Prose Works Research Articles

СТАНОВЛЕННЯ НАЦІОНАЛЬНИХ ФУНКЦІЙ ЛІТЕРАТУРИ СЕРЕДНЬОВІЧНОЇ ПІРЕНЕЙСЬКОЇ РОМАНІЇ

The article focuses on the development of national literature in the process of historical evolution of society and its language, historical relations with other cultures which have some influence on the general literary activity in Medieval Iberian Romania. It was singled out the dominating role of epics as the main genre in the majority of occidental and oriental literatures, which confirms the importance of moral and political meaning of military honor which grew to the scale of the ideal of the epoch. It was stated the significant role of borrowed genres, plots, topics, motives from the polyphonic multinational literary repertoire in the formation of the national contents of poetical and prose works of the epoch of foundation of the national language and literature of Iberian Romania. The cultural phenomenon of the use of Galician Portuguese in poetry was highlighted. The tradition confirmed the lyrical function of Galician Portuguese in poetry and the King of Leon and Castile supported this tradition on the condition of the absence of general national language of Medieval Spain. The high prestige of Galician lyrics was transformed into the language itself which had special poetical internal feature. Bright and complicated phenomenon in Medieval culture of Spain is Arabian-Spanish (Andalusia) poetry of the VIII-XV centuries. It appeared as a result of transference of mighty oriental Arabian (Syrian) tradition onto the Iberian Peninsula. The bearers of the tradition were Muslim Arabs who settled down in Spain after its conquest. The unique historical situation made Iberian Peninsula the arena of interaction of occidental and oriental civilizations. The external impulses made influence on literary life of Medieval Spain, constantly developing the people’s literary imagination, although not destroying but reinforcing the unique character of the national culture.

Quixotic Economy: Comedy, Romance, and Early Modern Economics in Don Quijote

El discurso de la reforma socio-económica de la temprana modernidad, el arbitrismo, constituye un elemento fundamental de la poética cervantina en Don Quijote. Introducida desde el principio de la narración como parte de la caracterización del hidalgo alocado, la materia económica hace contrapunto paródico al romance caballeresco, función burlesca que mantiene hasta el final de la historia. No obstante su función prioritariamente cómica (de acuerdo con la teoría literaria de la época), en determinados casos, como la historia de Dorotea, el discurso económico se combina con el del romance tradicional en un híbrido narrativo que presagia la novela moderna.

Première version du monde by Esther Tellermann

Reviewed by: Première version du monde by Esther Tellermann Aaron Prevots Tellermann, Esther. Première version du monde. Unes, 2018. ISBN 978-2-87704-193-5. Pp. 140. This multivocal prose work, a dystopian "long récitatif" (139), poetically lays bare certain shortcomings of contemporary society. Its three parts eloquently situate us in an unsettling present, where the narrator and unnamed speakers recount their actions and worldview. The generally liquid beauty of this dreamlike portrait of collective forgetting incorporates formal experimentation and intermittent shifts in tone. Techniques such as prose blocks that incorporate ellipses, space used to separate paragraphs, and frequent lower-case first letters blend with deadpan critique of gender roles and sex drives, of humankind's "atroces convulsions" that "un chant plus aride et brûlant" might counterbalance "pour renaître mieux" (139, 140). Monologues are typically framed as conversations with a "Docteur," a device that weds male and female figures' somewhat deposition-like first-person confessions with responses that imply greater sophistication, distance, and awareness while remaining tinged with despondency and aiming to avoid mere binaries. The Joycean confessional bursts suggest cynical self-interest and detachment as a disturbing norm, implicitly asking whether we are not all in some way seeking "une façon singulière de disparaître" (10). Countless sections stand out for the richness of the prose, the world-weary yearning of the imagery, the veracity of the overall critique. This is a "récit" (front cover subtitle) both of its time and to which one can return to make new discoveries, a modern-day "qui suis-je" (62). A main thread is people at war with themselves: by turns abject, disoriented, unsure, or troubling in their excessive and unseemly self-assurance. The narrator argues for [End Page 230] making a brand new start, wondering aloud whether we are living in the "première version" of the world and might yet be able to follow its "dérives" toward "une seconde version" (140). The ebb and flow of these "dérives," including the narrator's presence within them and interest in addressing us, is central: "Peut-être je voulais simplement étirer ma phrase vers vous, parer à notre insuffisance, ou bien trouver une langue neuve qui trouverait d'autres usages" (88). The author, a specialist in literature and in psycho-analysis, merges her long experience as a critic, commentator, and poet with an acid gaze and trenchant insights. Surprising as well as vivid passages abound. Tellermann evokes ancient worlds, wars of recent history, widespread criminal mindsets, questionable social types, sexual inclinations, the cellphone age, and the moral as well as environmental "conséquences de nos actes" (122). The narrator lambastes those who "[ne] songe[nt] qu'à jouir" (134), contrasting this impulse with a desire to "garder espoir" (100), "cueillir des étoiles [...] à rebours des déterminations" (62), better grasp "la condition humaine" (122), and envision a paradigm shift. Readers who welcome musically fluid poetic insights, inventive approaches to novelistic form, and apt if darkly caustic social commentary will likely enjoy this book. Aaron Prevots Southwestern University (TX) Copyright © 2019 American Association of Teachers of French

ОБРАЗ УКРАЇНСЬКОГО ЕМІГРАНТА В МАЛІЙ ПРОЗІ ВОЛОДИМИРА БІРЧАКА

The article analyzes the peculiarities of the formation of V. Birchak a collective image of a nationally conscious Ukrainian-emigrant, endowed with many virtues and disadvantages, forced to overcome the challenges of the emigrant fate. Considered the writer’s understanding of the events of the life of Ukrainian emigration after the defeat of the national liberation struggles of 1918 – 1920, in which the prose writer also participated directly, because of which he also lived and worked on emigration. Volodymyr Birchak (1881– 1952) is one of the founders of the Lviv Modernist literary group Young Muse (1906 – 1014), a Galician, a writer-pedagogue who directly participated in the national liberation struggle of Ukrainians from 1918 to 1920, and after the defeat was forced was to emigrate to Transcarpathia, which then belonged to Czechoslovakia. The writer’s close and understandable were the experiences and wandering of Ukrainian emigrants who sought salvation from the Moscow invasion beyond their native land without livelihood, without the possibility of obtaining citizenship, finding a job, adapting to life without the glow of enemy bullets. The article deals with the collection of stories “The Golden Violin” (1937) and the story “The Emigrant” (1941), which was not included in the collections. The composite-organizing components of many of these stories are trials that fell to the fate of the heroes. The motive of the road, present in the small prose of V. Birchak of the 20’s and 40’s of the twentieth century, is a motive of emigrant hardships, searching for himself in a new, non-hostile world. All the prose works of V. Birchak confirm his views on the important role in the history of the state creation of each strong person, and not the crowd. The author in many of his stories skillfully depicts the customization of emigre heroes under the inadequate claims that seem to be invented deliberately to mock exiles from Ukraine: as a rule, educated, intelligent, educated, patient in the experience of difficulties, able to adapt and continuously teach something new , responsible and decent in the relationship with the environment. They do not have excessive pride, do not show self-defeatism, do not declare their exclusiveness, as former fighters for the freedom of Ukraine. They also do not squeal, but engage in everyday work to survive until the time comes again to take up arms and win. Survive in difficulty, poverty, humiliation of their dignity helps optimism.

蘇軾 人物論에 나타난 인물 평가의 근거 初探 : 勢를 중심으로

One of the diverse forms of classical prose writing that emerged during the Song Dynasty is historiographic prose. Sushi left us with a body of great historiographic prose work which is characterized by a unique perspective and outstanding writing skill. This study examines Sushi’s work that concerns his appraisement of human character, with a particular focus on the criteria used by him for such appraisal. What is unique about his perspective is his use of “Shi(勢),” forces of influence, which refers to contours of an event in the totality of its causes and effects. Accordingly, appraisal of an individual is based on his ability to grasp a given situation with its causes and possible outcomes and to apply the knowledge of “Shi(勢)” properly. Furthermore, a great individual is one who goes beyond understanding “Shi(勢)” and create it. Creation of “Shi(勢)” consists ultimately in the harmonious unity attained by the realization of one’s aim by making the wishes and desires of others come true. Sushi’s conception of “Shi(勢)” is more procedural than consequential, more comprehensive and deep-rooted than fragmentary and superficial. With the aid of superb linguistic techniques of analysis, hypothesis and analogy, Sushi succeeded in transforming particular historical events into literature of universal significance. It is thanks mainly to Sushi’s contribution that the appraisement of human character became an important prose form in the Song Dynasty.

De lo óptico a lo mental. La poética cognitiva de Bernard Noël

Paralelamente a su poesía, Bernard Noël desarrolla una obra en prosa que plantea interrogantes de orden cognitivo, en particular en torno a la percepción visual. La exploración de dispositivos tecnológicos (la cámara fotográfica) y de escenificaciones del acto de creación (la escena del pintor trabajando) es ocasión para contrastar la pertinencia de las intuiciones y reflexiones del poeta puestas bajo el foco de las actuales ciencias cognitivas. El trayecto de lo óptico a lo mental queda inscrito en una comprensión encarnada y gestual de la cognición que apunta también hacia el surgimiento del lenguaje. Su poesía ha de ser pues entendida como el tramo final del proceso.

Cartesianismo y política del espíritu en Paul Valéry

This article explores the role of Descartes in the work of the French writer Paul Valery. Key elements of the Valery’s thought are examined through some of his texts on the philosopher, as well as the readings of authors such as Derrida, Benjamin, Lowith and Blumenberg. I will argue the paramount importance of the prose work of this poet for the study of the crisis of the cartesian subject and the evolution of contemporary philosophy.

ЯЗЫКОВАЯ РЕПРЕЗЕНТАЦИЯ МНЕМИЧЕСКИХ ПРОЦЕССОВ: ТЕМПОРАЛЬНЫЙ АСПЕКТ

The article presents the results of the consideration of the linguistic representation of memory. Each stage of the mnemonic system functioning is analysed subject to the time interval between the elements. The author focuses on such elements of the linguistic actualization of memory functioning as a subject, a mnemonic verb, an information actant and an information causator. The texts of the literary works of the modern prose in English were used as the material for the analysis. Taking into account the time component allowed the author to describe some semantic features of mnemonic verbs.

Produção coletiva reelaborada em escrita autoral: A estrutura formal de Taketori Monogatari

A narrativa intitulada Taketori monogatari (A Narrativa do Cortador de Bambus, século IX ou X) é o exemplar mais antigo das narrativas ditas monogatari e um dos primeiros textos literários em prosa produzidos durante a Corte Heian (794-1185), considerada a época áurea das letras clássicas japonesas. Todavia, trata-se de uma obra singular dentro da produção literária de Heian, uma vez que é paradoxalmente arcaica e inovadora, conservando estruturas formais que remetem a tradições literárias anteriores, ao mesmo tempo em que antecipa novos procedimentos. Pretendo, neste trabalho, evidenciar o lugar peculiar que a narrativa ocupa na tradição literária japonesa, abordando algumas de suas estruturas formais e discutindo de que maneira elas contribuem para o desenvolvimento do enredo tal como ele se apresenta.

Czy należy spalić Schulza? Likwidatorzy: Wyka i Napierski

The author considers the circumstances in which Kazimierz Wyka and Stefan Napierski, two respected literary critics, published texts which criticized Bruno Schulz in the monthly magazine Ateneum (1939, no. 1). Schulz’s prose works were already widely known to be difficult, but there was no doubt as to their merit. The writer’s high position seemed indisputable, and yet Wyka and Napierski still consciously tried to destroy Schulz’s legacy. Their critical attack on Schulz is interpreted in the essay not as an isolated exploit, but as a model case of interpretational misunderstanding, which is not so much the effect of a lack of understanding, but of planned action and ill will of the critics. Wyka and Napierski did not want to understand, and with their dislike of the type of prose that Schulz wrote they programmed a certain type of reading and critical approach, which had many followers and determined reception. At the same time, however, their dismissal of Schulz turned out to have a positive value ‒ not for the history of criticism, but for Schulz studies as such.

FEMALE PSYCHOLOGY AND THE TYPOLOGY OF FEMALE CHARACTERS IN THE VIEW OF V. BRUSOV

This article deals with female characters in V. Brusov’s short prose works. The author studies in detail three types of female images, as well as their relations and differences. The analysis explains the evolution of female psychology in both historical and cultural aspects, revealing the artistic methods of V. Brusov, who is not only a writer, but also a psychologist.

NARRATIVE DIFFUSION IN THE PROSE BY WILLIAM CARLOS WILLIAMS

The present article examines the narrative models in short stories by William Carlos Williams, a prominent American modernist poet and physician, whose prose legacy has been left out of literary critics’ attention up to the present. The aim of the article is to an alyze the narrative features of literary works by the physician writer. The material of the research is «The Doctor Stories» collection of short fiction written between 1932 and 1962. The study relies on the methods of narratological analysis, reception theory and hermeneutics. The material under consideration provides an efficient incorporation the author’s experience as a medical practitioner and its artistic rethinking. «The Doctor Stories» reveal a unique outlook of the author who was able to observe people in the most complicated and intimate situatons of their lives — in the moments of suffering, hopelessness, grief, loss and death. In Williams’ short fiction, the efficacy of treatment depends on the patient’s communicative readiness for cooperation with the narrator, whereas the disclosure of the profound intentionality of a literary work requires the reader’s receptive readiness for engaging in a joint creative process with the author. Each short story is presented through the prism of homodiegetic narration: a fictional doctor gives an account of his encounters with patients, and shares his thoughts and feelings about each particular medical case. The dominant feature of Williams’s prose work is the technique of narrative diffusion, which impels the reader to engage in the receptive process as an active participant and equal partner. The doctor’s and patient’s narratives are deliberately given in a continuous flow of story without any syntactical borders in order to erase the boundaries between the narrative «I» and the receptive «You». In such a manner, the reader is required to apply a considerable amount of interpretative abilities, and thus to assume a part of receptive responsibility. The prospects for further research are in the study of literary and medical discourse by the US physician writers, which enables us to deepen the understanding of the American national literature and its historical and cultural context.

ETHIC-AESTHETIC HORI ZONS OF AN INTELLECTUAL DETECTIVE BY BORIS NECHERDA («THE DEATH OF A CARRIER»)

The object of the analysis in the article is quite an original novel written by Boris Necherda «The Death of a Carrier», which belongs to actual prose works of a famous poet both for the depth of an artistic interpretation of moral-aethetic problematic and for the persuasion of the version of an aethetic singularity of unfamous, unfortunately, but talanted in many senses intellectual novel, built on the principle of an adventure-detective, criminal work. It is based on the Odessa material of the period of «post»-tragic and difficult times of 1990-s after the collapse of the empire of evil — The Soviet Union. The intrigue of «The Death of a Carrier», which is the bases of the plot and composition of the novel, is swiftly developing due to artisticly persuasive system of agonal conflicts. Each of them deals with a criminal business: Charistos — Xana (the most dramatic in its psycological representation circle of the novel); Charistos — Runtelas a unity / divergence of two confederates — criminals; Charistos — Yuriy Galalenko as the battle of two different in ideal principles of a creative work talanted artists; Charistos — Skladchikov (as a variant — Charistos — Grabiak and the police); Charistos — Vitya Khramushkin, Zubkov (the representatives of the brotherhood of captain Ovchara); Charistos — Igor Yakhnoskiy and his assosiates — enlights the sense of the characters of the personages of the novel and the tragedy of a spiritual impoverishment, caused by a totalitarian Soviet society.The means of creating the prototypes of the personages of the novel from the real people from Boris Necherda’s surrounding are very important, especially the creation of the image of a famous Odessa artist Yuriy Kovalenko and changing of aethetic search of two different but spiritually close creators.Agonal circles, spread all over the text of «The death of a Carrier», influence both genre nature of the novel and its plot and composition, creating a philosophic subtext in such a way. Thus, the novel of Boris Necherda gave a great impulse to formation of an existantial, intellectual detective in Ukrainian literature of the end of the 20th — the beginning of the 21st century, built on the harmony of two opposite spheres — mass-reading and eletism (immanent artistic nature of the text, which subbases creates a philological game, leading to a abyssal sense of the novel).

Lesevarianten zu Günter Grass' Lektüren in Polen

According to what is told in the title of this article it deals with many variants of reading and understanding Günter Grass's works which have prevailed the reading of this writer's, artist's and publicist's works in Poland since the appearance of his first books as early as 1958 until the present day. Let us add, therefore, that reading of Grass's works in Poland has had its long-lasting career - the origin and invariably "intensive" course, independently of the fact that the prolific literary output of Günter Grass has been represented on Polish book market by only two prose works, namely “The cat and the mouse” and “The brass drum”, selected poetic works and fragments of some of his other novels, like for instance “The Flounder”. Nevertheless, this writer is a well-known and recognized individuality and personality not only because of his being born in Gdańsk, his numerous friends and relatives in Poland, but also because of his particular interest in Poland, his many visits to our country and celebrations connected with them, organized especially magnificently at the sea-shore, mostly in Gdańsk, and also in Warsaw, Wrocław and, more recently in Poznań.

ESKİ KİMYA HAKKINDA TÜRKÇE MANZUM BİR ESER: 'ALI ÇELEBİ NİN DIVAN-I ?İKMET İ

Ottoman Turkish is a productive era of the Oghuz group of the Turkic languages in which both the literary works and the non-literary works in prose and verse as original, adaptation or translation were produced on various subjects. Astronomy, geography, physics, agriculture, medicine, and alchemy are among the most common topics of the non-literary works written during this period. Alchemy, which also forms the subject of this paper, can be identified as the transmutation of the base metals into precious metals, especially gold and silver. Based on the edition and translation of Dīvān-i Ḥikmet (“Book of Wisdom”) written by Esrefzāde ‘Alī Celebi (d. 1018/1609), who was one of the most prolific poets and writers of the 17th century in the subject of alchemy in the classical Ottoman period, the paper aims to introduce the text in question. As far as it can be determined, there are ten copies of the Dīvān-i Ḥikmet in Turkey and in libraries outside of Turkey. The copy located in the collection of Turkish Manuscripts of Istanbul University under the archive number of 7016 is preferred for the edition and translation of the text, since this is the earliest copy dated 1009/1601.

Achsah Guibbory, Returning to John Donne

‘Donne, with his rage for order, epitomizes our nature as meaning-seeking beings’ (4–5). Where Milton tracks man’s place in history, Donne ‘obsessively analyzes the experience of living’ (5). Donne casts himself as the observer of a divinely created world that is figurative and in which God speaks through metaphor; it is by paying close attention to Donne’s own acts of interpretation, then, that the reader can travel alongside him as he ‘figures things out’. These traits encapsulate Achsah Guibbory’s longstanding fascination with John Donne, and almost every aspect of his secular and devotional poems and prose works. Like a Greatest Hits album, Returning to John Donne brings together thirteen articles and book chapters, ten of which were published separately elsewhere between 1983 and 2011, and which have been rekeyed and their referencing updated. Guibbory imposes order by means of a three-part division. The latter two on ‘Love’ and ‘Religion’ are solid sections of six and four chapters respectively, although the first, ‘Time and History’, is somewhat less thematically coherent with two chapters, one of the theme of decay and the other on the ways in which Donne and Jonson addressed, and conceived of, their present and future readers. The book is furnished with a new introduction and section heads that reflect on Guibbory’s personal experience and scholarly engagements. At times I wish these headnotes would engage more thoroughly with the movements of Donne scholarship over the decades, but this field is now so vast that this would easily inflate these pithy reflections to unmanageable proportions, and what is refreshingly frank here is how Guibbory’s own personal and scholarly identity is brought into conversation with Donne’s works. Rounding out the book are three new chapters: a concise reading of Donne’s Devotions to Emergent Occasions, which oddly comes before the three parts and so belongs to none; a short coda to the section on love dealing with ‘Depersonalization, Disappointment, and Disillusion’; and as the most substantial new offering, a chapter on cross-confessional toleration that ranges widely across Donne’s works.

New York Drifters

This article examines the legacy of the 'drift' in the work of two artists based in New York in the 1980s: Tehching Hsieh and David Wojnarowicz. Although distinctive in their methods and practices, both Hsieh and Wojnarowicz interrogate vagrancy as an extreme of urban walking, the unspoken endpoint of drifting. Wojnarowicz, who lived on the streets as an adolescent, reworks his experience of aimlessness into his fragmented, autobiographical prose work and his photographic project 'Arthur Rimbaud in New York'. Hsieh, a performance artist, embarked upon a durational work for which he vowed not to enter an interior of any kind for one year, and was thus forced to live on the streets of New York during this time. This article argues that these works re-assert the experience of the homeless, which is often elided or glossed over in accounts of urban walking and the traditions of thought that stem from Walter Benjamin's work on the flâneur and Guy Debord's theory of the dérive. Hsieh and Wojnarowicz also cast light upon the theatricality of the street, where social deviance or alterity is inferred according to outward appearances, and upon the mythologised figure of the 'drifter'. The article concludes by addressing tensions surrounding the ways that evanescent performance works like Hsieh's come to be immortalised, as well as the domesticating of once provocative works in gallery spaces caught up in networks of gentrification and/or erasure. It suggests that 'haunting' offers a way to conceive of the relationship between walking and vagrancy and the drift and its ghosts, obscured from view.

Whatever Happened to The Little Black Fish?

This essay uses retranslation studies to trace the defanging and domestication of Samad Behrangi’s The Little Black Fish, a children’s story once hailed as a major revolutionary and literary text. Behrangi’s book is the only modern Iranian prose work to have been translated multiple times both before and after the Islamic Revolution of 1979. The study compares the texts from several of these retranslations, by considering whether they have been domesticated for their English readers, as well as their context, by looking at the cultural impact of such factors as the Islamic Revolution and US‒Iran relations. It looks at how various translators and publishers have interpreted the story and how their perspectives reflect Iranian history, the influence of Middle East studies, and the interests of the Iranian diaspora. The result sheds light on translation norms, as well as on the circulation and interpretation of Iranian literature in the global context.

Milton's “Fit Audience”

In the narrator's evocation of “fit audience … though few,” Paradise Lost responds to Milton's immediate circumstances in Restoration England. Yet the desire to find, encourage, or create a “fit audience,” coupled with a conviction that such an audience will necessarily be “few” in number, remained a preoccupation of Milton's throughout his career. Looking closely at Milton's prose works, from Areopagitica to The Readie and Easie Way, and at the language of the “fit” and “few” in poetry up to and beyond Paradise Lost, this article traces Milton's complex and evolving concept of a fit audience. As Milton's confidence in the people themselves decreases, he increasingly depends on divine aid to find or create that fit audience.

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