Suchergebnisse

On the basis of literary texts by four Jewish writers (Georges Cattaui, Emile Mosseri, Albert Staraselski, and Lucien Sciuto), this article tries to understand the models of Jewish cultural and political identity circulating in Cairo during the monarchic period, investigating the intellectual atmosphere of interwar Egypt and the numerous ways in which the Cairene Jewish middle and upper classes narrated their lives vis-a-vis their own ethnoreligious community, Egypt, Europe, and Zionism. Literary representations of Jewishness, nationhood, and modernity suggest that living in Egypt as a Jew meant belonging not only to a (semicolonial) national space, to whose imagination these four writers contributed, but also to a wider Mediterranean lieu de savoir (site of knowledge), at the crossroads of past ethnoreligious legacies and novel feelings of cultural and political belonging.

In Cuba, race, nation, and popular music were inextricably linked to the earliest formulations of a national identity. This article examines how the racialized discourse of blanqueamiento, or whitening, became part of a nineteenth-century literary narrative in which the casi blanca mulata, nearly white mulatta, was seen as a vehicle for whitening black Cubans. However, as the novels of Cirilo Villaverde and Ramón Meza reveal, the mulata's inability to produce entirely white children established the ultimate unattainability of whiteness by nonwhites. This article analyzes the fluidity of these racial constructs and demonstrates that, while these literary texts advocated the lightening of the nation's complexion over time, they also mapped the progressive "darkening" of Cuban music as popular culture continued to borrow from black music. (Cuba Stud / GIGA)

Two tendencies underpin the works of Mongo Beti, right from his literary beginnings in 1953. First, an inflexible, uncompromising commitment that the writer raises as a sign identifying his novelistic aesthetics and his action as a public figure. Second, a channel permitting frequently productive exchanges between "secondary prose" (journalistic and political writing, essays, political pamphlets) and fictional production. All of which means, as the hackneyed saying goes, that the man and his works cannot be dissociated and that the struggles of the former are always echoed in the latter, and transposed, at a distance varying from great to small depending on the period. Following in the steps of Sartre and thus respectful of the ideal promoted by those who defended the literary review Les Temps modernes, Beti refused to be a silent cleric. If there be betrayal, in his view, it is to be found in the stubborn refusal to denounce patent injustice and failures to respect human rights. It is this ideological and scriptural line of conduct which unites all the works of Mongo Beti, from the "Colonial Chronicles" to the "Returned to Homeland" cycle. However, since he is not an official propagandist dedicating his works to a cause that might transcend him, Beti avoids the pitfalls of thesis novels, even if some texts, particularly those of the "Dzewatama Cycle", are weightily didactic. His works are above all the impassioned and ironic testimony of more than 70 years of African history: often painful and tragic, sometimes droll. ; Une double dynamique traverse l'œuvre de Mongo Beti, et ce dès 1953 et ses débuts en littérature : en premier lieu, un engagement inflexible, intransigeant, que l'écrivain brandit comme un signe identificateur de son esthétique romanesque et de son action citoyenne. En second lieu, un courant d'échanges souvent fructueux s'instaure entre « prose latérale » (écrits journalistiques et politiques, essais, pamphlets) et production fictionnelle. Autant dire que l'homme et l'œuvre, pour reprendre une ...

Die Bedeutung von Skandalen für ein Gemeinwesen wurde in der Vergangenheit vornehmlich in Politik- und Gesellschaftswissenschaft diskutiert. Erst in jüngerer Zeit beschäftigt sich auch die Literaturwissenschaft mit Skandalen, die im Zusammenhang mit literarischen Werken oder mit Autorinnen und Autoren entstanden. Der Beitrag setzt Autorschaftstheorie und Skandaltheorie in ein wechselseitiges Verhältnis, um die Spezifik von Autorschaftsskandalen beleuchten zu können. Dabei geht es insbesondere auch um eine Poetik des Skandals. Autoren und Autorinnen sind in dieser Perspektive nicht so sehr Auslöser von Skandalen, sondern ihre Akteure und Protagonisten. ; In the past, the role of scandals for a community has usually been discussed by the Political and Social Sciences. Only recently have scandals become a topic in Literary Studies as well. Scholars of literature have investigated scandals that were provoked by literary texts and/or their authors. The article relates theories of authorship and theories of scandal to one another in order to illuminate the specifity of scandals about authors. It discusses the poetics of the scandal and considers authors not so much as triggers of scandals but as their actors and protagonists.

Este trabajo se propone estudiar hermenéuticamente dos obras literarias del Marqués de Sade publicadas en 1795, La philosophie dans le boudoir y Aline et Valcour ou le Roman philosophique, con el objetivo de mostrar que los textos literarios de Sade exceden y exacerban la Revolución política en curso proponiendo una revolución estética desde una profunda transgresión o ultraje de los principios del orden mimético clásico que emerge de un pensar filosófico espontáneo dado en la escritura literaria de fines del siglo XVIII. La exposición de esta crítica estética que vemos en la literatura de Sade nos permite sostener que la revolución estética ante el régimen representativo clásico ya se venía cultivando antes de la creación literaria de Stendhal, Balzac, Flaubert y Victor Hugo, tal como lo sugieren Auerbach y Rancière. Aquí propondremos que esa revolución estética se da, entonces, con Sade y su peculiar mezcla de estilos que ultraja el orden mimético clásico, configura una hipermoralidad resultante de la transgresión de los principios y, en consecuencia, se constituye como la apertura a la experiencia literaria moderna. ; This paper will study hermeneutically two literary texts of the Marquis de Sade published in 1795, La philosophie dans le boudoir and Aline et Valcour ou le Roman philosophique, with the objective of showing that Sade's literary texts exceed and exacerbate the ongoing political revolution by proposing an aesthetic revolution from a deep transgression or outrage of the principles of the classical mimetic order that emerges from a spontaneous philosophical thought given in the literary writing of the late century eighteenth century. The exposition of this aesthetic criticism in Sade's literature allows us to sustain that the aesthetic revolution in the face of the classical representative regime was already being cultivated before the literary creation of Stendhal, Balzac, Flaubert and Victor Hugo, as suggested by Auerbach and Rancière. Here we will propose that this aesthetic revolution occurs, then, with Sade and his peculiar mixture of styles that outrages the classical mimetic order, configures a hypermorality resulting from the transgression of principles and, consequently, is constituted as the openness to modern literary experience.

This paper will study hermeneutically two literary texts of the Marquis de Sade published in 1795, La philosophie dans le boudoir and Aline et Valcour ou le Roman philosophique, with the objective of showing that Sade's literary texts exceed and exacerbate the ongoing political revolution by proposing an aesthetic revolution from a deep transgression ou outrage of the principles of the classical mimetic order that emerges from a spontaneous philosophical thought given in the literary writing of the late century eighteenth century. The exposition of this aesthetic criticism that we see in Sade's literature allows us to sustain that the aesthetic revolution in the face of the classical representative Regime was already being cultivated before the literary creation of Stendhal, Balzac, Flaubert and Victor Hugo, as suggested by Auerbach and Rancière. Here we will propose that this aesthetic revolution occurs, then, with Sade and his peculiar mixture of styles that outrages the classical mimetic order, configures a hypermorality resulting from the transgression of principles and, consequently, is constituted as the openness to modern literary experience. ; Este trabajo se propone estudiar hermenéuticamente dos obras literarias del Marqués de Sade publicadas en 1795, La philosophie dans le boudoir y Aline et Valcour ou le Roman philosophique con el objetivo de mostrar que los textos literarios de Sade exceden y exacerban la Revolución política en curso proponiendo una revolución estética desde una profunda transgresión o ultraje de los principios del orden mimético clásico que emerge de un pensar filosófico espontáneo dado en la escritura literaria de fines del siglo XVIII. La exposición de esta crítica estética que vemos en la literatura de Sade nos permite sostener que la revolución estética ante el régimen representativo clásico ya se venía cultivando antes de la creación literaria de Stendhal, Balzac, Flaubert y Victor Hugo, tal como lo sugieren Auerbach y Rancière. Aquí propondremos que esa revolución estética se da, entonces, con Sade y su peculiar mezcla de estilos que ultraja el orden mimético clásico, configura una hipermoralidad resultante de la transgresión de los principios y, en consecuencia, se constituye como la apertura a la experiencia literaria moderna.

The problem of this article arise from the challenges of interdisciplinary study of literature and theology – how to find a scientifically acceptable way of representing theological questions in literature, preserving the autonomy and at the same time highlighting common dialogically-based points of view of these two fields. The theological point of view to literature is based on its interest in the metaphorical, symbolical and image-based language of literature, which can express the deepest existential questions and transcendental dimensions of human essence. Literary theory deals with its autonomy and its connections with other fields of humanities: ethics, politics, and religion. Theological questions in literature might be viewed as individual religious experiences expressed in text and understood as representations of feelings and views that might be understood and perceived as common experience. Theological questions in literature are based on the specifics of the literary language of images and poetic language. Theological questions in literature also arise from its esthetic value and esthetic language. One of the methodological possibilities to deal with challenges of this interdisciplinary field might be to research what theological questions are, and how these questions arise in literature. Sin and guilt in the poetry of Aidas Marčėnas is reflected as individual and subjective theological question very much related with the understanding of human existence and creative nature.

Abstract
The exploration of the multifarious ways in which cultural reworkings and translations have been involved in the transmission and circulation of various discourses, concepts and ideas in different historical periods and places, has become one of the most productive fields of inquiry in Early Modern Studies. Both translation and cultural reworking have been understood as forms of rewriting that involve altering, reinterpreting and adapting texts (Fischlin&Fortier, 2000; Lefevere, 1992). The main difference between the two concepts lies in their relation to the text/texts they are supposed to rewrite. Thus, translations are related to more direct and evident means of appropriation and rewriting, most often acknowledging themselves as attempts to render a specific text from one language/culture into another. Cultural reworkings, on the other hand, presuppose the appropriation and remaking of various texts and discourses in a more indirect manner, without necessarily pointing to the particular texts that are being rewritten. They represent threads that can be identifiable or at times altered beyond recognition, frequently leading to the creation of a completely different text. Therefore, cultural reworking involves the appropriation, rewriting and recontextualization - more or less explicit- of literary and non-literary texts and discourses that belong to the, cultural, political and ideological context of a certain work.

The present research study attempts to investigate Chinua Achebe's Things Fall Apart and No Longer at Ease in terms of Gayatri Spivak Marxist-Post colonialist conceptions of subaltern, colonial discourse and false consciousness. In Post-modernist fiction, there is anxiety that historical concerns such as the scale of violence in the Second World War, the Nazi genocide, the paranoiac politics of the Cold War and European colonialism have made fiction a medium for history. Chinua Achebe's novels, indeed, are manifestation of colonialism and its subsequent impact on the literary text and dominant discourse. In exploring these terms, this dissertation endeavors to closely examine Gayatri Spivak's concept of subaltern in the Chinua Achebe's Things Fall Apart and No Longer at Ease. Furthermore, the present paper demonstrates Spivak's voice to differences: that is, class categorization and marginalized subaltern subjects. By the emergence of colonialism, the significance of social class and social discourse became predominant; therefore, colonial discourses instilled into the social, cultural construction and literary text, particularly novel. In this regard, the investigation of the dominate discourses is pursued, and this helps to show how colonialism resulted in discourse inculcation. The resistant perspective against ruling ideology, as the Italian Marxist political activist, Antonio Gramsci calls it cultural hegemony is presented through language, tradition, and customs. Finally, the study focuses on Marxist concept of false consciousness from the viewpoint of Antonio Gramsci to Louis Althusser.Keywords: Colonial discourse, Subaltern, False Consciousness, Social Class, Change and Tradition, Language, Culture

"Evolution and Conversion explores the main tenets of Rene Girard's thought in a series of dialogues. Here, Girard reflects on the evolution of his thought and offers striking new insights on topics such as violence, religion, desire and literature. His long argument is a historical one in which the origin of culture and religion is reunited in the contemporary world by means of a reinterpretation of Christianity and an understanding of the intrinsically violent nature of human beings. He also offers provocative re-readings of biblical and literary texts and responds to statements by Daniel Dennett and Richard Dawkins. Including an introduction by the authors, this is a revealing text by one of the most original thinkers of our time."--Bloomsbury Publishing

Abstract
This article analyses the transatlantic influence of colonialist discourse regarding Italian colonial wars in East Africa, by focusing on literary texts. In the emerging Italian American literature, two works by key authors reflected on the impact of colonialist propaganda in the Italian America. Emanuel Carnevali's 'Tale One' (1919) centers on his aunt's experience in Eritrea around the time of the battle of Adwa (1896). The analysis of these two texts, which rewrote and challenged the central elements of nationalist propaganda, offers a unique chance to understand the complex relationship between nationalist discourse and diasporic communities, in a textual form—migrant literature—that by definition re-uses and combines elements from different cultural spaces to make sense of the experience of displacement.

"Die Grenzboten" magazine (founded by Ignaz Kuranda in Brussels in 1848) was one of the longest-appearing magazines of the German-speaking territory. While edited by Gustav Freytag and J. Schmidt, the magazine became the exponent of the anti-Polish policy. The political programme was realized not only by means of one-sided selection of the texts, but also by the anti-Austrian editing policy. Apart from literary texts, ,,Die Grenzboten" contained mostly political and publicistic articles. The editorial board investigated the phenomena of the Polish-German cultural relationships as well as the border events. The enclosed bibliography of the so-called "Polish subjects" gives an idea of the political programme of the editorial board and of the methods of awakening of the German nationalistic consciousness.

I present a new reading of the Maria Kuncewicz novel, entitled The Foreigner, with using postcolonial perspective and consensus as a form of moderated group process aimed at reaching agreement. The work is based on the premise that if the discussion of literary texts is to make sense, we must see in it a chance for a real change of reality. Postcolonial interpretations show the colonized identity as a process of continuous positioning, linked to the processes of trauma conversion, the internalization of prejudice, and the amplification of the pattern of
violence. On the other hand, the consensus method shifts the focus from text to interpreting community which can really influence on the surrounding reality.

Abstract Focusing on Duan Chengshi's c. 850 CE text, this paper starts with the hypothesis that Yexian's story reflects the time and place of the informant, Li Shiyuan, cited by Duan. I concentrate on Li Shiyuan's possible identity as a member of the Zhuang ethnic group in Nanning, Guangxi Province, now within the People's Republic of China near the Vietnamese border. Victor Mair's 2005 translation and footnotes stimulated my interest in Guangxi, and Katherine Kaup, who studies contemporary Zhuang politics, enabled me to interview Zhuang folklore scholars in Nanning. With some observations in Guangxi Province, but more importantly analysis of literary texts and previous scholarship, I place the Yexian story in the context of Zhuang beliefs, creativity, and history.