Motif Of Memory Research Articles

MEMORY AND TIME IN OLES ILCHENKO’S PHOTOPOETRY

The paper considers new creative approaches to the established types of poetry. Building on the theoretical definitions, taxonomies and observations formulated in the works of Aleida Assmann, Roland Barthes, Nina Chamata, Robert Crawford and Norman McBeath, Michael Nott, Irina Rajewski, James Smith, Susan Sontag, et al., the research argues that the artistic practices of photopoetry (“a form of photo-text that takes, for its primary components, poetry and photography”, Michael Nott) offer new ways to interpret certain topics of metaphysical poetry. The material for analysis is taken from a black and white photo-text book “Some Dreams or Kyiv That No Longer Exists” (2007) by a Geneva-based Ukrainian poet and artist Oles Ilchenko. The detailed analysis of it seeks to clarify the structural, stylistic, and semantic characteristics of Ilchenko’s photopoetry. The special attention is paid to the mechanics of cyclization, forms of intermedial interactions, and types of artistic collaboration in this project. It is also noted that the interpretative co-operation with the audience here depends on the readers/viewers’ personal memories and emotions evoked by these photographs and poems. Focusing on the motifs of memory, nostalgia, and transience of life, Ilchenko’s photopoetic cycle explores the metaphysical theme of Death and Time in its connection with the urban space of Kyiv. This project demonstrates that the long form photopoetry provides the 21st century author with some efficient creative instruments to interpret the realities “of peculiar kind” (James Smith), such as time and memory. The contrasting combination of verbal and visual elements in this book creates an effect of double visualization, which accentuates the dynamics and dramatic tension between the poems and the images. The cyclic composition of texts paired with the fragmented and modified photographs transforms the real urban space into a powerful metaphor of memory and personal loss.

Образ мордовского края в творчестве Камиля Тангалычева

the article is devoted to the study of the peculiarities of artistic embodiment of the image of the Mordovian region in the creative work of K. Tangalychev and fits into the complex of studies of domestic literary studies concerning the problem of analyzing the author’s individual style. The subject of analysis is the ways and methods of creating the image of the small homeland in the prose and poetic texts of the author. Objective: to reveal the specificity of representation of the image of the Mordovian region in the artistic heritage of K. Tangalychev. Research materials: poetry collections of K. Tangalychev “The Nearest Village” (2001), “The Tin Century” (2014), “The Pedigree of the Sunset” (2017), and the book of essays “The Return of the Strawberry” (2023). Results and novelty of the research: the creative work of K. Tangalychev, the poet and publicist, occupies a special place in the literary process of Mordovia. Tatar by nationality, living in close proximity to the Mordovian and Russian peoples, he praised the multinational region rich in cultural traditions. A distinctive feature of his artistic works is a dialectical combination of national and international, everyday life, ancient history and modernity. The scientific novelty of the article is due to the fact that it represents the first experience of a comprehensive study of the image of the small homeland in the literary heritage of the author. In the course of the study it was established that K. Tangalychev’s nonfiction works are deeply lyrical, and his poetry is permeated with autobiographical beginning. The central artistic dominant of his works is the image of his small homeland – the native village Akcheevo, which is mythologized into a symbolic image of ancient Greek Hellas – the place of strength and creative inspiration of the poet. The sacredness of this geographical topos is created by the key constants – the image of a mother praying for her son; native nature reflecting the divine essence of the universe; fellow villagers preserving national traditions; the legendary historical past of the Temnikovsky region. The lyrical hero, closely merged with the image of the poet himself, deeply experiences the destruction of human ties with his spiritual Home, hence, the motif of memory as the plot-forming basis of creativity of K. Tangalychev acquires special importance.

MEMORY AND SPACE IN KAZUO ISHIGURO'S NOVEL "THE BURIED GIANT": INTERMEDIAL ASPECT

The aim of the article is to investigate the phenomenon of intermediality in 2015 novel The Buried Giant by the British writer Kazuo Ishiguro. Particular attention is paid to the notion of “literary cinematographicness” (also known as cinematic or filmic mode), which is defined as the use of cinematic techniques and effects in literature, thus creating the effect of multimodality, with a dramatic-intensive flow of events in the text. Analyzing examples from Ishiguro’s novel, the article focuses on such elements of literary cinematographicness as the prevalent audio-visual modality, with an in-depth semantics of sensory images and characters’ non-verbal language; the abundance of audial and visual special effects; as well as incorporating different shots sizes, perspectives, and angles that produce the effect of multidimensional space in the recipient’s mind. Furthermore, the novel’s central motif of memory and recollections determines its non-linear chronotope, with such cinematic techniques as montage, dynamic frame shots, and flashbacks becoming instrumental in depicting the complex spatio-temporal relations between the scattered scenes and images.

Milady Součkovej prywatne archiwum pamięci (na podstawie opowiadania Rok šestašedesátý ze zbioru Neznámý člověk)

This article presents an analysis of one of the short stories authored by Czech writer – Milada Součková: the short story Rok šestašedesátý included in the collection entitled Neznámý člověk (published in 1962, written in 1943). The introduction addresses the issues related to the clarification of the concept of a memory archive and the concept of the archive itself. Its characteristics, i.e. a certain arrangement of the collection, its permanent structure and three essential aspects of archiving are indicated: searching, saving and storing. These aspects are also typical of the structure of the analysed prose authored by Milada Součková. The next part of the article (Neznámý člověk as a private archive of memory) pertains to the entire above-metioned volume of the stories whose characteristic motif is the motif of memory linked with space, time and history. In the further parts of the article, the author goes on to the structural and interpretative analysis of the story she is interested in. She draws attention to such aspects as memory figures, i.e. time and space, thematic associations, memory carriers and memory traces and places. In conclusion, she draws attention to three components of the Milada Součková’s private memory archive: the memory of the language, the memory of the father and the memory of the historical events taking place in 1866.

The mythologem “Home” in the art discourse of Tatar and Chuvash literatures

Comparative study of the cultures of the Volga region folks leads researchers to conclusions characterizing the centuries-old interaction of peoples, which resulted in the formation of unique artistic systems of the Tatar and Chuvash nations. The article considers the functioning of the mythologeme “Home” in the Chuvash and Tatar literatures and determines its fundamental importance both in classical and modern works (end of 20 - begining of 21 century). The authors analyze the poetic meanings (motif of memory, happiness, faith, life, etc.) and identify the most frequent values (native speech, a symbol of security, wealth, beauty and peace), that combine in their understanding the idea of Home in the Chuvash and Tatar cultures. The mythologem “Home” in Tatar and Chuvash literatures is related to the problems of works and refl ects the mentality of the people.

V.V. Nabokov and F.I. Tyutchev: Double Being

The article attempts to find common ground between the artistic systems divided by a century – the lyrics of the Russian poet and philosopher F. I. Tyutchev and prose of the outstanding Russian-American writer V. V. Nabokov. The first part of the article deals with the ideas of domestic and foreign researchers of the peculiarity of the Nabokov’s aesthetic system. Nabokov did not write a special article and did not publish a single lecture on Tyutchev’s lyrics, although he repeatedly turned to the work of the poet, in particular, while teaching in America, left excellent translations of his poems into English. The authors of the article show the common perception of life of nature and man for both authors. The inner closeness of Nabokov and Tyutchev is manifested not so much in direct statements as indirectly. This is an acknowledgement of the narrator in the General Ledger, Nabokov’s Other shores (“Pushkin and Tolstoy, Tyutchev, Gogol stood at the four corners of my world”); and accented by the intertextuality in the prose of the author with specific Tyutchen’s reminiscences, sometimes shocking-pun (short story “Cloud, lake, tower”); and focusing on the motifs of memory, gift, abyss (in Schellingian understanding); and Nabokov’s use of the key opposition “dream – chaos”, which runs through the entire lyrics of Tyutchev. The second part of the article is devoted to the analysis of Tyutchev’s poetry in the light of researches conducted by Russian philosophers and literary critics. The article notes the little-known fact that Nabokov and Tyutchev were related in kinship. You can find out at what point the kinship of the two great masters of the word crossed by reading the article.

Elements of Iconicity in the Texts of Antanas A. Jonynas

The author of this article presents, and examines the expression of, iconicity in the poetry of Antanas A. Jonynas. Drawing on the American semiotician Charles S. Peirce’s sign theory and hermeneutic analysis she reveals how, in Jonynas’s poetry, reality is contextualized through language – its characteristics, expression, and meaning. Unusually for Lithuanian literary studies, the article dicsusses iconicity in terms of cognitive poetics.The article relates poetic expression with both iconicity in language and the function of metaphor within the literary text. These reflect the complex phenomenon of literary visualization and convey the fundamental human ability to think in terms of analogy.As is characteristic for modern poets, Jonynas stresses the importance of language: it is a means, a separate motive, and a problematized aesthetic effect – it is the power to both create a world and to decipher human experience through language. The image of reality within the text is based on the logic of spectacle (the analysis reveals the latter’s metatextual status), and for this reason the drama of the poem can appear to be both real and theatrical. But Jonynas’s texts are characterized by the ability to simultaneously talk about and describe states, and to convince and engage the perceiver: the texts combine sensations and draw on the transmission function (speaking and listening). The author of the article offers a detailed analysis of the nature of the poet’s language and the motif of memory in his writing. Images and the entire texts’s metaphoric level reveal the discontinuity between conscious speaking and nondiscursive experience in Jonynas’s poetry. The poetic text combines elements of reality; existential categories merely create the misleading impression that the status of emotion in the text is equivalent to the represented object or landscape.

The Czech (Czechoslovak) ‘Osmichki’ in the Novels by Milan Kundera: The Problem of Memory and Forgetting

The article examines the notion of Czech (Czechoslovak) ‘osmichki’ in the novels of a famous writer Milan Kundera. The Czech (Czechoslovak) history (inclusive of ‘osmichki’ of 1968) is shown in the author’s literary work not only as a historical and political but an ethical category. It is connected with the problem of national identity and forms the inner world of the characters in Kundera’s novels and that of the author himself (the interpenetration of the character’s life story and real history). The author views the world and man in this world through the realm of existential and post-modern philosophy trying to understand the drama of a nation along with a man’s daily drama in history. The ‘past-present-future’ triad is interpreted by the writer though the Past as the starting and the turning point. In this view the motif of memory and forgetting gains a particular impact in the early works by Kundera. The choice between memory and forgetting determines the evaluation of both fictional and real historical character as well as the author’s view. It provides a peculiar interpretation of history, man in history, national and personal identity through the history of daily routine. DOI: 10.5901/mjss.2015.v6n2s1p543

Trauma, (Mis)Perception and Memory in Uwem Akpan's ‘Fattening for Gabon’

It is a generally accepted principle in contemporary poststructuralist literary studies that language can only ever partially succeed in signifying that which it purports to signify. Where the profoundly dislocating experience of trauma is concerned, language loses even this partial success, and the victim of psychic violence is forced to resort to silence, a silence which is all the more expressive precisely because it overwhelms language. Thus, trauma fiction reveals what Steiner refers to as ‘the revaluation of silence’ which emphasises ‘the conceit of the word unspoken’ (67). Uwem Akpan's short story, ‘Fattening for Gabon’, from his collection Say You're One of Them (2008), is concerned with the culpability of socio-economic structures in giving rise to and perpetuating trauma in children. This paper will examine the retrospective narration of the protagonist by paying particular attention to the motif of memory. A discussion of the painful ambivalence of the experience and textualization of trauma, as conveyed through the story's use of silence and the disruption of the conventional bildung typical of narratives of remembrance, will form a substantial part of the paper.

A career of one's own:christina rossetti, literary success and love

In this article it is proposed that the themes of loss and longing, which dominate the poetry of Christina Rossetti, relate less to love than to her ambitions and anxieties as a writer. By both drawing on and reassessing biographical studies of Rossetti, and by reading her poems in conjunction with details about the painful progress of her literary career, it is argued that Rossetti mimicked the conventional image of the Victorian lady poetess and employed the love lyric as a coded expression of her more subversive and unspeakable desire for literary success. The article focuses on the frustrations she encountered as a writer – including her relationship with her brother, Gabriel, and the repeated suppression or misprinting of her name – and suggests that the motifs of memory and death which pervade her poems bear witness to her ardent desire to be remembered and become immortalised in literary history. A poet traditionally associated with renunciation and passive endurance, even within feminist literary criticism, it is suggested in this article that Christina Rossetti deserves to be recognised not only as a confident and committed writer but one whose fierce ambition and desperate desire for fame and fortune find expression in her poetry.