Literary Work Of Art Research Articles

Dialogical interaction of literature and music as one of the productive ways of forming general cultural competence

The relevance and social and pedagogical significance of the dialogical interaction of literature and music is important in the formation of general cultural competence of students in a modern school. One of the main tasks facing a modern school is to increase the level of personal culture. This is not only mastering social and cultural knowledge, but also implementing activities that contribute to the transformation of this knowledge into moral and ethical convictions, into the skills and abilities of creative activity, the ability to navigate in the cultural space and the ability to apply aesthetic standards as evaluation criteria. The solution to this problem is carried out within the framework of the formation of general cultural competence in students. The process of forming a personal culture continues throughout a person’s life. An important period of its formation is school years, and it is at this time that students should gain tremendous experience in the field of national and universal culture. In the process of learning, schoolchildren must achieve a certain level of general cultural competence. General cultural competence in pedagogical theory is defined as a level of education sufficient for self-education, self-knowledge, independent and well-founded judgments about phenomena in various areas of culture, dialogue with representatives of other cultures. Currently, as practice shows, most students have insufficiently developed knowledge, skills and abilities in the field of literature, culture and art: children read little, acquaintance with literary works and works of art is limited to the school curriculum. But every teacher wants to educate a harmoniously developed, creatively gifted and competent person not only in the field of literature, but also in art. Of course, the solution to this problem is the use of a dialogue between literature and music in lessons in a modern school. This approach to the study of literature in school is now becoming increasingly relevant, as it allows each student to perceive the world as a whole. In this article, the author analyzes the role of dialogical interaction between literature and music as one of the ways to form general cultural competence.

Mirror of Self and the World: Magical Realism and Power Dynamics in Indonesia Literature

Magical realism in literary art is often only understood in a limited way as an aesthetic element, without taking into account the depth of the symbolic meaning contained in it. In addition, the merger between magical elements and everyday reality is often not fully explored, so the potential for the narrative that can be generated is lost. This research aims to analyze the use of elements of magical realism in contemporary literary art and uncover how these elements enrich literary narratives. This research uses hermeneutic methods to explore the symbolic meanings hidden behind magical elements in literary artworks. Through a hermeneutic approach, the selected works of art are deeply analyzed through literary description, contextual interpretation, and critical reflection, with a focus on how these magical elements are integrated into literary narratives. The results show that the elements of magical realism not only enrich literary narratives, but also create a deeper and more complex experience for the audience, by blurring the boundaries between reality and fantasy. The implication of this study is that magical realism can be used effectively in contemporary literary art to create narratives that are not only aesthetically beautiful but also rich in philosophical and symbolic meaning.

Literature Manuals in Times of New Mediacy in Sweden

The present article focuses on the role of the teaching and learning of literature in a large-scale Swedish, professional development programme for teachers called the Reading Lift. More specifically this study, using qualitative content analysis, examines the educational function of the most prominently referred to literary didactic theory and method developers in the program: Judith Langer, Aidan Chambers, Louise M. Rosenblatt, and Rita Felski, but also the relationship between literary didactics, literacy, and fiction. The results show a strong domination of Langer-inspired manual and strategy-based approaches, primarily promoting efferent reading stances. More holistic hermeneutic and dialogic approaches in support of aesthetic reading, represented by Chambers, Rosenblatt and Felski, are less common. Further, there is a strong alliance between the literacy concept and the systematic and manual-based literary didactic approaches. Also, in the literacy discourse, literary works of art have become not just texts amongst other texts, and foreign, but are also framed as hypermediacy. Based on our results we tentatively suggest that a shift in paradigms of literature education has taken place, from literature pedagogy, grounded in print culture, to literature didactics, situated in new mediacy and the digital.

THE OBJECTIVISTIC POETICS OF FORMALIST CRITICS AND REACTIONARY APPROACHES: AN INSTRUCTIVE ACCOUNT

In the general context of literary criticism, the literary work of art has been multi-dimensionally approached through the different and sometimes opposed orientations advanced by literary critics. The multiplicity of these approaches is usually concretized through two main and differently oriented approaches incarnated in the objectivistic poetics of formalist critics and the reactionary approaches that emphasize relatively a non-word constructionist treatment of the literary work. In this respect, the focus of this paper is to highlight the main differences between the two approaches to the literary work of art in the light of the thoughts of the exponent theorists of each approach.

Beyond Reading

What does it mean to encounter a literary work of art? When we talk about them, we refer to literary works as characterizable entities. In a genuine encounter with a literary work, instead, our focus shifts to “what it is about”: we bring to mind the intentional objects it invites us to direct our attention to, typically through reading. If what we encounter is a work of art, however, we are invited to do something beyond that even, namely to attune ourselves to disclose something more profound. Through shifting our focus from the individual to the typical and affectively responding to a work’s characteristics, we disclose a qualitative character that presents itself as of general relevance insofar as it characterizes a specific kind of thing potentially experienced in the world. Our focus shifts from individual intentional objects, such as a character’s view of her partner as standing in need of salvation, to the kinds of values and things manifested therein, such as the peculiar kind of ambiguity inhering a specific kind of commitment. To encounter a literary work of art, I conclude, means to follow the invitation to disclose value essentials, and thus to find a specific kind of truth.

Self-Discovery in Small Remedies: A Reading of Shashi Deshpande’s

Women writers in Indian writing in English portray women as daughter, wife, mother and other stereotyped roles in their literary works of art. The cultural changes in India are contrasted through the lives of individuals, communities and the nation. The novelist interweaves many aspects of the personal life with the public matters. Shashi Deshpande’s Small Remedies (2006) is about the protagonist’s quest for self. It delineates the journey of women towards self-discovery in relation to society, and the relationships that are central to women. The women in her novels face upheavals in their marriage. The upheavals are generally inevitable when a woman refuses to conform to her ascribed traditional role. The article examines the self-discovery of the women characters in the novel Small Remedies.

SEMANTIC ANALYSIS: LEXICAL RELATIONS IN KATY PERRY'S SONG LYRICS

Song or singing is a literary product or work of art that connects sound art and language art to become sound art which involves the melody and vocal color of the singer. This study aims to classify the types of lexical relations in Katy Perry's song lyrics and then describe their meaning according to the context of the song lyrics. Saeed's theory is used in this study as a reference for analyzing data. Based on the research results, found Homonymy, Polysemy, Synonymy, Antonymy, Hyponymy, and Meronymy in song lyrics (1) Firework (2) Roar (3) Wide Awake (4) Hot N Cold (5) Teenage Dream (6) Part of Me ( 7) Dark Horse (8) Unconditionally.

Interpretation of a Literary Text in the Cinema: V.S. Rozov's Play “Forever Alive” and M.K. Kalatozov's Film “Cranes Are Flying”

The article explores film screening as a special form of literary text. Within the framework of the study, the concept of cinema screening, its classification and features of types, “strengths” and “weaknesses” of this format are considered. The problems arising during the transfer of literary works of art to the cinema screen are also characterized, which are the subject of controversy at the present time. The study of these issues is carried out not only in theory, but also in practice, which is presented in the form of a comparison of V.S. Rozov's play "Forever Alive" (1943) and the movie M. K. Kalatozova “Cranes are Flying” (1957). In addition to identifying the differences between the original literary work and its transfer to the language of cinema, expressed in deviation from following the literary fiction text, added episodes and expansion and reduction of individual storylines of the original, the creative task is determined, and how exactly it was achieved. The main research methods: analysis of scientific literature on the subject of the study, used for a detailed examination of film screening as a special form of literary text, analysis of critical studies, biographical literature, archival documents, as well as comparative analysis (they were used when comparing the original literary text (V.S. Rozov's play “Forever Alive”) and its film adaptations (M.K. Kalatozov's film “Cranes are Flying”)). As a result of the conducted comparative analysis, a conclusion is drawn that contains answers to the questions: which type of film adaptations does this film belong to, what is it expressed in, and also the reasons that led to this result are revealed.

ШЫҢҒЫС АЙТМАТОВТЫҢ «ҒАСЫРДАН ДА ҰЗАҚ КҮН» РОМАНЫНДАҒЫ УАҚЫТ ПЕН КЕҢІСТІК КАТЕГОРИЯСЫ

The article analyzes one of the first works of the Kyrgyz writer Chinghiz Aitmatov «The Day Lasts Than a Hundred Years» and considers the chronotype problem. Psychologism in the problem of artistic time and space in Kazakh prose, the world of characters, the influence of emotional phenomena on the dynamics of the plot, and the author's narrative are considered. Analyzed by Chinghiz Aitmatov «The Day Lasts Than a Hundred Years» with a complex connection between artistic space and time. In a literary work of art, the main elements of space and time that give it character are divided into several types and form the structure of the work. The article examines the relationship and discrepancy between them, the reflection of their merger, and separation in the author's use. An important role in the plot structure of the work of Chinghiz Aitmatov «Borandy Beket» was played by the types of categories of time and space and were reasoned by excerpts from the novel.

Prohibited Literature

In anti-democratic systems, free-thinking people are always feared. Poets are free people. That is why the main book of Georgians – “The Knight in the Panther’s Skin” was probably persecuted not only in the 12th century, but also centuries later. It is enough to remember the Catholicos Patriarch of Georgia, Anton I, who threw the “The Knight in the Panther’s Skin” printed in Tbilisi’s first printing house into the Mtkvari river, “as a book harmful to readers, poisonous to the minds and feelings of Christians”. There are only a few main reasons why literary works or works of art in general are banned. Motives are essentially sexual, religious, political, or moral. But the motive as such belongs to a variable category – we cannot say about any motive that it is universal and does not change according to time and space – or more precisely, era and countries. To anyone who has thought about this matter, it will be self-evident that temporal categories are always changing. Michel Foucault has already told us that the concepts of mad and abnormal are constantly changing in different times, under different countries and governments. Times and values change, but the mechanisms of prohibition remain the same. And if before the state directly interfered in what could be considered appropriate, from the point of view of political or other type of correctness, today it already imposes the mass and controls the validity criteria from its point of view as much as possible.

Interpretation of a Literary Text in Cinema: V.O. Bogomolov's Novel “Ivan” and A.A. Tarkovsky's Film “Ivanovo Childhood”

The article explores film screening as a special form of literary text. Within the framework of the study, the concept of cinema screening, its classification and features of types, strengths and weaknesses of this format are considered. The problems arising during the transfer of literary works of art to the cinema screen are also characterized, around which discussions do not stop to this day. The study of these issues is carried out not only in theory, but also in practice, which is presented in the form of a comparison of V.O. Bogomolov's novel "Ivan" (1957) and the film A.A. Tarkovsky's Ivanovo Childhood (1962). In addition to identifying the differences between the original literary work and its transfer to the language of cinema, expressed in deviation from following the literary artistic text, changing individual scenes, added episodes and expanding some storylines of the original literary work, the creative task set by the director is determined, and how exactly it was achieved. The main research methods are the analysis of scientific literature on the research topic (used for a detailed examination of cinema screening as a special form of literary text) and comparative analysis (used when comparing the original literary text (V.O. Bogomolov's novel Ivan) and its film adaptation (A.A. Tarkovsky's film Ivanovo Childhood)). Because of the comparative analysis, a conclusion is drawn that contains answers to the questions: which of the types of film adaptations does this film belong to, as it is expressed in the film, and the reasons that led to this result are revealed.

Sophie, Greta, Cuiyuan, and Feminist Desire

Sophie, Greta, Cuiyuan, and Feminist Desire

Copyright and Digital Sovereignty

Digital transformation affects all social spheres bringing to life interactive technologies and virtual reality. Since the virtual (digital) space depends on the digital and creative solutions that form its technological base, insofar the legal regime of copying creative solutions affects both the freedom of creativity necessary for sustainable development and public control which is significant for maintaining the manageability of sovereign states and integrational unions.Aim. Improving the legal regime for the protection of interactive works to create a universal and harmonious information space where the rights of authors and the economic interests of software developers are protected, as well as digital sovereignty is guaranteed.Tasks. The concept development for legal protection of interactive works and the political and legal modeling of the digital (information) space presuppose the implementation of international agreements in the field of intellectual rights, as well as solution of several tasks to formalize the results of the creative activity that are perceived through digital technologies.Methods. Political and legal modeling of the digital space is carried out by introducing terminological certainty and creating a system of the interactive works protection. Such legal construction should provide effective public control while preserving creative freedom in digital space.Results. The protection of the copyright and moral rights of the authors of interactive works differs significantly from the legal protection of audiovisual artworks and literature. While the form of objective expression in computer programs may be similar to a literary artwork, their perception by the target audience is fundamentally different in that it models a virtual (digital) space, which the state administration seeks to control in recent years.Conclusion. The state administration’s tendency to digital sovereignty makes sense only if the target audience demonstrates high demand for interactive artworks published under the state jurisdiction. Since the information space is universal, the digital sovereignty of the state is inextricably linked with participation in integration unions that ensure the p roper quality of the results of creative work and create the digital space that is necessary under digital transformation for the interactive art development and the prosperity of creative corporations.

Roman Ingarden’s Theory of the Literary Work of Art: A Cognitive Grammar Reassessment

Based on Langacker’s conception of grouping, the paper reformulates the basic assumptions of Ingarden’s theory of the literary work of art in terms of the Cognitive Grammar approach. The claim is made that, given a gestalt-based approach to the multi-stratal nature of the literary work as envisioned by Ingarden, the idea of grouping is a perfect methodological tool to apply in a holistic analysis as developed within cognitive poetics (sensu Stockwell). An incremental cognitive process, grouping “transcends” – in a gestalt-like fashion – all “levels” of conceptual organization. For illustrative purposes, the paper recasts Ingarden’s analysis of Mickiewicz’s “The Ackerman Steppe” in terms of Cognitive Grammar.

Margery Kempe: A Mixed Life

Margery Kempe: A Mixed Life

ROMAN BIRTHDAYS IN THE ELEGIAC STORY-WORLD

The article analyses private Roman birthday parties as they are represented in Augustan poetry, to discuss to what extent literary texts from the Augustan period can be trusted as sources revealing historical Realien. It revisits some of our knowledge regarding these celebrations and is especially interested in those birthday rituals referenced in the poems and considered private birthdays. The article makes interpretative remarks on poems where this historical knowledge contributes to our understanding of the poems as literary artworks, but since a large number of poems are covered, no in-depth analysis is attempted.

Other Discourses in Poetry: Christian Bök’s Crystallography and The Xenotext (Book 1)

A characteristic feature of contemporary poetry is the interaction with other, non-literary discourses. In conceptual works, material is adopted from external sources and the artwork is extended to include the surroundings in what Nicolas Bourriaud has termed “relational aesthetics.” Christian Bök’s writing can be seen as a continuation of avant-garde practices concerned with the medium and materiality of the literary text. In Crystallography (1994), elements from scientific discourse such as tables, graphs and fractal geometry are incorporated into concrete poems and in his most recent project The Xenotext (Book 1) (2015) the interaction with other forms is taken a step further as Bök moves the text away from the literary medium and into the field of biotechnological research. A matrix sonnet is encoded into the DNA of a bacterium, and the protein of the bacterium produces a new text in the form of a sequence of amino acids. This process makes the resulting text inaccessible to the general reader who is left with the description of the work in the accompanying book and the project thus radically challenges the status of the literary artwork.

The Constitution of the State as a Problem of Phenomenology

Roman Ingarden the early phenomenologist is regarded as a theorist in the area of aesthetics and ontology rather than being a political philosopher. The aim of the article is to reconstruct a non-existent philosophy of the state, one that could have been developed by Ingarden by taking as a starting point his ontological analysis of the structure of a literary work of art. In his book of 1931 Ingarden defined very broadly the literary work of art, including as its borderline cases among others scientific works, letters, memoirs etc. The thesis of the article is that state constitution may be also interpreted as a borderline case of that work. In reference to Ingarden’s analysis of stage play as the concretisation of a piece of drama, an attempt will be made to reconstruct in terms of his ontology the relation between the state constitution and the state itself.

Diminutive Noun Class in Bantu Languages: Is Kiswahili Deviant?

Noun class prefixes ki-/vi- and ka-/tu- found in Bantu diminutives are widespread despite claims that these affixes are missing in Kiswahili. This study was qualitative, employing data from Kiswahili native speakers, selected literary works of art written in Kiswahili by Kiswahili speakers, and Kiswahili chat messages from WhatsApp forums of Kiswahili speakers. The study reveals that Kiswahili speakers use ka- and tu- affixes in addition to ki-/vi- to form diminutives. These affixes may attach to noun stems as in ka-toto/tu-toto ‘tiny child/tiny children’; or may attach to prefixed stems as pre-prefixes as in ki-m-nazi ‘small/short coconut tree’ and vi-mi-nazi ‘small/short coconut trees. The study findings also reveal that the noun class prefixes trigger agreement on modifiers and verb complexes regardless of their forms as prefixes or pre-prefixes as observed in ki-toto ki-moja ki-zuri ‘one pretty little girl’; or in ka-dada ka-na-miliki-gari ‘pretty little girl owning a car’ where the ki- and ka- on the subject noun stems (-toto and -dada) re-surface as subject markers (SMs) on the modifiers -moja ‘one’ and -zuri ‘pretty’; and on the verb complex -na-miliki ‘owning’. These facts provide strong support for arguing that Kiswahili projects special diminutive affixes in class 12/13 that triggers agreement on other modifiers.

New Ecological Realisms: Post-Apocalyptic Fiction and Contemporary Theory by Monika Kaup

Reviewed by: New Ecological Realisms: Post-Apocalyptic Fiction and Contemporary Theory by Monika Kaup Brent Ryan Bellamy Against the Linguistic Turn, Against New and Old Materialism, Ontology Now and Forever! Monika Kaup. New Ecological Realisms: Post-Apocalyptic Fiction and Contemporary Theory. Edinburgh UP, 2021. 346 pp. $29.95 pk & ebk, $130 hc. Monika Kaup's New Ecological Realisms builds on philosopher Markus Gabriel's claim that new realism is a periodizing term for what comes after postmodernity (196). Kaup launches an assault on the linguistic turn and offers admission to an exhibit on the "rehabilitation of ontology," conveying renewed interest in philosophical realism. Well worth the price of admission, Kaup's study provides a clarifying overview of the thinkers, their views, and their relationships, including but not limited to Jane Bennett, Karen Barad, Graham Harman, and Quentin Meillassoux. Kaup assembles four new realist theories to elaborate "realisms of organised wholes" (5) across her chapters: Bruno Latour's political ecology, Humberto Maturana and Francisco Varela's autopoietic theory, Markus Gabriel's ontology of fields of sense, and Jean-Luc Marion's and Alphonso Lingis's return to phenomenology in the wake of poststructuralism. The book proceeds by way of comparative study to explore the suggestion that "grasping reality" requires "mapping worlds and exploring contexts" rather than "making a collection of everything that there is" (5). Kaup selects Margaret Atwood's Maddaddam trilogy (2003-2013), José Saramago's Blindness (1995), Octavia E. Butler's Parable books (1993-1998), and Cormac McCarthy's The Road (2006) precisely for their specific deployment of post-apocalyptic narrative. New Ecological Realisms argues that post-apocalyptic novels are a singular art form that reformulates how apocalyptic narrative works. Kaup relies on Derek Attridge's affirmation of the singularity of the literary artwork. Kaup writes, "Apocalyptic thinking is inherently ontological: it is about the world as a whole" (6). Moreover, she highlights the inevitability of narrative's drive to a specific predetermined end: "Its overt orientation towards an overall purposive design makes apocalypse the epitome of narrative as such" (57). In the case of Kaup's chapters, the novels discussed each envision "new collectives" that set aside "competition and domination" for "cooperation and ecology": "a trans-species ecological collective of human survivors and artificial species (Atwood); an organised society of the blind (Saramago); a post-apocalyptic religion built on loss and uprootedness (Butler); and a postapocalyptic self founded on passionate commitment (McCarthy)" (78). This is not a book about sf, although it will be of interest to some sf critics. Kaup relies on Darko Suvin's formulation of cognitive estrangement and holds with a distinction between serious sf and futuristic fairy tales. Colson Whitehead's Zone One offers an example of the latter, as Kaup claims that "the fantastic device of a zombie apocalypse serves as a means to evoke horror and serial combat of the action-adventure type rather than the critical [End Page 568] extrapolation of real-world trends" (65). American studies scholar Priscilla Wald's work on outbreak narratives appears in the book (176), as does Tom Moylan's concept of the critical utopia (222-23). Given Kaup's critique of the linguistic turn, it is no wonder that Samuel R. Delany's Dhalgren (1974) is avoided here for its arch-postmodern inflections (despite its inarguable status as a singular text!), yet as Jessica Hurley reminds us in Infrastructures of Apocalypse: American Literature and the Nuclear Complex (2020), Delany spent time in narratologist and fellow linguistic-turn traveler Frank Kermode's office writing Dhalgren. Kermode makes an appearance here as well, specifically for Kaup's theorization of postapocalyptic time. Though justified by Kaup's logic and methods, such selections remind me of film-studies scholar Rick Altman's observation of film genre writing: scholars can define genre precisely by how they select examples and which texts constitute edge cases. On my read, Kaup's decision about what information can count as meaningful given the discussion is discerning at best and idiosyncratic at worst. For instance, much care is given to narrate the intellectual history of Bruno Latour's oeuvre, yet Fredric Jameson, whose work presents serious challenges from a Marxist standpoint to the...