i] As you would expect, the upper aristocracy was the first social class to adopt surnames. They were based, for the most part on toponyms (place names). In other words, a prince whose domain encompassed the Vjaz’ma area became Prince Vjazemskij (most of these earliest surnames have adjectival type endings in -skij or –skoj). Among other names in this category are Obolenskij, Volkonskij, Trubetskoj, Meshcherskij, Kurbskij (Unbegaun intro, p. 20). To this very day Russians recognize these names as indicative of the origins of a person at the highest levels of the aristocracy in pre-Soviet Russia. It is noteworthy that two members of the Decembrists, who, in 1825, mounted an unsuccessful attempt to overthrow the government and introduce liberal reforms inspired by the West, were Prince Evgenij Obolenskij and Prince S.P. Trubetskoj.