Prose Works Research Articles

Couto the Classicist – Ancient Literary Sources in O Soldado Prático

The second version of Diogo do Couto’s O Soldado Prático is one of the best-known works of Portuguese prose from the late 16th century. Yet one of the most distinctive aspects of the text—its many references to memorable sayings and deeds from Greco-Roman antiquity—has received little detailed scholarly study. Despite considerable interest in the historical sources of Couto’s Décadas da Ásia, no systematic attempt has been made to determine Couto’s classical literary sources for O Soldado Prático. This article examines the most frequently cited texts that Couto used as sources for stories and quotations from classical antiquity. It demonstrates that Couto translated or paraphrased many of these anecdotes from two sets of works: Spanish translations of Plutarch and the moralizing works of the Spanish bishop Antonio de Guevara. This survey of sources concludes by assessing both the breadth and the limits of Couto’s classical knowledge.

Venedikt Erofeev: ‘Moskva-Petushki’, ili The Rest is Silence by Svetlana Shnitman-McMillin

Reviewed by: Venedikt Erofeev: ‘Moskva-Petushki’, ili The Rest is Silence by Svetlana Shnitman-McMillin David Gillespie Shnitman-McMillin, Svetlana. Venedikt Erofeev: ‘Moskva-Petushki’, ili The Rest is Silence. Nauchnaia biblioteka. Novoe literaturnoe obozrenie, Moscow, 2022. 248 pp. Illustrations. Notes. Bibliography. Index. ₽396.00. Venedikt Erofeev lived from 1938 to 1990, and in that time wrote a handful of long and short prose works and a play, but is best known for his ‘poema’ Moskva-Petushki, first published abroad in 1973 and in the Soviet Union only in 1988–89 (ironically, given its subject-matter, in a journal entitled Trezvostˊ i kulˊtura: ‘Sobriety and Culture’). The narrator Venichka travels by train from Moscow to the small suburban town of Petushki, drinking heavily and increasingly beset by alcohol-fuelled hallucinations, all of which enable him to engage in philosophical, artistic and, in particular, religious musings. Indeed, reality and fantasy are often confused. Back in Moscow he is attacked by the Four Horsemen of the Apocalypse and stabbed in the throat (another irony is that Erofeev died of throat cancer in 1990). This, the first full-length monograph devoted to Venedikt Erofeev’s ‘masterpiece of Russian literature’, as Mark Lipovetskii notes in his ‘Introduction’, was first published in Switzerland in 1989. Essentially a re-issue [End Page 553] of the original volume, it contains some significant updated material, not least in the name of the author, who published in 1989 under the name Svetlana Gaiser-Shnitman. Since little if anything was known about Erofeev in 1989, there is some welcome additional and updated background information on his life and times. Most of the changes are of a structural nature, such as the removal of some subsection headings and their incorporation into the body of the main text. Others no doubt originate in the publisher’s marketing department, and it is to this reviewer’s regret that photographs of Erofeev, as well as the many illustrations of the poema’s numerous religious motifs, have been omitted from this edition. Quotations in French, Italian, English and German from the earlier edition have now been translated into Russian, with the original languages deleted, and some quotations expanded. A most welcome addition is the updated bibliography on the secondary literature on Erofeev that has blossomed since the 1980s. What remains is an excellent and detailed analysis of the philosophical and aesthetic depth of a work now considered a classic of Russian postmodernism. The Rest is Silence remains the definitive study of Erofeev’s poema over thirty years since its original publication. The author provides an exhaustive and rewarding study, paying particular attention to references to religious motifs in the art of Andrei Rublev, El Greco, Diego Velazquez, Rembrandt, Pieter Breughel and Giovanni di Paolo. The analysis of the many references to Shakespeare, Rabelais, Dante, Pascal, Villon and Bergengruen testifies not only to Erofeev’s depth of erudition, but also to Dr Shnitman-McMillin’s powers of perception and scrupulous attention to detail. It is to be hoped that this study will find its way into English translation, and thus make Erofeev’s work more accessible to both undergraduates and the broader public, given that Moskva-Petushki is now available in more than one English-language edition. David Gillespie Moscow City University Copyright © 2022 David Gillespie

The Common Heritage of the Eighteenth Century

Urdu is an ancient Aryan language associated with Sanskrit. Its history in India dates back to about 1500 years ago. The form came into being which met the standard of literature. This is how the evolutionary journey of Urdu began early specimens of Urdu are found in northern India Amir Khosrow has tried his hand at all genres of prose. Urdu language words are often found together. That is why all Urdu and Hindi people recognize him as their poet. He used common sense language in his speech which was very clear language. Therefore it is appropriate that Amir Khosrow has accepted the influence of Punjabi, a Steep, dialect. The great heritage of Urdu is also found in Deccan who worked for the promotion & publication of this language. Therefore, the early impressions of Urdu are ancient. Among the earliest works of prose are Khawaja Ashraf Jahangir's Magazine and Khawaja Banda Nawaz Gesu Daraz's Miraj-e-Aashiqeen. The most important work of the century is Sub Ras. Another name of this book is Qissa Husan-o-Adal. The Urdu language is slowly developing.

NATIONALISM IN BAKASIR'S POEM 'INDUNISIYYAA KUBRAA LANAA': A SOCIOLOGY OF LITERATURE PERSPECTIVE

This study aimed to describe the thoughts and attitudes of nationalism expressed by Ali Ahmad Bakasir in his poem Indunisiyyā Kubrā Lanā by using sociological approach to literature. The primary data of this research were the book entitled Indūnisiyya: Malhamah al-Ḥubb was al-Ḥuryah fī Hayāti. The data were collected by documentation, whereas the analysis employed dialectical method. The results showed that Bakasir, as an Indonesian-Middle Eastern Arabic writer, has his anxiety and love to Indonesia expressed in the form of prose, poetry, and drama. In addition, the Arabic literary works written by Bakasir, particularly those with Indonesian theme, are heavily influenced by sociological aspects. As he was born in Indonesia, Bakasir has a high attitude toward nationalism, even though he does not currently live in Indonesia. A lot of his works of prose, poetry, and drama with the theme of Indonesia were written in hyperbolic expression, such in the poem Indūnisiyyā Kubrā Lanā that is included in the book Indūnisiya: Malhamah al-Ḥubb was al-Ḥuryah fī Hayāti.

An Islamic History written in late Chagatai Turkish

İslam medeniyeti çerçevesinde Orta Asya Türk dilinin Karahanlı, Harezm ve Çağatay Türkçesi olmak üzere üç döneme ayrıldığı kabul edilmektedir. Üçüncü ve son dönem olan Çağatay Türkçesi XV. yüzyıldan XX. yüzyıla kadar Orta Asya’da ortak edebî dil olarak varlığını sürdürmüştür. Bu yüzyıllar arasında Çağatay Türkçesi ile manzum ve mensur birçok eser kaleme alınmıştır. Bu dönem eserlerinde çeviri eserler olduğu gibi telif eserler de bulunmaktadır. Dönemin eserleri incelendiğinde manzum eserlerin sayılarının mensur eserlere göre daha fazla olduğu görülmektedir. Ayrıca manzum olarak yazılmış tarih kitaplarının yanında mensur olarak yazılmış olanlara da rastlanmaktadır. Bu makalenin konusunu oluşturan ve Hicri 1301 (Miladi 1883-1884) yılında yazılmış olan İslam Tarihi adlı eser mensur olarak yazılmış tarih kitaplarından biridir. Makalede devam etmekte olan doktora tezinde ele alınarak incelenen Millî Kütüphane Yazma Eserler Bölümü Yz. A 2245 numarada kayıtlı ve katalog kaydında adı “İslam Tarihi” dili “Çağatay Türkçesi” olarak belirtilen eser ele alınmıştır. Eserin müellifi veya müstensihi bilinmemektedir. Makalenin giriş kısmında Çağatay edebiyatı alanında yazılan tarih kitapları hakkında genel bir bilgi verilmiştir. “İslam Tarihi” adlı eserin Çağatay edebiyatında bulunduğu yer tespit edilmiştir. Daha sonra Eserin Tavsifi adlı bölümde esere dair bilgiler ayrıntılı bir biçimde yer almaktadır. Ardından “İslam Tarihi” adlı eserin yazılış amacı, konusundan bahsedilmekte ve eserin bölüm başlıkları sırasıyla verilmektedir. Yine aynı eserin şekil bilgisi ve ses bilgisi özellikleri örnekleriyle incelenmiştir.

O‘zbek jadid nasri va Abdulla Qodiriy

This article deals with the prose works, which are important part of Jadid literature. The ideological features of some prose works both small and large are examined. In particular, some aspects of Abdulla Qadiri's work are evaluated in the context of modern literature. Jadid writers, espe-cially in the prose works written in the first phase of the same movement, there is an ideological and artistic synchronization and harmony. The scale of modern Uzbek literature, the prose of Abdulla Qadiri is a magnificent place of sophistication and at the same time a wake-up call for everyone.

The role of stage language in the development of an actor

The main goal of the actor is to preserve the artistic value of the production on stage and play the role assigned to him. He must convey this task through a stage image, using his acting techniques, the richness of language. While preserving the language culture, it is advisable to use the techniques of stage language in the implementation of the task of preserving the language of students. The attitude of people in society to culture and education is becoming more and more complex. In modern society, a new era is coming, characterized by character. The breath of the new time destroys the price of the main values. We are increasingly moving away from our language, traditions, culture, imitating other countries. When to comprehend the wonders of the Kazakh language through art and increase its price... Any profession, especially related to art, requires talent, curiosity, and an abundance of creative opportunities. In this regard, the main goal facing the hordes of art of the XXI century is to attract efforts for the development of cognitive activity and creative abilities through in-depth training in new requirements.The methods of teaching stage language are directly related to literature. In classical works that have reached the world level, the dignity of the word is clearly traced. In the course of the article, it was proposed to take as a basis all the data related to the stage language, and the functions that actors perform on the way to the correct formation of speech technique were determined. Melody, voice exercises, tone of voice, tempo, pause, prose works, poetry, monologues, etc. the techniques of stage language revealed the play of the hero on stage, investigated the connection of the word with its function of correct transmission of a specific text. It was noted that the specifics of the actors’ voices change through communication with the characters on stage. The article attaches great importance to the fact that an actor must be competent in mastering the stage language and apply theoretical knowledge together with practice. The techniques of mastering the technique of speech of characters playing in performances of all genres are described. The main weapon of an actor on stage is language, communication with the audience is carried out only through language, an actor needs to be able to create images using the purity of language, show all its features, transform and convey individually. It was investigated that all the techniques used by the actor have a special place.Observing the purity of the Kazakh language in all spheres, we improve the language culture and preserve national qualities. The Kazakh language has never lost its value. Our literature and culture can be called proof of this. The colorfulness of our language is not comparable to the language of any deep country. Therefore, if people of art observe the laws and rules of the Kazakh language and correctly convey them to the viewer, then the future generation will be especially respectful of their native language.

Paremik janrlarning g‘oyaviy-badiiy xususiyatlari(tarixiy-nasriy asarlar misolida)

The article analyzes the paremiological genres found in historical and prose works: proverbs, sayings, proverbs, parables, and various forms of parables. Questions such as the transition of genres of folklore in written literature, changes and the development of genres are studied. The article describes the ideological and artistic features of proverbs found in Mir-zo Ulugbek's work "History of the Four Nations" ("Ulusi arba'i Chingizy") and "Shajarai Turk" by Abulgazi Bakhadirkhan. On a scientific basis, the author's skillful use of folk tales and wise sayings are given. It is proved that folk teachings are connected with the activities of historical figures, and proverbs are told in the language of historical heroes. The ideological and artistic features and the educational value of paroemias of a preaching nature are revealed. In the genres characteristic of the paremiological type, such features as the predominance of mental cognition based on many еars of life experience of the people revealed. The article comments on research on the topic and conducts a comparative analysis.

ASSESSMENT OF ECOLOGICAL, PHYSICOCHEMICAL, TECHNICAL AND AESTHETIC PROPERTIES OF BASALT PAVING OF L’VIV AND HISTORY OF ITS USE

“Underrated eternal paving stones of the city of L’viv” or “Where the paving stones end, L’viv ends there...” Paving stones are not only the usual street or road surface of cities. It has become an integral part of the city of L’viv and even its symbol. It is in paintings by artists, in poetry and prose works. L’viv paving stones already live their lives and it is inseparable from the environment. This is not just a symbol, but part of the city. It is impossible to separate these things. At the modern stage, paving can be considered as one of the historic properties that attract residents and guests of the city of L’viv. It has a long history, technical features (manufacture and laying) and, as it turned out, environmental properties.The article considers the history of basalt mining and the assessment of its environmental, physical and chemical, technical and aesthetic properties and the importance of urbanized space for paving streets in order to create a comfortable habitat. Unlike artificial analogues and less stable natural varieties, basalt paving does not change its physical, mechanical and aesthetic characteristics, it is below the generally recognized, most environmentally friendly, hard road surface for which is inherent: 1) extremely high mechanical strength – the first category in the M. M. Protodyakonov’s scale: extremely strong, dense and viscous rock; 2) a very low coefficient of thermal expansion and resistance to a wide range of fluctuations in daily, seasonal or annual temperatures; 3) almost complete absence of cavities and cracks, or their disjoint to each other; 4) maintenance of hundreds and thousands of cycles of freezing and defrosting; 5) absence of water-soluble minerals in mineral composition; 6) resistance to a wide range of aggressiveness of surface and underground waters; 7) environmentally friendly – characterization of the complete absence of toxic gas emanations and freshwater of the water extract; 8) radiation safety – inherent low contents of uranium and thorium (compared to granites), as well as a very low radiation background.

Pleasure in Profit: Popular Prose in Seventeenth-Century Japan by Laura Moretti

Reviewed by: Pleasure in Profit: Popular Prose in Seventeenth-Century Japan by Laura Moretti David J. Gundry (bio) Pleasure in Profit: Popular Prose in Seventeenth-Century Japan. By Laura Moretti. Columbia University Press, 2020. xvi, 416 pages. $140.00, cloth; $40.00, paper; $39.99, E-book. Encompassing histories of publishing, literacy, and letter-writing as well as close readings of a wide range of hitherto little-known texts, Laura Moretti's Pleasure in Profit is a must-read for students of Japanese literature and of great relevance to specialists in early modern Japanese history and religion. Moretti sets out to examine and evaluate the popular prose of Japan's first century of commercial publishing according to its own terms rather than to impose on it modern or Western conceptions of what constitutes the literary. In so doing, she seeks to expand the category of early Tokugawa literature to include, for example, letter-writing manuals and cookbooks. She argues [End Page 500] that such works of instructive prose, in addition to providing readers with knowledge that could potentially better their lives and help raise their social status, brought their original audience cognitive pleasures that rival those provided by less utilitarian texts. Moretti traces the exclusion in the English-speaking world of such works from the canon of seventeenth-century Japanese literature to a 1957 article by Richard Lane. Lane, Moretti writes: favored undisrupted narrative above other textual elements; considered the modern, realistic novel the telos toward which literature developed; and viewed prose works written in the vernacular between 1600 and the publication of Ihara Saikaku's (1642–93) Kōshoku ichidai otoko (The life of an amorous man, 1682) as "'a transitional form, bridging the gap between the medieval romance and the modern novel'" (p. 6). She credits Lane's article with motivating the translation into English of a small selection of fictional narrative works from this period that provide a skewed sample of what commercial publishing produced then. Moretti characterizes as belletristic, elitist, anachronistic, and Eurocentric the criteria used by Lane and his successors to exclude or neglect the texts she seeks to rehabilitate. She eschews teleological considerations and excludes even Saikaku's fiction from the category of the novelistic, let alone of the novel itself, writing in characteristically emphatic language that the period in question was "centuries before any hint of the novel breached the horizon" (p. 10). Moretti does so without defining the notoriously porous category of "the novel" or providing any close examination of any text by Saikaku. She convincingly justifies the absence of Saikaku's fiction from her already ambitious study as necessary for keeping her project to a manageable size, in part due to the vast amount of Saikaku scholarship she would have needed to engage with to include consideration of his works. Moretti also notes that Saikaku's fiction has already received considerable attention from scholars and translators writing in English and maintains that their work, while valuable, has the regrettable disadvantage of having created a Saikaku-centered view of the seventeenth-century literary market and popular prose. … Thinking of Saikaku's prose as the pinnacle of the seventeenth century is the norm. As should be clear by now, I strongly disagree with this notion. … What if we write a literary history of the seventeenth century that is not Saikaku centered? This is what my monograph aims to achieve. (p. 21) Upon reading the study that follows these assertions, one trained by the copious learned allusions of Saikaku's fiction to look out for the same when perusing the works of other authors might perceive in the void left by Saikaku's absence from Pleasure in Profit an erudite reference to the [End Page 501] empty center of Tokyo posited by Roland Barthes in his semiotic schema of the Japanese capital.1 It is difficult to convince one's readers that Saikaku's fiction does not constitute the pinnacle of seventeenth-century Japanese prose without extensively comparing his works to those foregrounded in Pleasure in Profit, and readers well-versed in Saikaku's fiction might find little in the synopses provided that rivals their favorite Saikaku narratives. Furthermore, Moretti's implied characterization of...

A Modern Buryat Author as a Translator of National Character

Modern Buryat literature written in Russian still preserves the natural-historical boundaries of the writer’s ethnic nature. In the process of globalization, the problem of national character has become of particular interest, because the establishment of standard universal norms of human behavior gradually leads to the loss and blurring of the boundaries of national individuality, the uniqueness of one’s own culture. The diversity of Russian reality is especially interesting in the work of the author of the Buryat ethnicity, as the special approach and psychology of his own nationality is transmitted. Relevant for the present is the designation of a crisis situation for modern literature, including Buryat literature, since the process of unification of the national principle leads to the loss of ethnic self-consciousness and national self-identification. The main goal of the study is to identify and describe the main ways of creating the national character in modern Buryat prose in Russian. The hypothesis of the study is that the national character exists and can realize its properties as an intermediary between society and the manifestation of the ethnic unconscious, which contributes to the preservation of the identity of the nation in the conditions of globalization processes. The scientific novelty of the work lies in the definition of techniques and methods for the translation of the national character by the author. Cultural-historical and comparative-typological analysis were used as research methods. According to the results of the work, a whole complex of means and methods of the author’s transfer of national identity in the works of modern Buryat national prose has been identified, motives, cultural code and architectonic lines of the works have been considered. Literary searches for a solution to the problem of national character in the prose of writers, representatives of Siberian ethnic groups, are of great interest to literary researchers. Therefore, we see the prospects for further study of the problem in a more detailed study of the manifestation of the national character in modern Buryat prose, which will make it possible to more clearly see the vector of development of national literatures in the aspect of preserving a sense of the national.

The Music of the Machine: A Ying, International Constructivism, and Sonic Modernity in Chinese Revolutionary Literature

This essay seeks to recover the attempts of the left-wing activists around the 1920s Sun Society ( Taiyang she) to articulate a vision of proletarian modernity based on the aesthetic potential of the machine. They did so as a result of a series of theoretical encounters with the ideas of Soviet constructivists that were largely mediated by the Japanese literary theorist Kurahara Korehito and the project of “new realism” ( xin xieshizhuyi). The essay demonstrates that “new realism” functioned as a cipher for Soviet constructivism as it moved across the proletarian literary movements of Japan and China. In response to these theoretical possibilities, Chinese writers, critics, and filmmakers sought to inscribe the aesthetic possibilities of the machine in their cultural practice, a project in which A Ying assumed a leading role. They did so with a particular investment in the sonic dimensions of machine production, consisting of the sounds of the modern factory and its proletarian subjects. Their attempts to find a cultural form adequate to machine production are explored with reference to the prose work of Yang Cunren and the canonical film New Woman ( Xin nüxing). By attending to these legacies, this essay demonstrates a series of ignored theoretical encounters across different sites of left-wing cultural production and draws our attention to the powerful appeal of a cultural language of proletarian modernity at a crucial historical moment.

Новаторские искания А. Теппеева в жанре повести (на материале повести «Дорога в девять дней»)

The purpose of the paper is to study Alim Teppeev’s creative experience in the novella genre in the context of innovative searches of XX century Balkar literature. Scientific originality of the research lies in the fact that this topic is being considered for the first time from the specified perspective. As a result, the role of the writer’s creative work in the evolution of the Balkar novella has been determined. By analysing “A Nine-Day Trip”, one of the author’s representative prose works, the researcher was able to identify innovative trends expressed in the literary concept of a person in the situation of moral choice, the specifics of chronotope modelling, the structural organisation of the work, the polyphonic nature of the conflict, the stylistic enrichment, renewal of the image system.

Linguistic and stylistic features of the essay as a journalistic genre

The article concretizes the concept of essay as a journalistic genre, outlines its specific genre features. Research on the stylistics of essay texts by various authors is analyzed. It is stated that essays are considered mainly from the point of view of the theory of journalism and literary criticism, the general linguistic and stylistic features of the essay text have not been outlined yet. The aim of the article was to determine the structural-compositional, syntactic, lexical-semantic, phraseological linguistic means used in the essay. The essay is interpreted as a small artistic and journalistic prose work on abstract-philosophical, aesthetic, literary-ethical theme, which has an arbitrary composition and reproduces the personal thoughts and impressions of the author on a particular occasion or issue, and is not an exhaustive and defining interpretation of the theme. The features of the essay, such as the logic of the opinion, are identified; attention to the artistic form of the text; subjective judgment of the author about an object; the possibility of involving the general cultural context of the background knowledge of the addressee; ease of speech; imagery, aphorisms, metaphors, etc. The structural and compositional means of the essay are outlined, which include the argumentative nature of the unfolding of the text, which is manifested in the logical acts of comparison, opposition, analogy, proof; in the judgments and reflections of the addressee of the speech; key sentences that determine the theme and content of the work; means of communication, including repetitions, parallel constructions, antitheses. The syntactic means of essay texts include inversion of words, rhetorical questions, sentences with different types of syntactic connection, exclamatory statements; means of expressive syntax are represented by ellipse, repetitions, gradation, inversion, parallel constructions. It is noted that the most expressive lexical and semantic feature of this genre is the wide expressive possibilities of the artistic word, in particular imagery. Therefore, at the lexical-semantic and phraseological levels, the characteristic means of the essay are the constant use of tropes: metaphors, personifications, comparisons, epithets, symbolic and allegorical images. A striking feature of the essay text is intertextuality, which finds expression in aphorisms, sentences, maxims, quotations. Keywords: essay, essays, essay genre, essay text, linguistic and stylistic features of the essay.

Functional and Stylistic Aspects of Foreign Toponyms Used in the Literary Texts of Michael Matusovsky

Various aspects of the study of toponymic vocabulary in modern linguistics are analyzed, the principles of distinguishing foreign language toponymic units in the literary texts of M. Matusovsky are described. Various groups of toponyms from the writer's works are studied. The statistics of the toponymic units use is presented. The stylistic features of the use of foreign toponyms in the writer's poetic and prose works are studied. The main functions of toponym usage are: depiction of local, historical aspects as well as landscape peculiarities and a real image of the environment. Among the figures of speech with toponyms, the most common are antithesis, epiphora, parallelism. Toponyms are also used in the formation of rhetoric speeches, they perform a rhythmic and intonation function.

ANALISIS GAYA BAHASA PADA PUISI MENYESAL KARYA ALI HASJMI

Poetry is a literary work whose language is bound by rhyme and is a person's ideas and feelings about something that are poured into beautiful words. Â Language style is one of the media in stylistic studies that can be used as a medium in assessing the beauty of fictional poetry and prose works. Â The background of this research is to analyze the language style (figure of speech) used in Ali Hasjmi's sorry poetry, as well as to assist in the development of Indonesian language learning in analyzing the language style of the poetry. Â The method used by researchers is a qualitative descriptive method. Â The data analysis was carried out through several stages including literature study by reading, writing the required content, and identifying the verse and lines of poetry that contained language styles. Â The results found in Ali Hasjmi's regretful poetry include three styles of language including affirmation, satire and comparison. Â The figures used are personification, metaphoric, hyperbole, sinekdoke, rhetorical, and irony. Â In regret poetry there are four stanzas and fifteen lines.

Herzegovina`s Literary Portrait in Alija Nametak`s and Almin Kaplan`s Prose Work

Alija Nametak and Almin Kaplan are two writers of Bosnian-Herzegovinian literature. Their prose work is defined by two separate historical periods. Alija Nametak`s prose originated in the 1930s, retaining a realistic poetic framework of storytelling and thematically entering into historical strife, folklore, and social relations amalgamated into the patriarchal way of life of Bosniak rural communities in Herzegovina. On the other hand, Almin Kaplan creates in the cultural climate of the first decades of the 21st century, combining poetic and prose expression in his literary work. Kaplan's literary world built on post-war actuality realistically depicts Bosnian society and convincingly portrays a man sandwiched between the magma of dreams and harsh reality, at the crossroads of personal and collective values, in a time of economic transition, unemployment, broken ethical values, and new globalist movements, but still burdened by the war trauma of the 1990s. Although they are separated by almost the whole century, Alija Nametak and Almin Kaplan can be connected by certain similarities that will be the backbone of this research: woven into the Herzegovinian ambiance with all its geographical, historical, social, and cultural conditions, both draw their literary motifs from the socio-cultural landscape of Herzegovina, which is a stage for small human stories and universal truths. The research corpus of this paper will be based on the novel Meho (2019) and the collection of short stories Dubravske priče (2020) by Almin Kaplan and several short stories from the collection Trava zaboravka (1966/1998) by Alija Nametak.

Twomey, Lesley K. The Sacred Space of the Virgin Mary in Medieval Hispanic Literature, from Gonzalo de Berceo to Ambrosio Montesino

Twomey, Lesley K. The Sacred Space of the Virgin Mary in Medieval Hispanic Literature, from Gonzalo de Berceo to Ambrosio Montesino. Woodbridge: Tamesis (Monografias A, 381), 2019. 484 pp. £70.00 / $115.00. ISBN 978–1–8556–6323–7. This ambitious and important monograph charts the ways in which medieval Spanish authors, writing in Castilian and Catalan, expressed and explored Marian attributes using the language and characteristics of given places and spaces. Twomey begins her study in the mid-thirteenth century, with Berceo and Alfonso the Wise, and passes through an array of poets, particularly those who feature in cancioneros from the late fourteenth to early sixteenth centuries, examining also some significant prose works, such as Sor Isabel de Villena’s Vita Christi. The volume is not, however, patterned upon strict chronological lines, being structured instead in four thematic blocks: ‘Liturgy and Place’, ‘Places of Growth and Irrigation’, ‘Places of Entry and Exit’, and ‘Spaces...

Syllabic quantity patterns as rhythmic features for Latin authorship attribution

AbstractIt is well known that, within the Latin production of written text, peculiar metric schemes were followed not only in poetic compositions, but also in many prose works. Such metric patterns were based on so‐called syllabic quantity, that is, on the length of the involved syllables, and there is substantial evidence suggesting that certain authors had a preference for certain metric patterns over others. In this research we investigate the possibility to employ syllabic quantity as a base for deriving rhythmic features for the task of computational authorship attribution of Latin prose texts. We test the impact of these features on the authorship attribution task when combined with other topic‐agnostic features. Our experiments, carried out on three different datasets using support vector machines (SVMs) show that rhythmic features based on syllabic quantity are beneficial in discriminating among Latin prose authors.

Про сповідь, написану серцем

The author analyzes the poetic and prose works of Natalia Zamulko-Dubushe (1948–2020). The Ukrainian emigrant writer, who has lived and worked in France since 1989, is the author of the Ukrainian-language poetry collection Storks of the Native Land (2004), prose books Alien Nation (2012), Rain Border (2018), and others. The aim of the article is to analyze the confessional beginning of Natalia Zamulko-Dubushe’s works. In order to comprehend the weight of the author’s personal experience in the poetic and prose narration, Valentyna Sobol compares the defining motives of the poetic and prose works of the writer. As a result of a comparative reading, the researcher draws a conclusion about the dominance of the autobiographical discourse of the entire creative work of the writer. It is shown how the motives of her poems resonate differently in prose each time. In fact, memory is the driving force in all emigration works. Returning mentally to her Ukrainian roots, the writer at the same time exposed herself as a person of the world.