Essays Of Writers Research Articles

The discourse of dialect vocabulary as an expression of the identity of the people

The paper deals with the problem of showing the identity of the Russian people through the discourse of dialect vocabulary reflected in the classical 19 of Russian literature of the 19th century — in the collection “Notes of the Hunter” by Ivan Turgenev. The authors of the article analyzed the functions of lexical dialectisms in the writer 's essays, drew attention to the feature of using lexical dialectisms and ethnographies themselves, concluded on the importance of maintaining dialectisms as a reflection of the identity of the people.

Metáforas metalinguísticas de Euclides da Cunha

Este artigo apresenta uma leitura das metáforas metalinguísticas do escritor Euclides da Cunha, ou seja, as metáforas que ele utilizou para se referir aos seus dois principais livros, Os Sertões (sobre a guerra de Canudos) e Um paraíso perdido (sobre a Amazônia). O conceito de metalinguagem estabelecido por Jakobson foi fundamental para a pesquisa, que teve como suporte teórico básico o postulado da metáfora conceptual, proposta por Lakoff e Johnson. As metáforas analisados neste artigo (VINGAR-SE É ESCREVER e UM LIVRO É UM FILHO) foram colhidas de ensaios do escritor e de cartas que ele escreveu a amigos e familiares, “escriturando” a sua escrita por meio da metalinguagem. A análise das metáforas assume, com base em Lakoff e Johnson, que a metáfora não é uma questão apenas de linguagem. Ela é também – e fundamentalmente – uma questão de pensamento e ação.

Writings and correspondence: 1961-1985

This dossier comprises a selection of the correspondence between Hubert Damisch and Jean Dubuffet as well as six essays written by Damisch on Dubuffet between 1962 and 1985. Both the correspondence and texts are here published in English for the first time. “Jean Dubuffet and the Awakening of Images” (1962), Damisch's second article on Dubuffet, discusses the relationship between material object and idea, or painting and image, in Dubuffet's art since the 1940s. “Work, Art, Artwork” (1962) examines Dubuffet's return to figuration following his abstract works of the late 1950s. “Paris Circus” (1962) is an extended review of the recently completed series Paris Circus, and “Second Method” (1964) investigates Dubuffet's cycle of the Hourloupe in the light of questions of perception present in Maurice Merleau-Ponty's The Eye and The Mind. “DUBUFFET (Jean)” (1969) was written as an entry of the Encyclopedia Universalis. The final essay, “Starting Ground” (1985), was written at the time of the artist's death. It evokes, among other themes, contemporaneity and posterity and Dubuffet's complicated embrace of an artistic career. This essay lays the ground for subsequent texts by Damisch on Dubuffet. The correspondence, which is interspersed amidst the writings, is complete save for a few technical letters concerning the editing of Dubuffet's writings by Damisch in 1967. Damisch himself defines it as “work correspondence.” In these letters, artist and writer debate specific terms, discuss the artist's work and the writer's essays, and provide a glimpse of their complex personal relations.

Mamed Emin Rasulzadeh and the establishment of the Azerbaijani state and nation in the early twentieth century

This article studies the processes involved in the formation of the Azerbaijani nation at the turn of the nineteenth and twentieth centuries. This is done within the context of modernist theory of nationalism, contesting notions of the spontaneous or inevitable formation of nation states. Unlike primordialists, who view nations as objective (or natural) phenomena, modernists argue from different viewpoints that nations are the products of transition from agrarian society to an industrial one. Proceeding from the basic provisions of this theory, the writer essays an innovative interpretation of key stages in the formation of the Azerbaijani nation-state. Analysing the confrontations between different projects of national construction in Azerbaijan in the early twentieth century, the writer studies the roles of prominent representatives of the Azerbaijani intelligentsia in the development of the basis for a national ideology for Azerbaijani Turks. In this endeavour, particular attention is given to a study of the work of Mamed Emin Rasulzadeh, the founder of modern Azerbaijani statehood.

Lounging on the Sofa with Leigh Hunt: A New Source for the Notes in Melville's Shakespeare Volume

Abstract The argument of this essay is that several of the notes that Herman Melville wrote in the back leaves of one of his Shakespeare volumes—notes that have been an object of interest and speculation ever since their discovery in the 1930s—were responses to essays written by Leigh Hunt and collected in a volume called The Indicator. In all likelihood, Melville read these essays—along with a Quarterly Review essay by Francis Palgrave, which has previously been shown to be the source of other notes in the back of the Shakespeare volume—on the sofa of his father-in-law, Lemuel Shaw, shortly before or after the birth of his son Malcolm in February 1849. The discovery of the new source is important both as an aid in identifying when and where Melville took all of these notes and as an indication of how carefully Melville studied the British periodical essay before beginning Moby-Dick (1851). In the essays of writers like Hunt, he encountered a form that seemed as though it could stretch to accommodate his literary and philosophical ambitions without sacrificing the companionship of the implied reader. For at least two years, Melville would believe enough in the possibilities of that form to compose his miraculously sociable expressions of unresolvable hope and rage, to give voice to the seemingly “wicked,” and yet to feel, as he told Nathaniel Hawthorne, “spotless as the lamb.”

Guillermo Cabrera Infante. Assays, Essays, and Other Arts

Guillermo Cabrera Infante. Assays, Essays, and Other Arts. Ed. Ardis L. Nelson. New York: Twayne, 1999. 242 pages. Cuban-American Literature of Exile: From Person to Persona. By Isabel Alvarez Borland. Charlottesville: UP of Virginia, 1998. 198 pages. Cuban Writers on and off Island: Contemporary Narrative Fiction. By Pamela Maria Smorkaloff. New York: Twayne, 1999. 100 pages. Although these three books revolve around Cuban and Cuban-American literature since 1959, their premises and objectives could not be more diverse. The book on Cabrera Infante is a monographic study of writer's sizable body of essays. Alvarez Borland's study deals with representative works by exiled Cuban and Cuban-American writers. And Smorkaloff's book focuses on a cross-section of literature from both sides of Florida Straits. Nelson's volume is a compilation of thirteen articles on Cabrera Infante's essays as journalist, cineaste, critic, and commentator. Under these rubrics, each of book's four sections includes several articles written by scholars such as Raymond D. Souza, Suzanne Jill Levine, Ardis L. Nelson, and Kenneth Hall who, for most part, are familiar with writer's rich and versatile oeuvre. While some of texts under scrutiny have been collected in volumes like Holy Smoke (1985), Mea Cuba (1992), and Cine o sardines (1997), others are still scattered in newspapers and journals throughout two continents. The first articles by Souza and William Luis, highlighting Cabrera Infante's early years at Bohemia, Carteles, and Lunes de Revolution, from 1947 to 1961, provide a useful context for texts that follow. They dwell at some length on writer's all-consuming interest in Hollywood movies and in literature around a time when utilitarian view of arts and narrow interpretation of culture espoused by cultural bureaucracy of Cuban Revolution brought about an ideological rift and writer's subsequent exile. This background information is especially useful when reading articles on Mea Cuba by Nedda G. de Anhalt and co-writers Justo C. Ulloa and Leonor A. Ulloa, which underscore political circumstances that inspired many of writer's essays and personal and professional alliances. Additional articles consider, among other topics, Cabrera Infante's irreverent obituaries or mock encomia of film personalities (by Kenneth Hall), his and Manuel Puig's shared interest in popular culture (by Levine), his film scripts (by Souza), his musings on cigars (by Regina Janes), his readings of English literature in translation (by way of an interview with Levine), his fascination with Borges (by Carlos Cuadra), and his commonalities with Bunuel (by Nelson). In addition to critical essays, a foreword by Alfred MacAdam, an introduction by Nelson, a chronology covering a seventy-year period, and a lengthy, selected bibliography of writer's essays offer a well-rounded view of Cabrera Infante's non-fiction work. Though arranging essays in chronological rather than alphabetical order by title would have facilitated task of researchers, mere gathering of a significant number of Cabrera Infante's essays in bibliography for an English audience, combined with their incipient critical assessment, should encourage scholars to approach his fiction and non-fiction work holistically. Future studies should be able to determine whether all these threads-novels, short stories, journalistic work, political and non-political essays, and film scripts-can be interwoven into a tapestry, one that blends stylistic brilliance and transcendental meaning. Not surprisingly, Cabrera Infante is one of authors that Isabel Alvarez Borland analyzes in her study of fiction by Cuban exile writers and Cuban American writers. In this book, critic chooses to emphasize themes of exile and displacement. She explores writers' relation to revolutionary events that gave rise to Cuban diaspora since 1959, evaluating tension between the historical person of writer and his or her created persona (x). …

Imagine Writer Essays on Some English Novels and Novelits in Honour of Jean Butz Edited

Imagine Writer Essays on Some English Novels and Novelits in Honour of Jean Butz Edited

The Evolution of the Family

We live in an age when the theory of evolution is being applied to all the phenomena of the universe. It is natural, therefore, that we should attempt to explain the sequence of the various forms of government by this hypothesis. Political science, although it is a favourite study in America, is not much regarded in England. We are, perhaps, too much absorbed in political practice to believe in the reality of political theory. Still it is probable that, as democracy advances, and as the necessity of educating the masses of our population in politics becomes more imperative, political science will claim a larger share of attention. This science is divided into two branches, the one deductive and speculative, the other inductive and historical. The Elements of Politics, by Professor Sidgwick, is perhaps the first attempt to treat the first division thoroughly and systematically in the English language. The writer essays, with more or less success, to trace every ramification of the perfect modern state, as it ought to be, based upon the theory of the greatest happiness of the greatest number. The second department has not yet been worked out, but there is no reason why this should not be done. Anyone who attempted it would have to separate the facts of government from all other social phenomena, and to seek to arrange them in such an order, proceeding from the more simple to the more complex, that he could arrive at some conclusion, more or less valid, as to the manner in which the state had been evolved and differentiated amongst human beings. Attempts have been made to effect this in isolated parts of the whole field.