Literary Prose Research Articles

Is Oration Literature?

Abstract Is oration literature? More specifically, can we read the multi-functional Arabic oration (khuṭbah) of the 1st/7th and 2nd/8th centuries as part of the classical prose canon? In this article, I argue that if our definition of literature includes beautiful language, admiration expressed by literary theorists, and masterful articulation of themes to evoke audience response, early Arabic oration is most certainly literature. I demonstrate this claim by analyzing the rhythmic and graphic oral aesthetics of early Arabic oration, the views of medieval theorists regarding its distinguished place and literary nature, and its crucial influence on the development of the chancery epistle (risālah), the first written genre of Arabic literary prose. I contend that khuṭbah is the foundational prose genre of Arabic and it has materially influenced the major genres of risālah and maqāmāt that followed. The history of Arabic literature cannot be written without oration.

De Goaldene Brulloft fan Paulus Scheltema

Paulus Scheltema’s De Goaldene Brulloft is a short prose story, written in Frisian, about a golden wedding anniversary in a well-to-do farmer’s family in 1664. The story is complemented with a biography of a man who attended the feast when he was ten years old, together with the names of his ancestors. It is written in an archaizing language, as is only known from Scheltema. Ten versions of the story are known, all of them undated. They resemble each other, but still differ somewhat. Two of them have been published earlier, the one, edited here, in 1831, the other one in 1841. The 1831 version distinguishes itself from the other nine by adding a kind of justification by the author and a multitude of adoptions from Gysbert Japix. In this article, I seek to answer a number of questions concerning occasion, influences and idea to write a story about this subject; to establish the date and development of the various versions; to uncover the reason and nature of the language; to unravel fact from fiction; to determine the author’s attitude towards the past in literary prose; and to assess the relation with the prevailing literary fashion.

ХХ ғасыр басындағы проза тілінің дамуы

The goal of this research is to determine how the Qazaq prose language emerged early in the 20th century, and what characteristics of its evolution occurred. In the years of 1920 to 1930 the prose genres such as stories and novels developed quickly. These works incorporated a great deal of folklore in addition to covering a wide range of subjects. Prose language formation and evolution are closely related to other facets of narrative. Because analyzing the degree of development on fictional elements such as the language of characters, the author, portrait, landscape, and descriptive elements is intended to detect the formation of the prose language in general, we concentrate on the traits of their development and factors indicating the formation of the language. The outcomes of the investigation revealed that the Qazaq prose literature of the time provided new meanings to local words and acted as a main source for their growth. Grammar and fiction language were greatly influenced by the language of prose works found in textbooks, newspapers, journals, and various folk literary works. The argument is that prose has its roots in the shared heritage and that historical and genealogical narratives have a certain prose style. Prose works' language was the main factor that greatly enhanced the vocabulary and grammatical features of literary language which from short stories to novels developed simultaneously in all genres. This study took a comprehensive approach, taking into account the aspects of novels and short stories, their relationship to styles, poetry passages, elements of colloquial language, new phenomena, oral literature, fairy tales, and legendary occurrences.

THE ANTHOLOGY “STATE OF WAR”: SYNERGY, PROBLEMATICS, GENRE ORIGINALITY OF THE TEXTS

The anthology “State of War” is a fiction and documentary prose about the bloody war unleashed by Russia on Ukrainian lands, a prose in which the authors, through the prism of their own worldview, experience and emotions, offer the general readership the recorded tragedies of “timeless truth”, the facts of grave illegal crimes committed by the Russian occupiers. The article aims to examine the reception of martial law events in the anthology as non-fiction literature in contemporary Ukrainian prose. The object of the study is the texts of the anthology “State of War”, united by the subject of depicting military events in Ukraine in order to document the war in its various manifestations and tell the world about it in the “Ukrainian voice”. The study was conducted using elements of descriptive, structural and semantic, receptive and interpretive, and contextual methods of analysis. The anthology “State of War” is a genre transformation that combines “sophisticated fiction and the accuracy of documentary” (V. Sayenko), and is dominated by essays, narratives, and memoirs that have only recently been classified as fiction and documentary literature. The textual and social conclusions of “State of War” with an appeal to autobiographical memory made it possible to consider texts in the genre of “non-fictional prose” (T. Bovsunivska): they contain autobiography, the authors appeal to personal experience, indicate involvement in the events described, the narrative is in the first person and is based on a reliable fact, as in memoir genres. The core format of the anthology’s textual content is determined by the history of everyday life. The authors of the book (fifty of them), like the characters in the stories, are writers and public figures, journalists and scholars, volunteers and soldiers of the Armed Forces of Ukraine. Combatant writers, i.e., active military personnel – Oleksandr Mykhed, Artem Chapai, Artem Chekh – create stories not based on other people’s impressions but on what they have seen and experienced, proving that the problems of a soldier are not only related to fighting and defending positions, but also to the aesthetics of survival, to the belief in victory over the aggressor for the further development of society. The texts of the anthology “State of War” contain genre “inclusions” (“Siren-Hyena” by L. Taran, “Under the Bridge” by S. Povaliaiev, “After the Occupation” by V. Puzik) that organically fit into the author’s narrative, confirm significant events, and increase the recipient’s responsibility in the reading process. The semantic core of the narrative of “State of War” is determined by the titles: they influence architectonic expressiveness, inform the reader about the objective reflection of events, facts and phenomena, transform into message titles, decode the content (“Being a Teacher Under Occupation” by L. Denysenko, “My First Bomb Shelter” by I. Pomerantsev, “After the Occupation” by V. Puzik, “Roots Up, or Fear of Migration” by T. Gundorova, “Presentation with Stress” by Y. Vynnychuk).

КӨРКЕМ ШЫҒАРМАЛАРДАҒЫ ПСИХОЛОГИЗМНІҢ КӨРІНІСІ

The article discusses in detail the concept of "psychologism", which has not yet been fully studied in Kazakh literature. Psychologism is closely related to literature, because since the main object of a work of art is a person, it is obvious that human activity and psychology are also reflected in the work. Consequently, psychologism is the connecting link between literature and psychology. The article reveals the concept of psychologizm, its types, characteristic artistic and stylistic features, scienttifically systematized and analyzed on the basis of the works of scientists contributing to Razakh literary criticism. Based on the research works of Bakytzhan Maitanov "Kazakh novels and psychological analysis", "The spiritual world of Kaharman", Gulziya Prali "Problems of psychologism in fiction", aspects of psychologism in Kazakh prose are differentiated. Excerpts from the works of Mukhtar Auezov, Zhusupbek Aimautov, Magzhan Zhumabayev, Sherkhan Murtaza, Tolen Abdikov, Askar Altai are given, the ways of manifestation and transmission of psychology in a work of art are systematized. At the same time, using examples from specific works, the means of representing psychologism in a literary work are demonstrated, namely, the function of internal monologue and dialogue in revealing the charachter and mental state of the character. The proctssts of formation and development of literary psychologism are highlighted, its festhetic expression in a work of art is determined. The main features characteristic of psyhologichal prost are considered, and the issue of psyhological style in depictions of the hero's personality is also explored. The unique place of the dream motif, which takes its origins from folklore samples, in literary prose and the innovation of tradition is highlited. The issues of the flow of consciousness, psychological analysis, and split personality in a work of art are considered.

Sanatını Filistin’in Özgürlüğüne Teksif Eden Edebiyatçı: Gassân Kenefânî

Novels and stories, which are types of prose in literature, deal with the social, individual and psychological events experienced by individuals and society from different aspects. Thus, a topic or event is conveyed in a more exciting, emotional, dramatic and literary way by making the heroes talk and is presented to the appreciation of the readers. As it is known, the most dramatic social event of the 20th century was the massacre of Palestinians, their exile from their homeland and their becoming refugees. To this day, the oppression and persecution of a small number of people who have not left their homeland has continued, and the killing of a few Palestinians every week has become an ordinary event. The few Palestinians living in difficult conditions in their homeland have been brutally murdered in front of the world since October 7, 2023. One of the Arab writers of the 20th century who saw and experienced these troubles before and devoted his art to the Palestinian cause is Ghassan Kenefani. He wrote works in the field of novels, stories and theater and expressed in a literary way the troubles, pain, despair he experienced during the occupation of his homeland and the exile of his people, the sadness of living away from the homeland, and the ways of returning there again. He is one of the rare literary figures who concentrated his art in this field. Again, he encouraged his people with his works and ideas and tried to motivate them to defend the homeland and return to his country. The author chose most of the subjects he discussed in his works from real life. In the study, first of all, attention will be drawn to the life, works and literary aspects of Gassân Kenefânî. At this point, some topics and events that Kenefânî deals with will be touched upon, and the general characteristics of some of the characters in his novels, the subject of time and place, and narrative techniques will be included. Then, his language and literary style will be examined, especially based on some of the novels and stories he wrote. While doing this, some of the similes, descriptions and symbols he used in his novels and stories, as well as some sentences with literary characteristics, will be presented to the attention of the scientific and literary world. In the last part of the study, some criticisms directed at Kenefânî and his novels will also be included. Key Words: Arabic Language and Rhetoric, Ghassan Kenefani, Palestinian Literature, Novel, Style, Homeland

基于生态翻译学三维转换视角下张培基散文翻译探究

The theory of ecological translation studies provides an important theoretical and practical basis for the translation of prose in literature, and its emphasis on the three-dimensional selective adaptation of translation methods provides translators with an operable basis in the process of prose translation. Based on the theoretical framework of Eco-translation, this paper adopts a three-dimensional perspective of translation, including linguistic, cultural and communicative dimensions, to make an in-depth comparative analysis of the original text and the translated text of Selected Modern Chinese Prose in English Translation, and explores various strategies and methods in the process of translation, aiming to deepen the understanding of the translation process. The purpose of this study is to deepen the knowledge and understanding of translation techniques, to reveal how translators can make adaptive choices in different dimensions to ensure that the aesthetic qualities and deeper meanings of the original text can be faithfully reproduced in the translated text, and to illustrate how to effectively convey the unique elements and essence of Chinese culture to foreign readers, so as to help promote the international dissemination of Chinese culture and achieve the goal of “Going Global”. This will help promote the international dissemination of Chinese culture and realize the cultural strategy of “going out”.

The Literary Prose of Ernest Koliqi

This paper analyzes and interprets the prose of Ernest Koliqi including his short story collections Hija e maleve (“The Shadow of the Mountains”, 1929), published in Zadar; Pasqyrat e Narçizit (“The Mirrors of Narcissus”, 1934), published in Bari and Rome; Tregtar flamujsh (“Flag Merchant”, 1935), published in Tirana; and the novel Shija e bukës së mbrume (“The Taste of Leavened Bread”, 1960), published in Rome. Pasqyrat e Narçizit/“The Mirrors of Narcissus” (1934) is written in a style between poetry and prose. In Hija e maleve/“The Shadow of the Mountains” (1929), the author remains truthful about Albanian traditions. The theme of this collection portrays the main elements of the Albanian way of living and their mentality. The central aspect of Koliqi’s works deals with the drama of the homeland, the struggles of the Albanian intellectuals in general and those of Shkodër in particular. Most stories present cohabitation with mythological creatures; however, there is also Tregtar flamujsh/“Flag Merchant” (1935) which shows modern symbolism with an element of psychoanalysis. In Shija e bukës së mbrume/“The Taste of Leavened Bread” (1960) Koliqi writes about life, the struggles, and the atmosphere of Albanian life. This novel is filled with patriotic, social, and moral values of the Albanian people, even though the main character of the story lives in Albania and abroad. Ernest Koliqi’s characters are typical Albanian people, and the spirit of his works is also of the typical Albanian spirit.

Sûdî’nin Bostan Şerhi’nde Nesir Dili

Sûdî is one of the representatives of 16th century Turkish classical prose literature. In his annotated work of Bostan he preferred quite a simple language, free from internal rhyme and compound words. He made his explanations short, using defining annotation style. As he pursued overall goal of language teaching, there are oft-repeated sentences of information in the work. His mastery over Persian language enabled Sûdî to meticulously work on the derivational and inflectional affixes. As the main part of speech necessary to understand a statement is the verb, there is quite a lot of information embedded in the work regarding the modality features of Persian verbs, whether they are transitive or intransitive, or whether they are affirmative or negative. There is information given as to in what sense phrases are used, which words pronouns refer to in the text, and how a pair of lines that conveys figures of speech should be inferred and understood. He severely criticized the authors who previously worked on Bostan due to their mistakes in their annotated works, their inadequate knowledge of Bostan, their sheer lack of comprehension of the sentences. It is obvious that he made use of Turkish, Persian and Arabic conjunctions, gerunds, participles and adverbials. There does not seem to be any particular use of artistic language in his prose. He produced a kind of prose a lot easier to understand than those used in his age. Key words: Sûdî, Annotated Work of Bostan, language of prose, sentence construction

Foreign aromatics, olfactory culture, and scent connoisseurship in late medieval China

AbstractBy the end of the Tang Dynasty (618–907 CE), olfactory culture in China had evolved significantly as coveted aromatics continued to be imported and in increasing quantities from Southeast Asia. Although there is no surviving treatise dedicated to aromatics from this period, anecdotes in prose literature describing the uses and curation of scents reveal a process in which imported aromatics were being actively incorporated into existing olfactory culture and accrued new social, aesthetic, and ritual significance. This process is discernible in two major respects. First, a discourse of connoisseurship for aromatics arose in contrast to the conspicuous consumption of imported aromatics that flaunted wealth and status. Secondly, aromatics that were once the privilege of the very few began to be circulated among a wider (admittedly still elite) population, as seen in the case of the dragon brain aromatic in late-Tang and Five Dynasties accounts. By delving into these and related prose narratives and by cross-examining these accounts against other types of records, this article examines how imported aromatic goods shaped the Tang elite's perception of how scent was—and could be—used as part of a socially rooted sensory experience.

Abdullah Mohammed Ahmed The poet of contemporary literature and the literary figure among his contemporaries.

The study bears the title “Abdullah Muhammad Ahmad, the poet of contemporary writers,and the writer of poets of his time This paper aims to reveal the works of an eminent Sudanese literary figure and a scholar, namely Abdallah Muhammad Ahmad- may Allah bestow upon him everlasting health-” Abdallah is one of those writers who preferred to keep low profile and avoid publicity. The main goal of this paper is to unveil the unknown works of this well-read writer who drew upon Sudanese and Arabic literary and social heritage in his poetry and prose. Abdallah has a thorough knowledge and deep understanding about Arabic prosody. He proved to be talented since his early boyhood for he was famous for his great passion for Arabic literature and that enabled him to have an excellent command of Arabic language. He contributed enormously to Arabic literature in prose and poetry and his distinguished literary contributions put him in the vanguard of his peers. He composed exceptionally beautiful poems included in his anthology ‘The scent of memories” He also used literature as a tool to explore and combat difficult social issues in his book (insights on life and people.)” which is written in a figurative and impressive language. He drew upon the Holy Quran and the Holy Prophetic Tradition that influenced him greatly and enriched his writings with beautiful images and sublime language, simulating beautiful scenery paintings that captivate hearts and minds. Key words: contemporary – pioneers – Abdallah –literature – thought – culture.

The way the portal wrote: Datafication and subjectivity in Patricia Lockwood's No One Is Talking About This

The so-called ‘internet novel’ has been predominantly analysed in relation to social media, fragmented online discourse, and identity formation in the virtual realm. While these themes persist across a range of internet novels, from speculative fiction to recent literary prose that mimics the internet itself, less attention has been given to the genre’s engagement with the production of increasing quantities of personal data online, otherwise known as datafication. This article examines Patricia Lockwood’s No One Is Talking About This (2021) in the context of datafication, language, and the effect of the internet on human subjectivity. The article takes up Deborah Lupton’s concept of ‘data selves’ and Legacy Russell’s theorisation of ‘glitch’ to consider the aesthetic, affective, bodily, and subjective critique of datafication in Lockwood’s novel. It argues that contemporary literary fiction is not only a site for representing and imagining the implications of datafication, but that it can also function as a self-enclosed intelligent system that is indispensable for understanding how the internet is fundamentally changing the way we speak, write, and think.

Kṛṣṇa the Magician: metapoesis and ambivalence in Faiḍī's Mahābhārat

AbstractIn this article, I discuss the vilification of Kṛṣṇa as a deceitful sorcerer in the Mughal poet-laureate Shaikh Abū'l Faiḍ bin Mubārak, or ‘Faiḍī's Mahābhārat and his correspondent apotheosis as the ‘essence of the True God' in the Shāriq al-maʿrifat, a treatise also ascribed to Faiḍī. As I argue, this inconsistency, or ambivalence, is a common and overlooked facet of the elite Islamicate engagement with religious diversity and difference in early modern Hindustan. In the case of the Mahābhārat, however, Faiḍī's portrayal of Kṛṣṇa as a deceitful illusionist reflects not only an Islamic discomfort with Vaishnavite theology, but Faiḍī's own performative insecurities as a Hindustani writer of Persian poetry and literary prose. Kṛṣṇa's so-called ‘magic’ lies in large part in his way with words: the verbal and social manipulation he uses to stoke the flames of conflict. The character thus becomes a kind of shadow or double of Faiḍī himself-a demiurgic author of the Mahābhārat upon which the poet can displace the classical Islamicate association of poetry with sorcery and deceit.

Prose literature as a Means of Expressing African Culture a Study of Chinua Achebes things Fall Apart

This study examines prose literature as a means of expressing, African culture as presented in Buchi Emecheta’s “The joys of motherhood and Chinua Achebe’s Things fall apart respectively. The researcher looked at the history of African culture in Nigeria. A number of critical essays in which some of the realities that portray African culture were reviewed. It came to lime light that there is African culture among Africans as opposed to the notion being portrayed to the outside world by the Europeans. The conclusion is that these works, Things fall apart and The joys of motherhood continue to be a demonstration to show that there is an African culture. This is the main outlook of the novels in this research.

Petőfi Sándor A hóhér kötele című regénye és az 1840-es évek bosszúprózája

Sándor Petőfi’s novel, The Hangman’s Rope, published in 1846, has been a source of controversy for researchers since its publication, its position within Petőfi’s oeuvre and in the literature of the period has not been stabilised. ŸThis study attempts to discuss Petőfi’s novel not in isolation, but as an integral part of the period’s burgeoning prose literature, primarily by grouping together texts in which the concept of revenge is the main thematic component and its elaboration and its mode of execution may have prose-poetic significance. In this analysis, Petőfi’s short novel will be compared exclusively with prose works, and precisely because of its specificity in terms of length, I have tried to collect and analyse both thematically similar novels and short prose published in journals or volumes.

Silence, the Unsaid and the Unsayable in Yvonne Vera’s The Stone Virgins

ABSTRACT The primary aim of this article is to think through how silence can be considered as generating meaning in literary prose. For this purpose, the article focuses on Zimbabwean author Yvonne Vera’s last novel, The Stone Virgins (2002a), which has often been described as ‘breaking the silence’ about the genocidal violence remembered as Gukurahundi. As a secondary aim, the article sets out to rethink Vera’s idea and argues that rather than ‘breaking’ the silence, her novel explores different forms of silence, some of which are necessary for healing and regeneration. However, silence is not just a theme or motif in the novel: Vera also uses silence in her own writing to generate new meaning. Using an essay by Elleke Boehmer as a point of departure, this article proposes a conceptualisation of silence through two terms: the unsayable and the unsaid, where the former refers to meaning that is suppressed and the latter to that which has not yet been said. It argues that the novel presents a poetics that aligns with its theme of meaning, generative silence, which uses opaque and imprecise syntax and referentiality in a way that maximises the possibility of the unsaid to be said.

Hryhoriy Kvitka-Osnovyanenko as a founder of prose genres of the Ukrainian literary language

The article analyzes the role of the creative work of Hryhoriy Kvitka-Osnovyanenko in the formation of the novel Ukrainian literary language. The writer laid the foundations of two linguistic and stylistic trends of Ukrainian literary prose, namely laughing and humorous one thus continuing the Ivan Kotlyarevskyi’s activity, and a new for the Ukrainian literature sentimental one. The article is mainly focused on highlighting the vernacular specificity of the H. Kvitka-Osnovyanenko’s stories and novels reflected in phonetic, morphological and syntactic features. The lexical structure of the writer’s language, which is based on the contemporary patois of the Slobozhanshchyna region with Church Slavonicisms and Russianisms inclusions, is studied in detail. The wealth of the synonymous series as well as the high variability of the word forms, which may be explained by the absence of stable norms at the initial stage of the formation of the literary language, are noted. The lexical irregularity and territorial proximity to the Russian dialects areals led to some cases of the parallel use of Ukrainian and Russian lexemes to denote the same realities in the texts of H. Kvitka-Osnovyanenko. Searching for linguistic means for the formation of a high style, the writer turned to folklore sources as well as to imitation of contemporary works of the sentimental Russian literature. The results of the study have proved that the folklore sources used by H. KvitkaOsnovyanenko organically complemented the vernacular nature of his works, while the linguistic and stylistic adoptions from the Russian literature broke the homogeneity of the linguistic basis of individual works of the sentimental genre affecting their ideological and thematic solution. However, these drawbacks do not diminish the fundamental importance of the legacy of the first Ukrainian novelist in the history of the Ukrainian literary language. Keywords: Ukrainian literary language, Slobozhanshchyna patois, Church Slavonicisms, Russianisms, lexical variability.

Women's Discourse in Prabha Khaitan's Prose Literature: A Political Perspective

हिन्दी कथा साहित्य में स्त्री विमर्श जिसमें नारी जीवन की अनेक समस्याएँ देखने को मिलता है। हिन्दी साहित्य में छायावाद काल से स्त्री विमर्श का जन्म माना जाता है। प्रेमचंद से लेकर आज तक अनेक पुरुष लेखकों ने स्त्री समस्या को अपना विषय बनाया लेकिन उस रूप में नहीं लिखा जिस रूप में स्वयं महिला लेखिकाओने लिखी है । अतः स्त्री विमर्श की शुरुआती गूंज पश्चिम में देखनेको मिला। सान 1960 ई के आसपास नारी सशक्तिकरण ज़ोर पकड़ी जिसमें चार नाम चर्चित है । उषा प्रियम्वदा , कृषणा सोबती , मन्नू भण्डारी एवं शिवानी आदि लेखिका ओं ने नारी मन की अन्तद्रवन्दवों एवं आप बीती घटनाओं को उकरेना शुरू किए और स्त्री विमर्शएक जवलंत मुद्दा है। आठवें दसक आते आते यही विषय एक आंदोलन का रूप ले लिया जो शुरुआती स्त्री विमर्श से ज्यादा सिध्ध हुआ । आज मैत्रेयी पुष्पा तक आते आते महिला लेखिकाओं की बाढ़ सी आ गयी स्त्रीवादी सिध्द्धांतोंका उदेश्य लैंगिक असमानता की प्रकृति एवं कारणो को समझना तथा इसके फल स्वरूप पैदा होनेवाले लैंगिक भेदभाव की राजनीति और शक्ति संतुलन के सिध्द्धांतों पर इसके असर की व्याखया करना है । स्त्री विमर्श संबंधी राजनैतिक प्रचारों का ज़ोर प्रजना संबंधी अधिकार, घरेलू हिंसा ,मातृत्व अवकाश , समान वेतन संबंधी अधिकार , यौन उत्पीड़न, भेदभाव एवं यौन हिंसा पर रहता है । प्रभा खेतान लिखती है की “ ज़्यादातर लेखिकाएँ आलोकना की आपाधापी में पीछे छूट गई है। स्त्री की अपनी संस्कृति है , इतिहास में इसे भिन्न माना जाता रहा लेकिन उसे अलग पहचान नहीं दी गई । चूंकि अलग से स्त्री शक्ति की सत्ता नहीं थी इसलिए सत्ता को अलग पहचान नहीं मिली। “ संविधान प्रदत स्त्री – पुरुष समानता के बावजूद स्त्री को इंसाफ नहीं मिलता । न्याय के पैरोकार स्त्री की सुरक्षा करनेकी जगह खिलवाड़ करते आए हैं। पुलिस भी समाज में इंसाफ के बदले अन्याय ही करते आए हें। इसी सच्चाई को प्रभा खेतान ने अपने उपन्यासों में उभारने का प्रयास किया हें । मूखय शब्दों : स्त्री विमर्श , असमानता , स्त्रीवाद , अधिकार

Islamic Literature: An Attempt at A Historical Overview

This study aims to provide an overview of the development of Islamic literature, particularly in Arabic, Persian, and Turkish languages, from the birth of Islam to the 20th century. It will encompass four main historical periods: The early Islamic period (7th-10th centuries), the middle Islamic period (11th-15th centuries), the 16th-18th century dynasties, and the modern period. The study describes the main literary genres, themes, trends, figures, and works that emerged in Islamic communities, explores the motives and outcomes of interactions with various Eastern and Western traditions in different periods, and draws attention to the significant shifts in Islamic literature during the modern era. Available compact studies in Islamic literature predominantly deal with a specific language area or undertake thematic research. The present study, which demonstrates the historical course of the literature of Islamic communities in three widespread languages, helps to pinpoint the general trends of continuity, transformation, and interaction among these traditions. For instance, it brings out the key role Arabic literature played in defining the main poetic forms of Islamic literature, such as ghazal, qasida, mathnawi, and promoting the literary prose, adab, which were subsequently elaborated and transformed within other linguistic traditions. Again, it shows how the dissolution of the Abbasid political power impacted the revival of Persian literature, which later took the lead in establishing mystic philosophy as a major vein in general Islamic literature. Another common experience of Islamic literatures that stands out in this survey is the transformation of formal and thematic features due to the expanding Western influence and stimulus of modernization in the 19th century.

GEORGES BERNANOS’ WRITING AS MODERNIST CODE OF FRANCOPHONIC METAMODERNISTIC SENSIBILITY

The article analyzes the presence of an intertext between literary prose and political essay writing by a representative of the French Catholic literary revival of the first half of the 20th century. - Georges Bernanos - within the limits of modern intergenre French literature. The example is the collection of essays by the French-speaking writer Juan Asensio. However, the broader context of the reactualization of modernist writing in the contemprorary literary process is shown. The metamodernist sensibility of the 2000s is considered to be a result of the end of the dominance of the postmodernist discourse, its main theorists are investigated and the reasons for its appearance are shown. The dialogic character of metamodernism with the clue ideas of both modernism and postmodernism is noted, which is a middle way between modernist enthusiasm and postmodernist irony and skepticism, between hope and melancholy, between empathy and apathy, between truth and relativism, between totality and fragmentation, between experience and omniscience. Linguistic etymology and semantic plurality of the concept of “metamodernism” at the epistemological, ontological and historical levels are shown. The basic characteristics of the metamodernist worldview are named, such as: the return of metanarratives, belief in the truth, sincerity, empathy, the return ofhistory, the seriousness of religious experience, the search for the real, the importance of subjective experience. On the basis of these categories, the intertextual connection of the texts of Bernanos and Asensio is revealed according to four categories based on G. Genette’s narratology. It is about architextuality, thus citation at the genre level, narrative and poetic-stylistic closeness, explicit citation and allusions, and Bernanos’ meta-literary criticism provided in a comparative way. It is proved that the writing of Georges Bernanos became not only an intertext, but also a productive pretext of modern French literature, although the radical prophetism of the former was turned into a voice that just found the right to the truth and sincerity.