Suchergebnisse

Zola-pastiches are a sign of reception of Zola's literary works. More than a centuryafter his death, his style is still targeted by the authors of this type of rewriting. Our researchposes the problem of mimetic or differential appropriation of Zola-pastiches posterior to hisdeath. How the author of Les Rougon-Macquart is imitated in these pastiches is our mainresearch question. A pastiche is a writing that implies a textual repeat characterized by theexistence of two types of texts: the hypertext (derived text) and the hypotext (source text). Acomparative approach linked to the theories of intertextuality and hypertextuality has enabledus to discover that the imitators of Zola draw inspiration from his writings and also from thewritings of other authors. They thus produce pastiches with single, double or multiplehypotexts. The distinction between Zola-pastiches is also based on their internal (literary) orexternal (political, advertising) aim. The authors of pastiches with external aims documentthe social facts of their era just like Zola did in his novels. Some authors show a literaryengagement by attacking political leaders but indirectly. In addition to their aims, theirrepresentation of Zola's style diversifies their writings. Each writer conforms to someimitation rules which are generally related to the principles of similarities and differences.Some pastiches are therefore move creative and/or more representative of Zola's style thanothers. The study of the imitative ways of pastiches' writers implies a reflection on theconcept of style whose definitions seem unclear. These writers no longer focus only onZola's thematic which has been highly criticized during his life time and even after his death.They blend themes and stylistic devices, thus acknowledging the poetic quality of the literaryworks of the naturalism founder. The Zola-pastiches written during the 20th and at thebeginning of the 21st centuries therefore appear to be a critical analysis of these works as wellas the criticism of the partial or ...

Attacks the conventional distinction between Western Marxism & the ideology of the socialist institutions of the East, arguing that both fall prey to the Marxist treatment of politics & culture as superstructural appendages to the underlying productive forces. Consequently, Western Marxist criticism, like the bureaucratic socialism of the East, is incapable of understanding, let alone directing, ongoing class struggle. The restoration of true dialectical criticism must, it is argued, negate the post-Leninist abnegation of political consciousness. 12 References. A. Levine

"Nationalism has given the world a genre of poetry bright with ideals of justice, freedom and the brotherhood of man, but also, at times, burning with humiliation and grievance, hatred and lust for revenge, driving human kind, as the Austrian poet Grillparzer put it, 'From humanity via nationality to bestiality'. National Poetry, Empires and War considers national poetry, and its glorification of war, from ancient to modern times, in a series of historical, social and political perspectives. Starting with the Hebrew Bible and Homer and moving through the Crusades and examples of subsequent empires, this book has much on pre-modern national poetry but focuses chiefly on post-1789 poetry which emerged from the weakening and collapse of empires, as the idealistic liberalism of nationalism in the age of Byron, Whitman, D'Annunzio, Yeats, Bialik, and Kipling was replaced by darker purposes culminating in World War I and the rise of fascism. Many national poets are the subject of countless critical and biographical studies, but this book aims to give a panoramic view of national poetry as a whole. It will be of great interest to any scholars of nationalism, Jewish Studies, history, comparative literature, and general cultural studies"--

"The contemporary philosopher Jacques Rancière has become over the last two decades one of the most influential voices in literary, art historical, and film criticism. His work reexamines the divisions that have defined our understanding of modernity, such as art and politics, representation and abstraction, and literature and philosophy. Working across these divisions, he engages the historical roots of modernism in the nineteenth century, uncovering forgotten texts in the archive that trouble our notions of intellectual history. The contributors to Understanding Rancière, Understanding Modernism engage with the multiplicity of Rancière's thought through close readings of his texts, through comparative readings with other philosophers, and through an engagement with modernist works of art and literature. The final section of the volume includes an extended glossary of the most important terms used by Rancière, which will be a valuable resource for experts and students alike"--