Personal Drama Research Articles

“Grand Narratives” and “Personal Dramas”: (Re)reading the Masterpieces by Artemisia Gentileschi

This article discusses the œuvre of Artemisia Gentileschi, a prominent Baroque painter who was rediscovered by art historian Roberto Longhi in the 1910s. Today, her art is interpreted through various lenses, including art theory, women’s studies, and psychoanalysis. Gentileschi’s paintings are often “read” in close reference to her painful biography, with a focus on the “chiaroscuro” of trauma and its overcoming. Significantly, such biography-oriented approaches seem to be predominant in scholarship on art created by women. The argument presented is that Gentileschi’s works require a thorough re-reading free of “compulsive biographism”, as postulated by Salomon. The focus should shift from an empathic Einfühlung (or empathic projection) towards an objective analysis based purely on art-historical or sociological criteria. This article also explores the presence of the socially mediated and mediatised figure of the artist in fine literature (novels by Banti, Lapierre and Vreeland), cinematic biographies (Artemisia, directed by Merlet, documentaries (Artemisia Gentileschi: Warrior Painter, directed by River), anime (a series titled Arte, directed by Takayuki Hamana), and graphic novels (Ferlut and Baudouin; Siciliano). In this artistic constellation Artemisia is labelled as an art/feminist “icon”, a female genius, and as in numerous scholarly texts dedicated to her, “a victim”. I propose that the discussed literary and visual texts related to Gentileschi be interpreted as symptomatic (in line with Panofsky’s concept of ‘iconology’) of the contemporary mentality, which is filtered through feminist and subaltern thought.

Истрати, Роллан, Горький: новые факты советско-французских литературных взаимодействий 1920–1930-х гг.

The article analyzes the “Istrati case,” one of the most expressive travelers to the Land of the Soviets. The little-known and unpublished materials from the writers’ personal archives used in the study demonstrate a turning point in the evolution of the socio-political views of Rolland and Gorky. In 1928, both of them moved on from criticism of the internal policies of the Soviet leadership to cooperation with the Stalinist regime. Rolland dissociates himself from the writers of the Russian emigration and sends congratulations to the Soviet people on the 10th anniversary of the October Revolution; Gorky travels to the USSR after a seven-year absence. A kind of trigger in these conditions was the story of the Romanian writer P. Istrati, who came to the USSR to celebrate the 10th anniversary of the October Revolution and was determined to stay in the country of the “red fighters” forever, as evidenced by his letter to Gorky. However, after staying in the USSR for more than a year and plunging into the everyday life of Soviet people, shaken by social and personal dramas caused by the arbitrariness of the authorities, against the backdrop of mass repression and the absence of any freedom, Istrati lost faith in the possibility of revolutionary transformations of society based on justice. In the history of Istrati’s interaction with his literary idols, new trends emerged that determined their social behavior: Gorky turned from the author of “Konovalov” (1897) into a “sweet panegyrist,” into a “pasha from Sorrento.” Rolland was ready to turn a blind eye to any abuses by the Soviet authorities for the sake of “defending the USSR.” The “untimely” decision to publish the book “To Another Flame” (1929) about his impressions of his stay in the USSR cost Rolland the friendship and recognition of the socialist writers from his circle.

Ghostface Needs a Hug – Self-care and the Return of the Repressed in Scream (2022)

How does the combination of remake and sequel (requel) affect narrations of trauma and grief in the 2022 movie Scream? The film’s positioning as an inter-generational transition with the goal of targeting new horror audiences highlights the need for developing complex and yet gripping story arcs in a media climate marked by serialization. In my analysis, I examine how the 2022 instalment revolves around explorations of an unresolved past, which re-erupts in violent ways. In particular, I focus on the movie’s investment in a modified cyclical narrative, which offers detailed insights into how the requel formula builds on the engagement with traumatic memory and combines it with strategies aimed at reviewing and reframing the past. Robin Wood’s concept of the “return of the repressed” offers key anchoring points for this analysis through its focus on the mutually reinforcing dynamic between social oppression and deadly energy. By highlighting the personal dramas visited upon the key protagonist of the film, Sam Carpenter, I embed her struggles with the past in a broader societal context, showcasing how engaging traumatic memory is also nested within a larger communal consciousness. The strategies employed by the protagonist connect with the requel format in significant ways, as they offer avenues for modulating and emulating the past. Through this analysis, it is shown that the repressed can itself be channeled toward self-affirming strategies, which revolve around the renegotiation of gendered concepts of authority and agency. A further takeaway are the limitations of neoliberal self-care, which is shown to be an inadequate approach in the film, as the monstrous resides in the communal and cannot be fully evaded through strategies aimed at individualization.

THE IMAGE OF SERVILIA IN THE COLLISIONS OF THE INTONATION PLOT: FROM THE DRAMA OF L. A. MEI TO THE OPERA OF N. A. RIMSKY-KORSAKOV

The presented materials are the fi rst experience of considering the musical characteristics of Servilia in the context of the intonational events of N. A. Rimsky-Korsakov’s opera of the same name, unfolding in the multidimensional space of its musical reality. The personal drama of the heroine is placed in socio-historical collisions: on the one hand, the confl ict of tyranny and citizenship, and on the other, the main socio-historical confl ict immersed in the deep layers and expressed in the confrontation between paganism and Christianity. The results of the study of the opera’s musical content testify to the modality of the musical image of the young patrician, consolidating the meanings of the intonational plot, and thus being the intonational epicenter of the opera.

THE IMAGE OF SERVILIA IN THE COLLISIONS OF THE INTONATION PLOT: FROM THE DRAMA OF L. A. MEI TO THE OPERA OF N. A. RIMSKY-KORSAKOV

The presented materials are the fi rst experience of considering the musical characteristics of Servilia in the context of the intonational events of N. A. Rimsky-Korsakov’s opera of the same name, unfolding in the multidimensional space of its musical reality. The personal drama of the heroine is placed in socio-historical collisions: on the one hand, the confl ict of tyranny and citizenship, and on the other, the main socio-historical confl ict immersed in the deep layers and expressed in the confrontation between paganism and Christianity. The results of the study of the opera’s musical content testify to the modality of the musical image of the young patrician, consolidating the meanings of the intonational plot, and thus being the intonational epicenter of the opera.

Accomplissement de l’amour, mort de l’amour? Le paradoxe amoureux et l’amour courtois. Par Rüdiger Schnell. Traduction par Sandra Debot

This book is an incisive intervention into the nature of what came to be called, in the late nineteenth century, courtly love. Rather than confronting the whole shaky apparatus of that phenomenon, Rüdiger Schnell sets out to examine just one crucial aspect: does desire die after sexual contact, and is desire therefore dependent upon non-satisfaction? Beginning with Leo Spitzer’s L’Amour lointain de Jaufré Rudel et le sens de la poésie des troubadours (Chapel Hill, NC: University of North Carolina Press, 1944), a study so foundational that it set the terms for what has been the standard reading of the troubadour canso ever since, Schnell sets out to critique the assertion that achievement of sexual satisfaction in itself annihilates desire. Such a narrow focus is both the principal virtue of the study and its ultimate limitation. With painstaking attention to every aspect of the question — including generic considerations (tensos and partimens), the nature of possession and of obstacles, and socio-economic considerations — and in setting the work out like a scientific study, Schnell undermines convincingly Spitzer’s contention that a ‘paradoxe amoureux’ is at the base of the troubadours’ (and minnesingers’) conception of love and desire. Moving from ancient and medieval philosophy to the texts of individual poets, Schnell systematically demolishes what he considers the false reading of the troubadour cansos as being static, unchanging, and single-minded in their obsession with the incompatibility of love and sex. One of the great pleasures of reading this study is the open approach the author takes to recent studies of the corpus and his inclusion of the works of scholars outside the German/French/Italian sphere. He is attentive to the consideration of time and subjective time in different genres; insistent that no one genre can be seen as the porte-parole of a supposedly unified troubadour discourse; intent on defending a second paradox ‘performatif’, one that emerges through performance and interaction; and he produces evidence that counter-examples to the ‘paradoxe amoureux’ thesis far outweigh the evidence of the relatively few songs, at least in terms of percentage, which have bolstered such an overweening theory. As Schnell says, singing of personal dramas of unrequited love before an audience represents, above all else, the ‘autoprésentation d’un groupe social se comprenant comme l’élite et non de la traduction littéraire des états psychiques individuels des troubadours’ (p. 34). Yes and no, I would respond, to this observation and to the study as a whole. Admirable in conception and execution, it succeeds in its narrower goals but fails to go far enough to stand as the definitive statement that I think Schnell might have intended. While the point is proven beyond doubt, the proof itself, dependent as it is upon the presence/non-presence of imagined ladies, the values of an elite audience, and the maintenance of a sense of community, indicates the potential of a further deconstruction of the concept of courtly love, one that would emphasize a community of poet-musicians, working within the circumscribed arena of public taste, alluding to a subtext of secrecy, self-preservation, and self-advancement, and one that might have little to do, finally, with the petty dissatisfactions of heterosexual coupling.

Escrevivência: O Cansativo Processo de Ser uma Outsider Interna na Pós-Graduação em Administração

ABSTRACT Objective: this reader reflects on the exhaustion of being an outsider within a postgraduate Administration program. Theoretical approach: I also incorporate dialogue with black feminist thinkers to explore the intertwined intersections in autobiographical narratives. I highlight the concept of outsider whitin to reflect experiences of less privileged groups, who come up against paradigms established by a more influential community of insiders. In this movement, I shatter images that produce apathetic identities, enabling them to position themselves in the face of social dynamics. Method: to do this, I use Conceição Evaristo's theoretical operator Escrevivência to revisit memories and reveal, through a transactional dialogue, productions located in the knowledge of black women. Results: in addition, I instigate reflections, acceptance, and representation of all peoples, addressing not only personal drama but also community history. Conclusions: finally, through a utopian effort, I articulate possible ways for postgraduate courses in Administration to break through the barriers experienced and raise the potential for those willing to contribute to the country's social, scientific, and theoretical development.

Leonid Ionin. The Drama of the Life of Max Weber. Breakthrough in Russian Scientific Biographical Analysis

The new book by Leonid Ionin about Max Weber is a notable occurrence in the Russian history of sociology and culture. It fundamentally furthers our understanding of the nature of sociological knowledge. No one else in our historical sociological literature has tried to consider the work of a sociologist in such detail against the backdrop of the life’s, or more specifically, the personal drama, of the scientist. This required not only a deep knowledge of Weber’s works from the author, but also courage. In my understanding, Ionin’s experience can become an excellent basis of knowledge for Russian researchers of the past of Russian sociology, especially the biographies of those who created the foundation of our science.

The Christian miracle by agnostic Fauré: what the “Requiem” is keeping silence about

The relevance of the article. Gabriel Fauré’s Requiem is one of the most performed works of this genre in contemporary music practice. It is addressed in concert performances, scientific research and conducting classes. However, it still remains semi-closed for understanding, because the composer’s attitude to death in this work reaches unexpectedly extreme emotions — he declares almost the desirability of death.
 The purpose is to substantiate the own performing concept of the Requiem by Gabriel Fauré on the basis of contextual, textual and comparative analysis of the musical material, as well as biographical and psychological analysis of the composer’s personality.
 The methodology. The research was carried out using an integrated approach, in the structure of which the contextual analysis allowed to establish the creative intentions of G. Fauré to write such a Requiem, the textual analysis helped to determine the specifics of certain structures and semantic content of the work, the comparative analysis — to compare the concepts of different versions of the Requiem of Fauré, the method of intonation analysis — to dive into the sign system of the work.
 The results. The author proposed her own performance concept of the work, which takes into account the composer’s religious and philosophical guidelines, as well as his psychological characteristics against the background of the events of the Franco-Prussian War.
 The scientific novelty. For the first time, the study provides a detailed analysis of the semantic content of the work, deciphering the principles of the composer’s creative method in working on the funeral text.
 The practical significance. The materials of the article can be useful in the practical activities of conductors, soloists and choristers, as well as in the educational process of training conductors, choirmasters and vocalists.
 Conclusions. It has been determined that Gabriel Fauré’s interpretation of the canonical text (with the changes corresponding to the Parisian rite) is based not so much on his personal drama of losing his parents, as it was previously believed, but on his attitude to death, formed by the events of the Franco-Prussian War.
 It has been determined that the main idea of the Requiem is a great feeling of love and compassion for a man who is forced to fight for his life, killing his own kind and who deserves peace. In this, Fauré seems to depart from the concept of the Catholic Requiem with its traditional “pedagogical intimidation” with pictures of the Last Judgment, and approaches the concept of the Orthodox funeral service with its repentance and hope for God’s mercy.

“Death Itself May be Overcome…” (Thanatological Plot in “The Brothers Karamazov” by Dostoevsky)

The article reveals how the writer’s personal drama was reflected in his novel “The Brothers Karamazov.” The unexpected death of their three-year-old son on May 16, 1878 was a tragic shock for the Dostoevskys. The causes of his death have not yet been clarified: there is no critical analysis of documentary sources, no diagnosis has been made, the described symptoms (fever, diarrhea, vomiting) may be related to several childhood diseases, family legends about the disease are unreliable. Dostoevsky’s pilgrimage to the Optina Hermitage had a personal reason along with his creative interest in the plot of the new novel. The writer sought to say goodbye to the earthly life of baby Alexey on the fortieth day of his death at Optina, but he was late. During the trip, Dostoevsky had an important conversation with Vladimir Solovyov, in which the writer revealed the idea of his future novel: the Church “as a positive social ideal.” After Dostoevsky’s pilgrimage to the Optina Hermitage, his novel took final shape. The thanatological motifs in the work include scenes in the monastery, Ivan Karamazov’s “collection” of facts, the death of elder Zosima, the illness and death of his brother Markel, Ilyusha Snegirev, and other heroes. These motifs play a key role in forming the poetic idea of the novel. The thanatological theme of the novel has Easter significance. Dostoevsky wrote a novel in which he not merely describe an event, he articulated the meaning of being: in the person of Alexey Fyodorovich Karamazov, he resurrected his son in the name and prototype of the deceased Alexei Fyodorovich Dostoevsky. With every proclamation and glorification of the hero, Dostoevsky proclaimed the immortality of his son.

G. Bizet’s “The Pearl Fishers” in the context of Poetics of French Lyrical Opera

The purpose of the study is to reveale the poetic and intonation uniqueness of G. Bizet’s “The Pearl Fishers” in the context of the genre-style canon of French lyric opera. The methodology of the work has a complex nature and is based on a combination of the principles of cultural, historical-typological, hermeneutic, and genre-intonation studies. The scientific novelty of the work is determined by the fact that it examines for the first time the genre-stylistic and spiritual-meaning specifics of G. Bizet’s “The Pearl Fishers” in the realm of the poetics of French lyric opera. Conclusions. Lyrical opera is a bright stage in the development of French musical theatre in the middle and second half of the 19th century. The opposition of this genre in relation to “grand” opera at the same time does not exclude their mutual influence, which is manifested in the antitheses of the personal drama of the main characters, ennobled by a high sense of love, and the patriarchal instructions of the environment in which they are. This also determined the stylistic specificity of lyric opera, formed at the intersection of romantic and Biedermeier traditions. The mysterious genesis of the European musical theatre was reflected in the lyric opera in the potential direction of the fate of its main characters towards spiritual transformation. G. Bizet’s romantic-exotic opera “The Pearl Fishers”, created in 1863, is based on the dramatic story of a priestess who broke her vow and her lucky escape from punishment. The genre canon of the lyric opera is manifested in the named opera in the appeal to the oriental plot, in the presence of a traditional love drama for lyric opera, which is in contradiction with the generally accepted patriarchal norms of the spiritual and religious order, which are dominant in the society in which the main characters live, in a significant the role of genre scenes, which generally reproduce within the framework of the European musical tradition, without corresponding folklore quotes, the exotic flavour given by the plot (fifth-note bourdons, the essential role of the metro-rhythmic factor and the timbre of percussion, the figurative-improvisational type of the vocal part of Leila the priestess).
 Key words: musical culture of France of the 19th century, French lyric opera, musical theatre by G. Bizet, “The Pearl Fishers” by G. Bizet.

“Ввічлива брехня” Кьоко Морі: мова як опір

The article focuses on the book “Polite Lies” by a contemporary Japanese American author Kyoko Mori where she explores the essential problems of Japanese/American social and cultural milieu, formulating a radical verdict on the Japanese language and culture as Polite Lies. Besides being a literary genre, Mori’s book introduces a new vision in a long-standing “politeness discourse” by a wide range of social science researchers, anthropologists, pragmalinguists, sociolinguists. She definitely knows a lot more about this issue, suggesting underlying assumption. Being a transnational bicultural writer, she does not feel marginalized in America neither by ethnos nor by gender, and what is important – she feels utter alienation in Japan, the country of her childhood. In this book, Kyoko Mori considers a variety of subjects: the role of ethnicity, gender and feminism, personal relationship with the inherited culture and her right for personal freedom in choosing culture and language. She creates the image of “home” as an emotional and spiritual space rather than an ethnical location, emphasizing the primacy of personal identity over gender and ethnicity. Kyoko Mori, unlike most Asian American writers, avoids stereotypical images of Japan, as well as a stereotypical literary motif of survival and assimilation in America. Neither is she trapped by a leading theme of Asian American canon – a dramatic search for identity in a new world. Her writings manifest that she has no dilemma provoked by the conflict with the older generation of immigrants. In “Polite Lies” she analyzes those aspects of Japanese culture which restrain her freedom, which caused her to reject her own roots, and which, in fact, are responsible for her mother’s suicide that became a form of tragic escape. Realizing all these, she chooses the only possible way – to resist by speaking and writing in English, by uncompromising analysis of the hidden ethnic phenomenon of Japaneseness that could never be justified by codified ethic norms. Kyoko Mori chooses English as the language of her “voice”. In her memoir, she explains that her mother tongue does not give her freedom of self-expression and diminishes her as a woman and as a human being. Expanding on this problem, Kyoko Mori creates a central image of “polite lies” which embodies general metalinguacultural, sociocultural, psychological observations, as well as delineates the author’s personal drama. She refers to the “polite lies” as to an inherent linguistic and cultural feature of Japanese culture, outlining the inner space – finding evidence in the personal drama of her mother’s life. The book incorporates genre signifiers which are relevant to analytical and personal essays as well as to story genre that unveil the deep cultural roots of “polite lies” and Japanese women’s social, psychological and linguistic vulnerability. Kyoko Mori’s book is a synthetic genre in which the artist’s imagination vibrates with facts and analytical observations that create the images of Japan’s past and present filled with impressions, thoughts side by side with lyricism and artistic psychologism and, besides, what is obvious – reveals her resistance, radical decision to escape and never to return to Japan.

The Border of My Body

With my husband Miško Šuvaković, I spent October 1998 in Ljubljana, Slovenia. It was a time when Serbia expected a NATO intervention, which happened in the spring the following year. I was intensively reading the selection of Slovenian poetry translated into Serbo-Croatian by the Slovenian-Bosnian poet, Josip Osti. As someone raised as a Yugoslavian by nationality, the wars in Yugoslavia were a personal drama. Inspired by Osti’s translations and the political situation, I wrote fourteen poems titled “Eseji o slobodi kretanja” (“Essays on the Freedom of Moving”). At the centre of most of these poems were the questions of borders in materiality and in our minds, and of the impossibility of moving through the new countries’ borders that appeared during and after the Yugoslavian wars. The emotional relationship to the war as well as the geopolitical and geocultural changes in this region are at the center of these poems. The two poems presented here were published in my collection of poetry, All-Over (Belgrade: Feminist 94, 2004).

Chilean Cinema in the Twenty-First Century World ed. by Vania Barraza and Carl Fisher

Reviewed by: Chilean Cinema in the Twenty-First Century World ed. by Vania Barraza and Carl Fisher Fernanda Righi Barraza, Vania, and Carl Fisher, editors. Chilean Cinema in the Twenty-First Century World. Wayne State UP, 2020. Pp. 375. ISBN: 978-0-8143-4682-2. Over the last twenty years, Chilean films have received praise and prizes at international film festivals and awards ceremonies, drawing the attention of critics and the public all around the [End Page 304] world. During this time, the incipient local productions of the post dictatorship period have improved in quality and presented a wide variety of topics and aesthetics. This diversity makes putting them into a single category (other than country of origin) difficult. Indeed, even the “Chilean” label has proven problematic, as some films are set abroad and/or feature foreign actors, making their “Chileanness” a somewhat flexible notion. While acknowledging the role the state played in the development of a Chilean cinema, Chilean Cinema in the Twenty-First Century World (2020), edited by Vania Barraza and Carl Fisher, focuses on the tension between local and international, political and personal in Chilean films of the twenty-first century. In the introduction of the volume, the authors address this opposition between the political and the personal. On the one hand, some films focus on local, political issues affecting the wider Chilean society, from issues of memory connected to the dictatorship, to LGBTQ+ struggles. On the other hand, films that sidestep a clear political statement and focus on personal dramas and everyday life, as well as genre pieces like horror and action films, can offer innovative aesthetics—such as the so-called Novisimo generation. Considering this tension and the limited local distribution and audience, the editors ask a central question: “what choices do filmmakers have to make in order to make domestic issues intelligible to global audiences?” (2). Working at the intersection of aesthetics and content, local and global audiences, the book is divided into five sections dealing with fiction and documentary films. The first section, entitled “Mapping Theories of Chilean Cinema in the World,” examines the markets, distribution, and exhibition of Chilean films around the world. Then, “On the Margins of Hollywood: Chilean Genre Flicks” considers the political aspects of both horror and martial arts cinema. The third section, “Other Texts and Other Lands: Intermediality and Adaptation beyond Chile(in Cinema),” focuses on film adaptations in transnational contexts. “Migrations of Gender and Genre” looks at how Chilean films enter into the transnational debate on sexual dissidence, and “Politicized Intimacies: Debating (Post)Memory and History” debates how different filmmakers address the issue of memory. With the exception of the last section, which contains four chapters, each section comprises two or three chapters, allowing the reader to explore a variety of creative analysis and connect different films around a common topic. One argument that connects the sections of the book, and strives to provide a resolution to the discussion of personal versus political, is an expanded definition of politics. Indeed, many authors consider that historical topics can be addressed from a personal perspective, as Camilo Trumper analyzes in the chapter “Displacement, Emplacement, and the Politics of Exilic Childhood in Sergio Castilla’s Gringuito.” Here, the author discusses exile from the perspective of the child. The authors also agree on the political potential of films that explore intimate worlds and do not explicitly narrate any urgent social issue. Chapters such as “Films of Loss and Mourning: Bridging the Personal and Collective” by María Helena Rueda show how fictional films like Una mujer fantástica (2017) connect the mourning of Marina, the protagonist, to the relatives of desaparecidos who were unable to have funerals for their loved ones during (and after) the dictatorship, posing the question of who has the right to say goodbye. The chapter “Intimacies and Global Aesthetics in Vida de familia by Alicia Scherson and Cristián Jiménez,” written by Vania Barraza, explores how Vida de familia (2017), in which the aesthetic seems to be the priority, indirectly touches on issues of narratives of memory. While arguing that this film can connect to both local and global audiences, the author analyzes how the intimate...

Current Bibliography

Current Bibliography Kelli A. Larson and Steve Paul [The current bibliography aspires to include all serious contributions to Hemingway scholarship. Given the substantial quantity of significant critical work appearing on Hemingway's life and writings annually, inconsequential items from the popular press have been omitted to facilitate the distinction of important developments and trends in the field. Annotations for articles appearing in The Hemingway Review have been omitted due to the immediate availability of abstracts introducing each issue. Kelli Larson welcomes your assistance in keeping this feature current. Please send reprints, clippings, and photocopies of articles, as well as notices of new books, directly to Larson at the University of St. Thomas, 333 JRC, 2115 Summit Avenue, St. Paul, MN 55105-1096. E-Mail: Kalarson1@stthomas.edu.] The Hemingway Bibliography Online Database: The Hemingway Bibliography is a searchable database consisting of the most comprehensive record of annotated Hemingway-related scholarship published worldwide in English from 1990 to the present. Researchers can search by title, author, subject, keyword, publisher, or periodical. The database is updated annually. Visit The Hemingway Bibliography at https://ir.stthomas.edu/hemingway/ BOOKS Bowman, Rex and Carlos Santos. Almost Hemingway: The Adventures of Negley Farson, Foreign Correspondent. Charlottesville: U of Virginia P, 2021. [Biography of the once celebrated journalist, best-selling author, and world adventurer who may have out-Hemingwayed Hemingway. A contemporary of EH, Farson was known for his daring pursuit of frontline stories, including covering the London Blitz, meeting with Hitler, and breaking the story of Gandhi's 1930 arrest. Bowman and Santos note striking parallels in the authors' lives as men of action, such as their participation in two world wars and shared love of fishing, hunting, women, and alcohol. Though the two never met, EH owned two copies of Farson's Going Fishing (1942). Speculates on why EH's writing has stood the test of time while Farson's has faded into history. Scattered references to EH throughout. Draws on biographies, memoirs, letters, and other resources. Includes index.] Google Scholar Christian, Timothy. Hemingway's Widow: The Life and Legacy of Mary Welsh Hemingway. New York: Pegasus Books, 2022. [Tapping previously unaccessed sources, this biography offers a more fully rounded view of EH's fourth wife than previously available. By necessity it also offers the familiar territory of EH's life but presents Mary Welsh Hemingway as a complex figure in a courtship and a marriage fraught with emotional and occasionally physical peril. Christian follows Welsh through her husband's decline, suicide, and the literary and personal dramas that followed, including frank accounts of her own struggle with alcohol in the years before her death. Preface by the late H.R. Stoneback reflects on the veteran Hemingway scholar's long friendship with Mary Hemingway.] Google Scholar Theising, Andrew J. Hemingway's Saint Louis: How St. Louisans Shaped His Life and Legacy. Edwardsville, IL: Initiative for Urban Research (2020). [Biography of EH's time in St. Louis and the people (including three wives) and experiences there that influenced his life and writing. Explores EH's connections to four families (i.e., the Smiths, the Richardsons, the Pfeiffers, and the Gellhorns) and closes with a survey of biographies by A.E. Hotchner (another St. Louisan), Carlos Baker, Michael Reynolds, and many others. Features endnotes, index, and over thirty-five black-and-white photographs.] Google Scholar Tucan, Gabriela. A Cognitive Approach to Ernest Hemingway's Short Fiction. Newcastle upon Tyne, UK: Cambridge Scholars P, 2021. [Study of the reader's mental processes for thinking through and making sense of EH's spare prose to get at what lies beneath the surface. Tucan draws on cognitive poetics and narratology in her examination of the reader's intense imaginative negotiation with laconic Hemingway narrators, thus enabling the reader to comprehend the emotional suggestiveness of objective detail. Focuses on stories dealing with the concept of journey, including "The Snows of Kilimanjaro," "Fathers and Sons," "A Canary for One," "Hills Like White Elephants," along with several from IOT. Provides an overview of cognitive science and its contributing disciplines, such as psychology, philosophy, and linguistics. Features a bibliography but no index. Earlier versions of some chapters published previously as articles.] Google Scholar...

The last decade of the Chudov Monastery history: from the October Revolution to demolition.

The article examines the last stage of the existence of the Chudov Monastery of the Moscow Kremlin in its last decades. This period is one of the least studied in the history of the monastery, and yet, it is at this time that both the personal dramas of the inhabitants of the monastery before the closure of the monastery and the procedure for transferring valuables to the Armory that began immediately are exposed. Using the example of the monastery, we see how the new government forms a position regarding valuable monuments. It is noteworthy that the inhabitants of the monastery believed to the last that they would be able to find a compromise solution and leave at least a few monks to guard the monastery and perform divine services, but, unfortunately, the plans of the new government were completely different. In parallel with the process of evicting the monks, there is a struggle for the preservation of the complex exclusively as a monument of architecture and culture, where the main role is played by the Department for Museums and the protection of monuments of Art and antiquity, in those years it was headed first by I. Grobar, and a little later it was replaced by N.Sedova-Trotskaya, which led to the strengthening of the department - this allowed us to do a lot for the preservation of monuments. The work introduces new sources that describe in detail the plot of the relationship between the monastery and the new government, the scrupulousness of preparing for the restoration of the monastery and the feat that scientists performed to save the monument from further destruction as a result of shelling. But all the efforts of scientists for the restoration were in vain, in a great hurry, on the night of December 16-17, 1929, the Cathedral of the Miracle of Archangel Michael was blown up. The restorers did not have time to finish the work on measurements, photo fixation, and even save the frescoes already removed from the walls, which were prepared for museumification.

O poetičkim kontinuitetima i diskontinuitetima (roman Klobuk Petra Sarića u kontekstu njegove romaneskne poetike)

Interpretation of an author's literary work compared to other literary works of the same author necessarily leads to understanding the similarities and differences that this work brings in relation to those that precede it, which means that it is necessary to talk about poetic continuities (which are inevitable) and poetic discontinuities (which are expected). Deciding to connect the plot of his latest novel Klobuk (2021) to the drama of a hero - Turkish leader Asan Begenišić, who was taken to the Janissaries as a child - Šaric made a step into the more distant past than he does in his earlier novels, but remained consistently faithful to the recognizable epic environment, patriarchal culture and tradition, way of storytelling, etc., With his focus on events and character(s) from the historical past and the Montenegrin space, with his novel Klobuk Petar Sarić expresses his consistency with his poetic world, well known from the novels Dečak iz Lastve, Petruša i Miluša, Sutra stiže Gospodar, Strah od svetlosti and Sara. However, he connected the basic story of the novel - the story of klobuk dizdar Asan (Jovan) Begenišić - with the memory of the story he grew up with, which significantly influenced the formation of the world of his literary work. The focus on the personal drama of the protagonist makes this novel by Sarić more psychologically complex, and the emphasized process of symbolization and open concept of narration more modern in relation to everything that this writer published during half a century of creation. With his latest novel, Sarić showed not only full creative and narrative maturity, but also the ability and courage to bring the elements that make up probably his greatest quality into the built and recognizable poetic world of his novels. This primarily refers to the symbolic layer of the novel with which the writer made the greatest poetic discontinuity in relation to previous achievements.

Постсоветская история в зеркале литературы

Narrative analysis of literary works enables to interpret present-day narrative texts in all their multi-level depth making use of the tools accumulated in science -especially if those texts concern current and topical political events, which are usually spoken about in the language of media discourse. Change in the state (inner and outer) and presence of a narrator having his/her personal viewpoint and, consequently, the specific language of his/her message are signs of a narrative structure. The subject for consideration in this article based on Zakhkhok by Vladimir Medvedev and To Live On by Narine Abgaryan is key levels of the narrative text organization needed for such analysis. The texts chosen for the research are similar in subject matter (military conflicts in the post-Soviet space caused by the collapse of the USSR) and in the author’s strategy - to include characters’ personal destinies into the social history of the country and further to try and conceive them as part of the cultural code of the nation. The peculiarity of the author’s view is the awareness of war not as a completed event but as a still lasting state, which permeates, deforms and destroys people’s destinies as well as destinies of whole nations. In Medvedev’s novel those are mainly voices of young men, immediate participants of the turbulence, that are heard; in Abgaryan’s book those are voices of Armenian women, mothers, wives, and widows. Medvedev’s style is tougher and more dynamic, collision unfolding before our eyes. In Abgaryan’s story the plot is not that important: all key events were in the past, and characters are just recalling them. The code of the narrative discourse specified by the narrator’s type determines the stylistics of the text, the nature of action, the interpretation of events: they rapidly change one another by means of the efforts of the narrators who were placed in the centre of military and domestic conflicts in Medvedev’s novel. Abgaryan’s characters are slow and quiet, their long and difficult life gives them hard-won wisdom to accept reality as it is in its bitter completeness. Personal dramas of the characters are involved in the overall tragedy of the whole nation which goes beyond a specific era; this enables the author to reveal the ethno-cultural determinants of the narrative identity. Common grief can be overcome by means of love, work, patience and the cultural capital which manifests itself in people’s mentality and way of life and makes it possible for them to survive and gain a new cultural identity. Collective tragedy (social history), which opens to a reader through the characters’ destinies (personal narrative), becomes part of epic history (meta-narrative). This author’s strategy gives the stories told a timeless scale and ontological depth. The author declares no conflicts of interests.

Dr. Radan Angelov Sarafov and his sacrifice for democracy

Dr. Radan Sarafov (1908-1968) lived actively but his life is still relatively unknown to the Bulgarian academic and public audience. He was a strong character with an ulti-mate and conscious commitment to democratic Bulgaria. Dr. Sarafov was chosen by IMRO (Inner Macedonian Revolutionary Organization) to represent the idea of coop-eration with Anglo-American politics prior to the Second World War. Dr. Sarafov studied medicine in France, specialized in the Sorbonne, and was recruited by Colonel Ross for the Secret Intelligence Service (SIS), remaining undisclosed after the with-drawal of the British legation in 1941. After World War II, he continued to work for foreign intelligence and expanded the spectrum of cooperation with both France and the United States. After WWII, Sarafov could not conform to the reign of the communist regime in Bulgaria. He made a connection with the Anglo-American intelligence ser-vices and was cooperating with the Central Intelligence Agency (CIA) for more than a decade. Sarafov was caught in 1968 and convicted by the Committee for State Securi-ty (CSS) in Bulgaria. The detailed review of the past events and processes through personal drama and commitment reveals the disastrous core of the communist regime. The acknowledgment of the people who sacrificed their lives in the name of democrat-ic values is always beneficial for understanding the division and contradictions from the time of the Cold War.

The Turkish Press about the Attitudes of the Bulgarian Turks and the Totalitarian Deportation Policy (1968 - 1969)

The flow of refugees and displaced people from the present territories of Bulgaria to the Ottoman Empire and Turkish Republic continued more than a century. In the scientific researches the refugee problem usually is considered from the political and historic point of view, the authors basing their studies mainly on official documents, treaties and bilateral agreements, protocols and reports preserved in different archives, in which personal experiences and human stories are lacking. The memories and the impressions of victims and witnesses shared in memoirs and in the press present the most vivid, intimate and realistic human stories. Some of the popular newspapers published testimonies and papers of the eviction from 1969 - 1978 which took place in the frame of a bilateral agreement. Three series of reportages published from the beginning of 1968 to the end of 1969 testified about the realistic attitudes of the Turkish minority, the personal drama of some of its representatives (leaving or staying in the totalitarian state) in the stormiest and full of tension years of negotiation, signing and starting the limited emigration. The aim of this research is to present the public discourse in Turkey about this exodus which have not found proper place in the researches.