Prose Works Research Articles

El ‘arte de vivir’: Liberación textual masculina en El artista barquero o los cuatro cinco de junio

This study aims to demonstrate that Gertrudis Gómez de Avellaneda’s last novel El artista barquero o Los cuatro cinco de junio (1861) contains a transgressive subtext, even more sophisticated than her previous novels. El artista barquero marks a new stage in the evolution of Gómez de Avellaneda’s prose works, displaying a new assurance of style and an ironic tone which combine to create a powerful expressión of the feminine and the masculine. Familiar themes permeate this last novel, in which both male and female characters show the same will to resist the usual frustrating obstacles of the dominant power structures. The story is clearly feminist in motivation, and in its use of alternative mechanisms of writing. These strategies for the textual liberation of the masculine are both invigorating and successful, exploring an alternative masculine identity through the male protagonist Huberto. This study demonstrates that male characterization has direct implications for feminism because it allows the narrative to condemn the negative effects of cultural norms in the lives of men and women. In turn, the strategies used to destabilize the existing traditions show that the perpetuation of the model imposed on men (and women) by (patriarchal) society is not inevitable.

Диалог с читателем в прозе Виктора Пелевина: авторские стратегии и риски (сборник «Ананасная вода для прекрасной дамы»)

The article is a literary analysis of the categories of «in-text author» and «in-text reade» as active components of the literary text poetics on the material of Victor Pelevin’s prose works. One of the main goals of this research focused on the reader problem is to get closer to the understanding of the modern Russian writer’s author’s strategy.

Octavio Paz y las metáforas de la historia

In two of his best-known essays, The Labyrinth of Solitude , and Postscript , Octavio Paz exposed a set of ideas and reflections to express his view on history, a dimension of his thought and his prose work, to date, little ex- plored. Although there is an interpretation of the Mexican past, notable for its critically, and self-critical sense, on a deeper level that can be found in these two books, the presence of theory of history’s own reflections are discovered. In both cases the resource of analogy and the building of metaphors are emphasized to create intelligible images of the past. From a historiographical perspective, The Labyrinth of Solitude and Postscript show the closeness of literature to history, but above all, the poetic dimension that underlies the interpretation of the past.

Epic Rumors: Clodius' Target in Dom. 92

In De domo sua 92, Cicero responds to Clodius' claim that he has called himself Jupiter. General opinion has seen here a reference to Cicero's lost De consulatu suo; I argue that Clodius' accusation was instead based on prose works such as In Catilinam 3.

Искусство в жизни и творчестве Артура Шницлера

In the article the attitude of the Austrian writer A. Schnitzler to oeuvre and art is considered on the material of diaries and letters, the two main provisions of the concept of the author (oeuvre as therapy and a work of art as a commodity) are distinguished; their reflection in the author’s prose works is shown.

Playing God: Alberto Caeiro’s “Num meio-dia de fim de primavera” and Pier Paolo Pasolini’s <em>La Ricotta</em>

This paper examines the relationship between “creators” (gods and poets) and their creations in the poem “Once at mid-day in late spring” (“Num meio-dia de fim de primavera”) by the Portuguese poet Fernando Pessoa (1888–1935)—but ostensibly authored by Alberto Caeiro, one of the numerous fictional heteronyms through which Pessoa published entire works in verse and prose—and Pier Paolo Pasolini’s short film, La ricotta (1963). I focus in particular on Pessoa and Pasolini’s displacement of a divine subject onto a human object and of creative authority onto secondary authors. Secondly, I consider the playfulness inherent in the irreverent rejection of the institutionalization of artistic and religious creation in the poem and the film, as well as the use of bucolic settings that revive a kind of pre-historical, pre-Christian religiosity in a landscape that is nonetheless distinct from traditional “pastoral” modes due to the constant interruption of modern systems of production and representation. Finally, I explore the reversal of the hierarchical relationship between ignorance and intellect, pathos and logos, which is employed in both works in order to access a more authentic representation of natural existence. “Once at mid-day in late spring” (“Num meio-dia de fim de primavera”) is the eighth of the forty-nine poems that comprise the collection entitled The Keeper of Sheep (“O Guardador de Rebanhos”). In the seventeen stanzas of the poem, the poet adopts a playful tone to describe a dream in which God descends from the cross, taking residence in the poet’s house in the form of an “Eternal Child” who finally finds the freedom to criticize God and create mischief in the poet’s village. The emphasis on the child’s ignorance of worldly affairs, the pleasure he finds in observing nature and his inability to compre hend the poet’s “stories about the doings of mankind” (“historias das cousas so dos homens”) 1 provide an example of why Edwin Honig and Susan Brown, authors of the English translation, define The Keeper of Sheep as a “poetic manifesto, proclaiming the unknowable and manifold nature of reality as something

The Face of Mammon: The Matter of Money in English Renaissance Literature by David Landreth

David Landreth. Face of Mammon: Matter of Money in English Renaissance Literature. Oxford and New York: Oxford University Press, 2012. xii + 348 pages. Cloth. $49.95.Reviewed by Heather HirschfeldMoney talks, as the saying goes, but it can still use a spokesperson. It has found an exemplary one in David Landreth, whose Face of Mammon: Matter of Money in English Renaissance Literature, blends fastidious historical detail, bracing theoretical acumen, and interpretive ingenuity into a truly impressive achievement of literary scholarship. In this text, Landreth provides a commanding review of mid-sixteenth-century currency debasement and the ontological status of the coin. From its discrete readings of canonical works of drama, poetry, and prose to its final commentary on the epistemological divide between bullionist and mercantilist political economies, the book rewards its reader-even as it continually calls to the contingency of such rewards-on every page.The Introduction covers a wide swath of territory, including a sharp analysis of commonwealth rhetoric and its eventual failure to account for lateElizabethan inflation, but the heart of the long chapter is a lucid discussion of the nature of coinage and currency that is essential to the readings that follow. coin, Landreth reminds us, is a medium of exchange as well as a repository of value; it is also an exemplary instance of the relation of matter and form, as its ability to store or arbitrate worth derives from the conjunction of precious metal and the authorizing stamp of the prince. For Landreth, this conjunction poses hermeneutic challenges that extend beyond the borders of the strictly financial and are explicitly addressed in the period 's literature: The interaction of material qualities and socially determined values in gold and silver coins propels these objects beyond the circuits of exchange they are minted to serve into literary texts that seek to define the contested relations among poetics, human institutions, and material substance (6). On this foundation, with its Aristotelian roots, Landreth builds an interpretive strategy distinct from- although in contact with-more familiar patterns of new economic and object-oriented criticism; he takes the simultaneously material thingness and metaphysical status of the coin as a starting point to consider the role of money in human networks or activities that are not necessarily about money: consumption, reproduction, disavowal, and evacuation.It seems appropriate that the first chapter should begin with the personification of riches in Spenser's Mammon in Book 2 of Faerie Queene. As Landreth points out, Mammon's hoarded, fingered, counted coins have lost their purchasing power as well as their symbolic, commemorative potential to a dismally ahistorical sameness, and in Guyon's encounter with this excess of stuff and absence of value Spenser fashions a means for analyzing the ethical relation of human bodies to the material (53). That analysis, as Landreth presents it, is best understood via a detour through Marlowe's Jew of Malta and Barabas's instrumental relation to money. chapter makes a compelling case for the way in which Guyon's ability to withstand the lures of Mammon's cave-his attention to the right kind of consumption-disables his ability to interact effectively or ethically in the world above ground, a failure or evasion of the question of 'right usance' (54) that develops from his disdain for matter. As Landreth explains, this kind of evasion returns in a more violent, frightening way in Book 5 in the form of Talus, whose politically expedient solution to the problem of corruption involves chopping off Munera's hands and feet before killing her. This solution, as it is gendered and sexualized in Munera, suggests that the privileging of instrumentality is a vice of politics just as the privileging of consumption is the vice of ethics (101). …

Wątki autobiograficzne i echa historii w twórczości prozatorskiej Ludmiły Marjańskiej na przykładzie powieści "Pierwsze śniegi, pierwsze wiosny"

Wątki autobiograficzne i echa historii w twórczości prozatorskiej Ludmiły Marjańskiej na przykładzie powieści "Pierwsze śniegi, pierwsze wiosny"

Bessarabian Stamps by Oleg Woolf

European metropolis atop a map of Mexico ’s capital. Spatial and temporal confusion ensues as Arturo explores his own psyche; the protagonist mixes up other characters and becomes involved—like Luis—in Mexico City’s violent and sordid demimonde. During Arturo’s psychological journey of self-discovery—recounted in chapters that oftentimes alternate settings (Mexico City and Paris) but ultimately end up admixing locales—Wong mines liberally from surrealism. Thus Arturo takes to the streets of both cities like a Benjaminian flâneur , where he steels himself for the tritest bits of mass culture (sensationalist tabloids, lucha libre matches), even while sleeping with a prostitute and waxing poetic about a woman he’s never met—the suggestively named Nadia. Wong does not conceal his indebtedness to surrealism. The author explicitly engages André Breton’s Nadja (1928) as well as Julio Cortázar’s short story from 1966, “El otro cielo” (“The Other Heaven”), which also examines a protagonist’s dialectic consciousness stretched tautly across two shores. Like the surrealists, Wong’s interest in the spectacle, savagery, and even eroticism of public violence can ultimately be traced back to Comte de Lautréamont’s Les Chants de Maldoror. In the novel’s final scene, we see the would-be assailant, Luis, cajole Arturo to burn down his (Arturo’s) childhood apartment. The conclusion offers a purifying vision of destruction: only by channeling memories properly, decathecting from past pain, and accepting the crippling contingency of the everyday can individuals transcend the ordinary. Indeed, the conclusion intimates Breton’s caustic, pithy pronouncement from his Second Manifesto of Surrealism: “The simplest Surrealist act consists of dashing down into the street, pistol in hand, and firing blindly, as fast as you can pull the trigger, into the crowd.” Wong’s bright prose attempts to break with the political corruption and intense violence that hang over Mexico like smog. Like the surrealists, Wong, too, suggests that literature can be transgressive. Kevin M. Anzzolin Wheaton College Oleg Woolf. Bessarabian Stamps. Boris Dralyuk, tr. Los Angeles. Phoneme Media. 2015. isbn 9781939419286 The poetic proclivity of Moldovan-born Oleg Woolf is everywhere present in his Bessarabian Stamps, a prose work written in a lyrical style, unrestrained in its use of alliteration and allegory (see WLT, Nov. 2011, 52). The book consists of sixteen darkly whimsical “stamps” (most of which are nearly short enough to fit on the back of a postcard) that feel more akin to fables than short stories, each one joined to the next through common characters and thematic concerns rather than storyline or chronology. While the colorful residents of the Moldovan village of Sănduleni are central to these stories, each remains largely inscrutable. In lieu of standard character development, Woolf details their superficial traits—physical features, occupations, and habits. The clairvoyant Feodasi, with eyes each a different shade of blue, is consulted for advice “as a soothsayer, interpreter, and miracle worker . . . or just in case.” Day after day he sits under a plum tree rereading a treatise on the role of birds in Odessan seafaring. Like the other villagers, Feodasi’s thoughts and feelings remain intentionally obscured, which makes reading Bessarabian Stamps a bit like viewing the negative of a photograph—the negative’s inverted exposure obscures those very parts of the image that would facilitate recognition and understanding of it. There is an uninhibited joy in Woolf’s writing, and translator Boris Dralyuk impresses with his ability to capture this quality in translation. Invented words are playfully scattered about: “morning’s morninger than evening; . . . . details were separated from the happenchaff along with the wheat”; as are sensory-laden descriptions : stars that “burst, crunched, and crackled over Sănduleni, like a barrel of fermented cucumbers”; and a tempestuous bride who is “like an apple orchard in a May thunderstorm.” Woolf cleverly pairs opposing concepts to convey ironies that are absurd and at the same time hold traces of meaning: “Ever since he grew fat, he’s lost a little weight, and when we meet him, he might tell us that the ailment’s primary symptom is death; and, [t]he firstborn had entered the world so old that knowledgeable people, shaking their heads, tried to...

Late Coleridge and the Life of Idealism

GREG ELLERMANN Late Coleridge and the Life ofIdealism i. Introduction T he fortunes of romantic idealism are changing, for decades the object of deconstructive and historical-materialist critique, idealism is beginning to be regarded as a resource rather than a problem. Idealist sys­ tem building, for instance, is invoked in current reflections on the disci­ plines and the organization of information. More surprisingly, Romantic idealism also informs new ecological thought. Once held to be indifferent, or even hostile, to the external world, idealism is now seen to be at its most daring, and most startlingly prescient, when theorizing nature as a network of nonhuman forces.1 Of course, contemporary uses of idealism are not identical to those of the Romantics. One influential strain in the return to idealism expresses a strong resistance to what, historically, was its central concept: “the abso­ lute,” or the metaphysical ground of all contingent things. As Leon Chai points out, the idealism invoked by modern theory is often “idealism with­ out absolutes.”2 The argument is that idealism is worth salvaging, but only when rid of its epistemological hubris. Instead of an absolute idealism, the goal is now a finite idealism—no longer oriented toward being in itself, but bound by the skeptical and critical horizons of our moment. Yet this approach threatens to recapitulate the very anti-idealist argu­ ments it wants to move past. To give up on the absolute is to accept the fa­ miliar charges: idealism privileges totality at the expense of singularity; it overlooks epistemology and language; it reduces difference to identity. Most egregiously, it speculates about the nature ofwhat “exist[s], in and by I. For some examples of this reevaluation, see Kate Rigby, Topographies of the Sacred: The Poetics of Place in European Romanticism (Charlottesville: University of Virginia Press, 2004) and Tilottama Rajan, “The Encyclopedia and the University of Theory: Idealism and the Organization of Knowledge,” Textual Practice 21, no. 2 (2007): 335—58. 2. Chai, “Prospects for Idealism,” Modern Philology 104, no. 1 (2006): 61—82. SiR, 54 (Spring 2015) 33 34 GREG ELLERMANN itself, outside our engagement with it. ”3 But by purging Romantic idealism of its absolutes, we lose the chance to ask what the concept offers. This essay gives the Romantic absolute another look. I focus on the later thought of Samuel Taylor Coleridge, the best-known translator of German idealism into British literary life. An emphasis on Coleridge’s later work has the salutary effect of reuniting “realism” with Romantic idealism. Philoso­ phers define “realism” as the notion that a world exists, independent of the mind and its perceptions.4 Scholarship on Coleridge’s thought typically portrays it as defending the individual mind, or the “I am.” Yet his most fa­ mous prose work, the Biographia Literaria, explicitly advocates “the truest and most binding realism.”5 What sense can “realism” have for a thinker who deploys a systematic idealism to explain “the nature ofthe ultimate re­ ality in the World”?6 How would this realism change our perspective on both Coleridge’s thought and Romantic idealism more broadly? My essay uses the problem of “life” to map these shifting lines of ideal­ ism and realism in Coleridge’s thinking. Coleridge is often seen as pitting a vitalist theory of nature against the mechanical materialism of the Enlight­ enment.7 Yet Coleridge is as much repelled as fascinated by vitalism. This ambivalence arises from the attempt to make life absolute, to identify it as the fundamental constituent of the real.8 Disease and deformation, especially, threaten the purposive cosmos supposed to be grounded in an absolute life. Through close engagement with the natural-history writings of J. H. Green—surgeon, philosopher, and Coleridge’s eventual literary executor—and the thought of F. W. J. Schelling, Coleridge articulates his own idealist response to the challenge of absolute life. This response is no less realist in orientation, however. My primary aim is to trace the develop­ 3. Tilottama Rajan and Arkady Plotnitsky, eds., Idealism Without Absolutes: Philosophy and Romantic Culture (Albany: SUNY Press, 2004), 243. 4. Lee Braver, A Thing of This World: A History of Continental Anti-Realism (Evanston: Northwestern University Press, 2007). 5. S...

О специфике использования фольклорных мотивов в художественной системе кабардинской прозы

Hagozheeva L.S. (Institute of researches in the Humanity field of Kabardino-Balkarsky scientific center of Russian Academy of Science) This paper explores the linkages between literature and folklore, the role and place of folklore motives in the works of Kabardinian writers. The analysis is carried out on the material of H. Teunov (story “Aslan”), A. Shortanov (novel “The Highlanders”), A. Keshokov (novels “The tops do not sleep,” “Broken Horseshoe”, “Roots”) and others. The article considers the problem in its evolutionary development from the period of the 1940s to the present. The main attention is paid to the study of the specific use of folk motifs, symbols and images in the works of a single artist’s words. If in the early periods of the formation of the national literature it was often observed directly “inclusive” folk motifs in artistic fabric of the work, in the 1980 - 1990-ies it is marked by the introduction of the organic folk motifs, images and symbolism in thematic and plot-compositional fabric of prose works. The constructive role of folklore consists not only in the private and purposeful use of legends, stories, parables, but in the plot-composite formation of works (A. Keshokov, T. Adygov etc.) The article concludes that in contemporary prose Kabardinian wisdom takes new moral and aesthetic value and meaning. Key words : folklore motifs, symbolism, evolution, epic genres, tradition, theme, plot, character. DOI: 10.18522/1995-0640-2015-4-36-44

Rousseau’s Hand: The Crafting of a Writer par by Angelica Goodden

Reviews 217 philosophers and thinkers (especially Guillaume Briçonnet and, more cautiously, Marsilio Ficino) on the queen’s verse and prose. Ford underscores images that reflect neo-Platonic ideas but also coincide with the writer’s evangelical religious views. Isabelle Garnier and Isabelle Patin thoroughly trace the publication and development of Marguerite’s poetry from its“militant”beginnings in the Miroir de l’âme pécheresse to the self-reflective text of the Miroir de Jésus-Christ crucifié. Reinier Leushuis’s article also emphasizes Christian self-consciousness in the Dialogue en forme de vision nocturne and La Navire. Though the comparisons with Petrarch are not as useful as his actual analysis of Marguerite’s poems, Leushuis exquisitely nuances our understanding of human agency in the queen’s work. The next chapter dealing with Les prisons builds on the theme of literary influence. Cynthia Skenazi points to reflections of courtly and philosophical literature in Les prisons and argues that Amy’s conversion in the narrative demonstrates “the power of literature to engender the reader’s quest for God’s love” (214). Skenazi interprets the polyphonic nature of the central story as urging readers to (re)consider key theological questions of grace, free will, faith, and love while realizing that human knowledge is incomplete at best. Similarly, Jan Miernowski elucidates the Chansons spirituelles’ transforming power on the enlightened and humbled hearer. He draws out significant themes and images across the songs that point to the contrition of soul necessary to receive the gift of divine grace. Olivier Millet’s treatment of the biblical and non-biblical plays situates them in relation to each other and summarizes their plots and the major tenants of evangelical and mystical spirituality that are also present in these dramatic works. Millet concludes that the plays prefigure the Heptaméron. The editors close the collection with an excellent synopsis of the similarities and differences in theme, genre, and subject matter between Marguerite’s most widely read prose work and her poetry. This volume gives historical, theological, and literary context to a wide range of works often neglected in editions dedicated to the queen’s better-known texts. Along with the extensive footnotes and bibliography, these refreshing studies are essential to any critic interested in this woman of letters. Virginia Military Institute Jeff Kendrick Goodden, Angelica. Rousseau’s Hand: The Crafting of a Writer. Oxford: Oxford UP, 2013. ISBN 978-0-19-968383-3. Pp. 238. £55. Meting out the contradictions in both Rousseau’s life and oeuvre is a Herculean task, yet given its central place in the history of the Enlightenment, his puzzling relationship to the arts is one that demands further inquiry. Rousseau’s Hand reconciles Rousseau the artisan with Rousseau the author by demonstrating why the reluctant philosophe perceived a certain manner of writing as a useful craft and thus not incompatible with his worldview.As Goodden aptly argues,Rousseau sought to only write for the moral benefit of humanity, rather than publishing for money as many professional writers did. In the first chapter,“The Business of Making,” she provides a survey of Geneva’s tradition of craftsmanship, with a particular emphasis on horology and Rousseau’s family’s contribution to it. In the next chapter,“Writing (Down) Music,”she notes that his preoccupations with craft during his boyhood, along with his artisanal training, allowed him to get by financially later on in life when the written word fell short. His artisanal leanings also gave him the peace of mind to stop writing when it suited him, instead pursuing what he viewed as more worthwhile endeavors. Copying music in the 1760s in Paris, for example, and the automatism it entailed, provided him with great relief from the ordeals to which he was subjected as a writer and creator. In the following two chapters, “Art or Craft” and “Drama and Life,” the author elegantly shows how Rousseau was at times contradictory and at others consistent in his stance on the arts.She provides a rigorous chronological and formal analysis of his writings on the arts and craftsmanship and an overview of his activities as an artisan. The inclusion of Gravelot’s illustrations from Julie ou...

Un acercamiento teórico a la estratégica retórica femenina de Gertrudis Gómez de Avellaneda

This study aims to define and examine Gertrudis Gomez de Avellaneda’s strategic feminine rhetoric. Avellaneda wrote an extensive corpus of poetry, plays, journalistic articles and prose works, but particularly her prose works offer the best paradigm of her evolution as a writer and as a feminist. Through these narratological strategies, Avellaneda’s fictional characters are created as figures of resistance, reflecting the author’s personal conflicts as a woman divided between her own identity and the need to conform to cultural norms. The ultimate aim of this study is to investigate how Avellaneda´s literary devices and narrative strategies subvert and redefine the textual tradition from which her work evolved, and are part of an important project that painstakingly creates a place for Avellaneda at the forefront of nineteenth-century Hispanic literature and feminist thought.

Clarid Vision:H.D. on the Threshold of Theory

Introduction: “Two lenses” In her path-breaking study of Hilda Doolittle’s prose works, Penelope’s Web: Gender, Modernity, H.D.’s Fiction, Susan Stanford Friedman describes the American writer’s essay entitled Notes on Thought and Vision as her earliest attempt (1919) at formulating an alternative modernist poetics, purporting to counterbalance (if not counter) the emphatically male, distinctly Poundian, kind of manifesto so clearly exemplified by the Imagist, Vorticist and Futurist texts of ...

Początki seminarium turkologicznego prof. Ananiasza Zajączkowskiego: 1933–1936

Dokumenty z Archiwum Uniwersytetu Warszawskiego, wspomnienia Ireny Krudowskiej i Stanisławy Płaskowickiej oraz materiały pozostawione przez Stanisława Kryczyńskiego pozwalają rzucić nieco światła na pierwsze lata seminarium prof. A. Zajączkowskiego. Jako kierownik Katedry turkologicznej w Instytucie Orientalistycznym Uniwersytetu Warszawskiego, A. Zajączkowski uruchomił swoje seminarium jesienią 1933 r. Jego pierwszymi słuchaczami byli: Jan Reychman, Józef Szulimowicz, Armand Stefański i Stanisław Szachno-Romanowicz. Reychman ukończył studia historyczne, Szachno-Romanowicz był asyriologiem i archiwistą, a Szulimowicz – Karaimem z Halicza. Profesor Zajączkowski współpracował ściśle z profesorem Tadeuszem Kowalskim z Krakowa i historykami z Warszawy. Prof. Wacław Tokarz skierował na seminarium turkologiczne dwóch swoich studentów (Reychmana i Stefańskiego). W roku akademickim 1934/1935 temat seminarium brzmiał: „Z dziejów kultury i literatury tureckiej XVI-XVIII w.”. Słuchaczami byli: Stanisława Płaskowicka, Halina Kröber i Bohdan Baranowski. W roku 1935/6, na seminarium uczęszczali: J. Szulimowicz, A. Stefański, H. Kröber, S. Płaskowicka, I. Krudowska, A. Murza Murzicz i S. Kryczyński. Prof. Zajaczkowski prowadził wówczas 4 wykłady poświęcone językom i kulturze ludów tureckich, językowi tureckiemu, składni języka arabskiego oraz Gulistanowi Sadiego, a także ćwiczenia seminaryjne z filologii tureckiej, na które uczęszczali jego studenci. Prof. Zajączkowski zabrał ich na wycieczkę do Stambułu (we wrześniu 1934), później S. Płaskowicka przebywała tam na stypendium (1935). Prof. Zajączkowski był również wykładowcą w Wyższej Szkole Wschodoznawczej przy Instytucie Wschodnim w Warszawie, gdzie studiowało również kilku jego seminarzystów. Uczniowie profesora, J. Reychman i S. Płaskowicka, zostali później długoletnimi pracownikami Uniwersytetu Warszawskiego.

Техніка “потоку свідомості” в художній прозі Івана Франка

The varieties of technique of “stream of consciousness” in Ivan Franko’s prose works, especially direct internal monologue, mediate internal monologue and omniscient description are reviewed in the article. It is found out, that Ukrainian writer (as row of European authors) used this technique earlier, than M. Prust, J. Joyce and V. Wolfe, who are considered to be the inventors of technique of “stream of consciousness”. The backgrounds and conditions of the appearance of this form of showing artistic material in Franko’s creation are revealed. The appearance of this modern form of account with Franko’s naturalistic aesthetic is connected, in particular with the study of the agony of consciousness, alcoholic intoxication, affects etc. Ukrainian writer used the technique of “stream of consciousness” in such his works as “Na roboti” (“At work”), “Iz zapysok neduzhoho” (“From diary of the sick person”), “Odi profanum vulgus”, “Perechresni stezhky” (“Cross pathes”), “Vivchar” (“A shepherd”) and others. The master of word shows varieties of “stream of consciousness” with different aim, often – as a way for clearer delineation of character’s psychology. Technique of “stream of consciousness” in Franko’s works is one of factors in the modernization of Ukrainian literature at the end of XIX – beginning of XX century.

The mental image of the hepatica in modern Lithuanian prose

Hepatica (Hepatica nobilis) is a very well-known plant, which is common in Lithuania from early times. The works of art are filled with the images of it. The material for this article was collected from works of fiction and prose of the twenty-first century Lithuanian authors including novels, short stories, novellas, tales and other works of similar genres. The whole text is not analysed but rather separate sentences or their fragments – the collocations of hepatica. The material of this research contains 56 works of 46 prose writers, in which the hepatica is portrayed in various ways and purposes. In the compiled collocations the root žibut-/žibuč was located 76 times and žibuokl-/ was mentioned 40 times. The article investigates, which qualities of this plant rise as the most important ones, in other words, what concept of hepatica develops and how. It is found that in most cases Lithuanian prose writers emphasize on visible features of the plant – the colour and shape of the blossoms, their quality to wilt quickly and the like. The most dominant function of the image of hepatica is to express the idea of spring and because of that the parameters of time and space are used frequently in the collocations of hepatica – the exact time of emergence of the blossoms is defined and the growing places of hepaticas are indicated. The smell and purpose of the plant are also becoming quite significant components. It is ascertained that this plant is mostly depicted as the component of traditional Lithuanian scenery, however beside the domestic, realistic and concrete mental image of the plant it is often possible to identify the secondary meanings of the image as well (hepaticas help to express the state and feelings of a character, they become a symbol of faith and hope). Moreover, in the texts of prose there are plenty of cases when hepatica becomes a proper noun – through the process of onimization this title is transferred with a purpose to name people, domestic animals, streets or cafes.

Dramatic and Narrative Techniques in the Novellas of Aphra Behn

The various ways in which Aphra Behn's prose works can be connected to her dramatic output have interested scholars of both Behn and seventeenth- and eighteenth-century prose fiction more generally in recent decades, in light of similarities in the staging of settings, thematic and characterization connections, and Behn's adaptation of dramatic scenes for her prose fiction. This article looks at three of her early novellas—“The Fair Jilt” (1688), “The History of the Nun” (1689) and “The Lucky Mistake” (1689)—and adds to existing scholarship by examining how Behn uses frame-breaking techniques and metalepses in a similar way to metatheatrical methods, blurring the lines between the world of the text and the world of the audience. The features that are examined include the prologue-like expositions (or pre-expositions) to her stories, described as such because of their philosophical preoccupations and lack of emphasis on traditional topics such as setting and character, as well as her employment of narrator comments, which, in Behn's hands, can act like asides in a play, focusing on character consciousness or providing narratorial commentary. This article also shows how mimetic techniques such as these are mixed with diegetic techniques such as focalization (narrative perspective) in order to demonstrate how Behn's novellas, like her plays, present plots driven by verbal artistry.

Milton's Areopagitica in the Arab World Today

This paper places Milton's opinions on freedom of expression, in particular his seminal prose work, Areopagitica, into the context of the Arab world today. Areopagitica was translated into Arabic only very recently (2009) by Mohamed Enani. This study analyses the relevance of Milton's arguments about liberty in light of Egypt's current protocols with regard to book publication, and the ongoing political and social fluctuations occurring in the region. It also compares Milton's civil war context with the political and social rhetoric present in Egypt's increasingly polarised society. Through philological analyses of the translation's linguistic and religious emphases, it will be established that Areopagitica has a potential relevance not only to the sociopolitical contexts of the region, but also to the Arab world's prevailing Islamic culture. At its core, Islamic teaching emphasises the importance of both scripture and freedom. As a result, reading is an important Islamic activity, and allows the religion to be perceived as a complete way of life, concerned with both religious and worldly issues. Milton's tract touches on ideas of “religious and civil wisdom”, linking such wisdom with “discovery” and “freedoms”. While such ideas seem to match aspects of Islamic belief, this paper considers how we are to understand such issues when literacy rates of Muslim majority countries remain lower than the global average, and when censorship is in many ways rife in media, as well as in works of fiction and non-fiction. This study provides numerous links between Milton's tract and the Arab world today, drawing attention to the poet's perhaps surprising relevance to the region. It also shows how such comparisons point us towards the relevance of Milton's other works, namely his epic poem Paradise Lost, and a number of his sonnets.

Reinventing the Legend of King Roderick: Gertrudis Gómez de Avellaneda’s Egilona

This article explores the little-known play Egilona written in 1845 by the talented Cuban writer Gertrudis Gómez de Avellaneda, renowned for her poetry, novels and letters yet virtually unrecognized as a playwright. The play’s source of inspiration is the legend of King Roderick and La Cava, in which the last Visigothic king of Spain’s passion for the beautiful daughter of Count Julian, his governor in Ceuta, was deemed to have precipitated the Muslim invasion of Spain in 711. Gómez de Avellaneda joins three other women writers from different eras, Mary Pix, María Rosa Gálvez and Dana Broccoli, who all found literary inspiration in the Hispanic king’s dramatic love affair. Yet the great originality of Avellaneda’s drama lies in her innovative creation of the tragic figure of Egilona, the wronged wife of King Roderick, never before depicted as a protagonist in the reception of the legend. Its dramatic plot uncovers the complex issues of racial and religious marginalization which also characterize Avellaneda’s prose works, as the depiction of her heroine boldly challenges issues of patriarchy and politics, as pressing in the mid nineteenth-century as they were in the early Middle Ages.