Suchergebnisse

The article aims to study the structure of the literary problem in the formation of the local text substrate. The study uses the methodology of studying the language when it changes in time and space. The article explains the basics of the methodological support of the translation complex and the structure of its application in private studies of foreign cultures and communicants. The results of the study showed the possibility of interaction between the subjects of linguistic exchange and the dynamics of the translation and literary component. The novelty of the study is determined by the fact that the work defines methods that can be used not only by local researchers but also by foreign-speaking communicants. The research results can be used in practical activities to bridge the gap between understanding the local text in translation studies and its structuring in the local versions of individual authors.

Using an excerpt from Stanisław Lem's Solaris, this article explores the idea that, in a literary text, a fictional world and the world of physical reality may interact to form such a reality that can paradoxically turn out to be more real than what we believe to be the actual reality. It is also shown that the fictional world realized in a literary text may bring the reader to certain conclusions about the world in which he or she lives. Thus, even if literature is in­capable of affecting reality, it can change the way the latter is perceived. A fictional world is not just a reality — it is a reality of a higher order.

The translation of non-literary texts, especially science texts, compared to that of literary texts, tends to receive less attention not only from general readers in public, but also from scholars. One phenomenon of such tendency is that non-literary texts are far less retranslated. Different from literary texts, which could have as many as dozens of retranslations, such as the English novel Jane Eyre, which has more than thirty Chinese retranslations, non-literary texts in general have much fewer retranslations, with many of them never retranslated. The reasons for retranslation of non-literary texts differ from those for literary texts. Literary texts are retranslated, as investigated by many researchers, often because of particular consideration of new target reader groups, language, style, aesthetics, commercial interest, and the like; while non-literary texts tend not to be retranslated for that many different purposes, it is commonly agreed that knowledge dissemination is the major motive behind their retranslations.

This article will consider literary representations of the poorest parts of Rio de Janeiro and the ways they are romanticised or demonised according to the writer's agenda and the target audience. The growth in favela tours and hostels seems to indicate a voyeuristic interest in the poverty and danger represented in the images of Brazil that reach outside the country. Certainly, the number and variety of descriptions of favelas range from the poetic to the horrified, but all of them testify to the fascination these settlements exercise on the outsider. Travel writing, as well as investigative journalistic accounts (both fictional and factual), will be analysed, and references made to literature and film. Of particular interest are the ways in which poverty is 'performed' for the reader/spectator of literary texts, as well as the performance undertaken by the traveller/researcher/narrator in travel and scientific literature about the favelas.

This article traces the cultural history of a recurrent association made in nineteenth-century French medical, scientific and literary texts between variants of 'monomania' — a broad term denoting obsessive fixation on a particular object in a subject presumed otherwise sane — and amateur scientific enthusiasm, specifically for perpetual motion, a phenomenon long acknowledged as impossible, and metonymy for similar chimera. A reading of alienist texts in conjunction with literary texts — emblematically, Zola's La Bête humaine, which links human and thermodynamic dysfunctionality — reveals that a specifically homicidal monomania is closely linked with the specific delusion that perpetual motion is possible, at the very moment when monomania is superseded, or considerably modified, by degeneration theories, when the degenerative nature of thermodynamic engines becomes widely accepted, and when disciplinary power — in Foucauldian terms — supersedes sovereignty.

The aim of the paper is to present intentio operis as an interpretative strategy created by a text. According to Umberto Eco, this strategy can help to transcend the opposition between intentio auctoris and the interpreter's unrestrained freedom. Although as a concept intentio operis belongs to literary texts, it seems to be an interesting construct to apply to legal interpretation, especially because it links different points of view on textual interpretation: the structural ('how the text is constructed') and the pragmatic (namely aspects of communication, such as the communicative intentions of the empirical author, the communicative intentions of the text).

In this paper we employ a conceptual repertoire from philosophical hermeneutics and literary aesthetics to examine people's expectations of and trust in interactive media. Drawing on data from two projects, first, with young professionals on their perceptions of the informational value of various media, and second, with youthful users of the online genre of social networking sites, we present findings on perceptions of authorial presence and constructions of an imagined author. We conclude that an (imagined) author plays a key role in media users' ability to critically use interactive media and evaluate the relevance and reliability of media content, rather than functioning as an authoritative originator of the meaning. We argue that this is important not only for contemporary research in critical digital literacies, but also for the intrinsic importance of trust in any act of communicative engagement.

"In literary texts which address the disintegration of Yugoslavia, (alternative) narratives of history are very important. Moreover, in David Albahari's Snezni covek/ Snow Man (1995) and Mamac/ Bait (1996) the map as medium has a strong presence. In Mamac the protagonist spreads out a map of Europe to explain his country's history. In Snezni covek the protagonist believes that he lives in the house of a cartographer. An historical atlas dominates the talks between the protagonist and a professor of political science. The article connects the literary approaches to the map as medium in the texts of Albahari with theoretical discourses on cartography and practices of mapping (Sybille Krämer, Denis Cosgrove, Franco Farinelli, Frank Lestringant, Michel de Certeau). The map as medium is connected with the practice of mapping (in) time and space. This is important because the disintegration of Yugoslavia is central in both texts: The process of disintegration demonstrates disorientation in relation to time and space. The map freezes a certain spatial and temporal configuration - and represents a position from which the past, present and future can be defined, but also whether and how borders have shifted." (author's abstract)

In this essay we investigate several moments in Simone de Beauvoir's philosophical and literary texts in which she refers to echoes and echoing. We notice that echoes help Beauvoir to figure and amplify the ethical character of her concept of ambiguity, which is so central to her thought. We argue that, for Beauvoir, literature has privileged access to the ambiguity of existence and therefore maintains a special status in exposing us to alterity and bringing us face to face with ethical responsibility. Considering her literary portrayals of echoing helps to explain why, despite her life‐long philosophical engagement, Beauvoir preferred not to call herself a philosopher. Finally, Beauvoir's phenomenological insight is that in order to carry ethical resonance, the form of a written work must mirror the fundamentally ambiguous or echolalic ontological structure of human existence.

Migrations are gendered journeys. During contemporary times when migrations happen due to personal reasons like pursuit of better job opportunities, the spouses, mostly women, face several challenges in finding jobs and sustaining a career. Many of these qualified women often turn to alternate means of finding identity and fulfilment. Writing is one activity that provides them with this sense of purpose and achievement. The personal act of writing a literary text becomes as much a social activity when few of them form writing communities. This socio-literary study begins with an analysis of the social and material conditions that foster gendered migrations, and goes on to analyse writing as an alternate career, the role these gendered writing communities play in the process of writing, publishing and marketing as well as the choice of certain topics, like romance, thus functioning as mini-publishing houses. Through detailed interviews of five women writers of South Asian origin, this paper posits that these popular narratives, the products of these writing communities, are very temporal in nature and a product of interesting intersections between migrations as a condition and the gendered communities.

Drawing on an anthropological study of the social organisation of the world of Irish writers, this article investigates the literary reading as performance which has become central for the career and promotion of contemporary writers. How is the reading - live as well as recorded - constituted, and how is it experienced from the writer's point of view? The data are derived from participant observation and interviews at literary festivals and conferences, writers' retreats, book launches and more informal situations with writers, as well as from fiction and essays by the writers. For this article, I asked some of the writers to write short texts on the reading. It turned out that the frames of the reading as performance reach beyond the reading event, and also that a reading includes elements of risk, such as not attracting a big enough audience or performing badly. Finally, the article considers the changing role of the ethnographer.