Comparative Literature

La narrativa globale: scrivere nel mondo del XXI secolo.

La narrativa globale è lo specchio e la lampada dell'epoca globale. Quando la globalizzazione è entrata nel vocabolario comune negli anni '80, una nozione di narrativa globale è a sua volta passata, e scrittori come Ishiguro hanno potuto confidentemente proclamare nel 1987 che stavano "lavorando sullo scrivere un tipo di narrativa epica globale" e supporre che "molte persone stessero lavorando per scrivere lo stesso tipo di narrativa". La narrativa globale non è stata e non è tuttora sempre desiderata, e questa 1 dicitura non è stata inserita negli studi di letteratura contemporanea fino all'ultimo decennio. Il libro di Adam Kirsch del 2016 , pubblicato dalla Colombia global reports, è il 2 primo tentativo di introdurre la narrativa globale come una categoria legittima e paradigmatica dello scrivere nel mondo del XXI secolo. La legittimità della letteratura globale è stata contestata attraverso l'Atlantico, tanto che Kirsch scrive "la letteratura mondiale e le sue insoddisfazioni" come primo capitolo della sua difesa. I detrattori criticano la letteratura del mondo per la sua estetica e per il fronte politico, denigrandola come annacquata e sradicata, afflitta da problemi semiotici come "l'intraducibilità" e da mancanze stilistiche unite a complicità politiche ed 3 economiche. Una comune accusa è che questo genere evita particolarità difficili per massimizzare la leggibilità attraverso una lingua e una rappresentazione semplificata, creando per stranieri una merce omogenea in un mondo capitalistico, e quindi facendo prevalere la mediocrità con effetti di un instupidimento, prevenendo un incontro genuino tra le differenze e le sfide derivate. Tim Parks, per esempio, disprezza la crescita della narrativa globale praticata da Ishiguro e altri, e si sente nostalgico per scrittori come Jane Austen che scrivevano "di un disordine cultura-specifico e con virtuosità linguistica", non argomenti semplificati o "il dispositivo di fantasia sopravvalutato di Rushdie o Pamuk". 4

Starting from Edgar Allan Poe’s assertion that there is no such thing as a
long poem, several modernist poets discovered the lyrical potential of a new poetical
form in which extension is possible if one follows an analogous principal to that
in music: base the poem not on narration, but on a concert of images or emotions
that pursue a new language, a language we could say begins with Mallarmé and
resolves itself in modern poems of very diverse natures, such as T. S. Eliot’s The Waste
Land and Four Quartets, and Ode marítima by Fernando Pessoa’s heteronym Álvaro
de Campos.
The purpose of this reflection is to compare the way Eliot and Pessoa, representing
differing contemporary literary traditions, created, each in his own way, the
modernist long poem. The result, I hope, may enhance our understanding of this
poetic manifestation, not as a national but as a cosmopolitan phenomenon, which
may explain its success throughout the last century.
keywords: Álvaro de Campos, T. S. Eliot, Modernist Long Poem

Le roman du voyage (dir.), « Romanesques », Hors-série n°7, 2015, Paris, Classiques Garnier, 248 p. ISBN: 978-2-8124-6010-4
Raconter/voyager : cette articulation guide la redécouverte du roman grec par la Renaissance européenne. Elle accompagne également les principales mutations de la forme romanesque, des sorties de Don Quichotte dans les plaines de la Mancha aux pérégrinations de Jacques le Fataliste et de son maître, et du tour du monde de Philéas Fogg aux espaces explorés au siècle dernier par le roman d’anticipation ; on la retrouve enfin à l’ère de la littérature mondialisée dans l’œuvre de Le Clézio, saluée en 2005 par l’attribution d’un prix Nobel significatif à cet égard. C’est dire qu’elle survit d’un côté à l’ère du soupçon et aux remises en cause des fondements de la narration romanesque qui l’ont accompagnée à partir des années 1950, et de l’autre au déclin du récit de voyage lui-même comme forme signifiante, dans un environnement post-moderne désormais entièrement exploré, et dans lequel une écriture de l’expérience doit trouver d’autres objets que la découverte de terres ou même d’espaces nouveaux.
Dans cette longévité, on peut voir l’indice de la solidité et surtout de la richesse esthétique d’un lien qui assure depuis deux millénaires non pas la continuité générique de la forme romanesque — au contraire, l’importance prise par le voyage dans un récit menace bien souvent son rattachement au genre, en particulier dans un contexte réaliste — mais plutôt la capacité du roman à se renouveler.
Les treize articles rassemblés par Anne Duprat dans ce numéro de Romanesques consacré au « Roman du voyage » explorent quelques-unes des formes qu’ont pu prendre au fil des siècles cette liberté, et cette assurance que la narration romanesque doit à sa dimension viatique.

""La lingüística en España" es una contribución a la historia de la lingüística, en la nueva y atractiva vertiente de las memorias personales. Consta de 24 relatos o autobiografías intelectuales de lingüistas sobresalientes, en las que describen su formación y las causas que les condujeron a la lingüística. Permiten comprender mejor el mérito de sus tareas y aportaciones. También tienden un puente entre los orígenes de la lingüística en España y el panorama actual.
La obra presenta la historia como vivencia y reflexión, combina memorias personales, debates profesionales y manifiestos por una lingüística futura. Al mismo tiempo, identifica facetas de la sociedad en la que se han desarrollado esas trayectorias vitales. La escritura del yo produce de este modo un efecto sorprendente, porque trasciende la esfera del autor y plasma un panorama variado y contrastado de la lingüística contemporánea.""

Nous tenterons donc ici, sans prétention à l’exhaustivité, de montrer en quoi les voyageurs sont des comparatistes par nature, comment cela se transmet dans les relations qui émergent de leurs déplacements, et en quoi il est impératif d’utiliser une méthode comparative pour l’étude de leurs écrits.

I – De l’expérience à l’écriture du voyage : « donner à
comparer »

II – Les figures de l’analogie : clefs de la relation de voyage

III – La méthode comparative : une évidence ?

Pour citer cet article : FILET Jérémy, « Vers un comparatisme des écrits du déplacement ? Littérature et voyageurs comparatistes », Cahiers Tocqueville des Jeunes Chercheurs, Vol. 2, n°1, avril 2020, p. 21-28.

SUMMARY
Chyk D. Ch. Prose by G. Kvitka-Osnovianenko and English Sentimentalism. — Manuscript.
The thesis for the scholarly degree of Candidate of Philology in speciality 10.01.05 — Comparative Literature. — Ternopil National Pedagogical University named after Volodymyr Hnatyuk, Ternopil, 2008.
The thesis deals with the problem of analogies and differences of prose by G. Kvitka-Osnovianenko and the main representatives of English sentimentalism (S. Richardson, O. Goldsmith, L. Sterne). In the context of intercultural philosophical dialogue the influence of rousseauism on creative works by G. Kvitka-Osnovianenko, O. Goldsmith, L. Sterne is explored. The comparative analysis of the problems of creation by G. Kvitka-Osnovianenko, O. Goldsmith, L. Sterne was made for the display of correlation between their ideas and the creative inheritance of the French philosopher and writer J. J. Rousseau. In the work the attempt of the use of the term of «prerousseauism» is carried out on determination of those «before-Rousseau» philosophical, pedagogical, religious, political ideas and which were afterwards transformed in the original conception of the French philosopher. In the context of prerousseauism the typical characteristics of «natural man», which are artistically represented in the feminine figure of Pamela by S. Richardson, are analysed in typological comparison with the figures of J.-J. Rousseau. The basic typical characteristics of character of «natural man» in interpretation of J. J. Rousseau and typological analogies and differences of the model of «natural man» are found out in works by G. Kvitka-Osnovianenko, S. Richardson, O. Goldsmith, L. Sterne.
In the work the specific of interpretation in Ukrainian and foreign literary criticism of psychological creative works by G. Kvitka-Osnovianenko and L. Sterne is outlined.  Two forms of psychological analysis in sentimentalist works are explored — exterventive and interventive, with accenting of attention on the first as distinctly dominant. Such kinds of portraits as impressive, expressive and passport portraits prevail in creation of Ukrainian and English writers. In sentimentalist works by G. Kvitka-Osnovianenko, S. Richardson, L. Sterne an internal monologue serves as an important mean of depicting of the perceptible world of sentimental hero (heroine). All the writers use monologues-emotion, monologues-sense and monologues-reflection.
In the dissertation the psychological analogies in the display of collective unconscious in the texts are determined at archetypical level. The Christian moral and sensuality of characters of sentimentalists are examined through the prism of artistic embodiment of archetypes. There is general for Ukrainian and English writers that the devotion of their figures is distinctly marked by moral didacticism.
In the dissertation parodying of novels of sentiment as a type of literary criticism is considered in the creation by G. Kvitka-Osnovianenko and L. Sterne. It is marked in the work that the presence of such parodying is not the evidence of that the creative works by the writers needs to be examined out of the context of a literary paradigm of sentimentalism. Ridiculing the traditional canon of sentimentalism the writers tried to confirm their own visions of sentimentalism as a system with the purpose of updating the literary trend by means of parodying of the sentimental novel.
It is marked in the work that the setting of sentimentalist works by G. Kvitka-Osnovianenko, S. Richardson, O. Goldsmith, L. Sterne it is possible to define as idyllic (for  M. Bakhtin’s conception). The space model is polytoposic: sentimentalist works by the Ukrainian and English writers are characterized by prevailing of psychological space (space of experiencing) above closed (G. Kvitka-Osnovianenko, S. Richardson) and geographical (L. Sterne, O. Goldsmith) ones. Polytoposic space of works is peculiar to the opposition of two contrary poles — the urban topos and the rural topos. The important part in the time-and-space organization is acted by the use of social-historical time, by means of which the writers create the illusion of authenticity of sentimentalist works.
Comparative-typological research of prose by G. Kvitka-Osnovianenko and L. Sterne gives ponderable grounds for attributing their prose to sentimentalism. Comparative analysis of prose by G. Kvitka-Osnovianenko, S. Richardson, O. Goldsmith, L. Sterne confirms typological cognation of Ukrainian and English sentimentalism.
Key words: sentimentalism, «natural man», psychologism, archetype, parodying, idyllic setting, comparative typology.

Our time is characterized by a crisis of representational
practice, fuelled by unprecedented technological and economic changes on a global level. Narrative, therefore, takes a wide variety of forms. This course examines the aesthetics and techniques of film and literature from around the world, and analyses the masters of each art form. Through short stories and plays, we will study different ways a story can be told and the many exciting ways embedded "narratives" (or discourses) can be framed. Similarly, through films and film adaptations of great literary masterpieces, we will study how visual elements challenge the reader's imagination.


Specifically, we examine the relationship between meaning
and narrative structure. The course considers the tensions
between claims for originality and poetic license, between
producers and audiences, between fiction and reality, narrative and history, memory and representation. We will study representative theorists of narratology, such as J. Hillis Miller, Wolfgang Iser and Hayden White. Cutting-edge scholarship on film and the new media will also be introduced, such as Seymour Chatman, Rey Chow, as well as Jay David Bolter and Richard Grusin's Remediation. In addition to becoming familiar with major issues in film studies and East-West comparative studies, students will acquire a working knowledge of narrative theory.

The Lisbon sisters, Camille, and the "Arminuta" are the daughters and the protagonists of three novels set in three different geographical-linguistic areas: the United States, France, and Italy. "The Virgin Suicides" (1993) by Jeffrey Eugenides, "Hunting and Gathering" ("Ensemble, c’est tout", 2004) by Anna Gavalda, and "A Girl Returned" ("L’Arminuta", 2017) by Donatella Di Pietrantonio are the selected novels covering the 20th century and the first two decades of the 21st century. The theoretical background of the mother-daughter relationship provides an introduction to the textual analysis of the novels, which unveils the condition of outsiders of the protagonists. Their characterization develops within their social marginality: imprisonment (the Lisbon sisters), "emotional autarky" (Camille), and abandonment (the "Arminuta"); while their marginal status is the product of their particular relationship with the controversial personality of their mothers. Mrs. Lisbon is a control-obsessed, authoritarian mother; Catherine is a narcissistic woman; while both the biological and the adoptive mothers of the "Arminuta" abandon her. The outsider theme, particularly its literary-philosophical theorization by Colin Wilson, is the key point of our analytical method. In our literary selection, each storyline identifies one of the three existential steps of the outsider, originally conceived as a male figure. By analyzing the fictional development of the Lisbon sisters, Camille, and the "Arminuta", we retrace backwards the existential journey of the outsider as theorized by Wilson: the mystic detachment from reality as the final stage of a route which started with the pursuit of Truth, and went through the process of accepting personal alienation. Retracing the outsider's experience allows us to show that being an outsider in literary terms is not a male prerogative: it is a condition of marginality embodied by female characters as well. In addition to this, precisely as outsiders the protagonists can express their agency.

The corpus of narratives produced in Germany since 1943 about the battle of Stalingrad appears as a multifaceted "grand narrative" in which historiographical and mythical morphology coexist. The Nazi myth of Stalingrad contributed to shaping the cultural memory of the event during the war, and historians lately integrated that myth into the historical discourse about the "overcoming of the past" (Vergangenheitsbewältigung). In the meantime, hundreds of veterans published their witness-accounts about the great battle, blending the two spheres of history and myth on the level of storytelling. While historiographical discourse aims to consolidate positive knowledge of the battle in terms of chronology, witness-narratives blur chronological storytelling with the mythical archetypes of conquest, defeat, fall, and resurrection. I will examine the morphological characteristics of the "grand narrative" of Stalingrad by combining the notion of "structure" (Koselleck) with that of the narrative archetype (Frye) and by integrating these tools with the theory of adaptive and evolutional narratives (Carrol; Scalise-Sugyjama) to claim that the "grand narrative" of Stalingrad can be read as the mythic-historical account of how the German community survived defeat and was reborn from its own ashes.

What we know today as literature began as oral tales told in small hunter-gatherer bands. Several lines of evidence indicate that storytelling has long been an integral part of human experience. Our species, Homo sapiens, emerged around 200,000 years ago, at which point language was firmly in place. The recent finding that 85% of nighttime conversation among San foragers is dedicated to the recounting of stories and myths attests to the prominence of this activity in modern and—by implication--ancestral hunter-gatherer life. Unfortunately, behavior doesn’t fossilize, so we don’t have access to the stories told by our ancestors. However, thanks to texts collected by early anthropologists and extant oral traditions kept alive by dedicated tribal elders, we have a good sense of what storytelling was like in recent foraging groups. Due to contact with industrialized state societies and access to Western goods, recent forager life differs somewhat from that of our ancestors; however, their story traditions date to a time when they lived in small, nomadic or semi-nomadic bands and made their living by hunting and gathering. Thus, these traditions are the product of an existence that was very similar to that of early humans—a life without agriculture, social stratification, economic specialization, motorized transport, telecommunication, or modern medicine. For this reason, research on modern foraging peoples is seen as a valuable tool for reconstructing the hominid past. Similarly, the oral traditions of ethnographically documented foragers provide a model of storytelling in ancient environments....

Este ensaio pretende reavaliar a crítica de Machado de Assis a O Primo Basílio, de Eça de Queirós. Nesta releitura, o ano de 1878 é considerado crucial na internacionalização do sistema literário lusófono. Assim, propõe-se a releitura da dura crítica de Machado ao romance de Eça a partir dessa premissa. A consequência principal da crítica machadiana teria sido o resgate, deliberadamente anacrônico, da técnica clássica da aemulatio, reinventada sob a forma de uma "poética da emulação".

Winner of the 2022 Edmund Keeley Prize
https://mgsasymposium.org/anno-kb.html

In the middle of the fifteenth century, ominous portents like columns of fire and dense fog were seen above the skies of Constantinople as the Byzantine capital fell under siege by the Ottomans. Allegedly, similar signs appeared a few decades later and seven thousand miles away, forecasting the fall of the Mexica capital of Tenochtitlan—Tlatelolco to the Spanish and their indigenous allies. After both cities had fallen, some Greeks and Mexica turned to poetry and song to express their anguish at the birth of what has come to be called the “modern” era.

This study probes issues of collective memory and cultural trauma in three sorrowful poems, the “Lament for Constantinople,” the “Huexotzinca Piece,” and the “Tlaxcala Piece.” Composed by anonymous authors soon after the conquest of the two cities, these texts describe the fall of an empire as a fissure in the social fabric and an open wound on the body politic. They are the workings of creators who draw on tradition and historical particulars to articulate, in a familiar language, the trauma of the conquered.

Just as Neon Genesis Evangelion remains a cultural touchstone that signalled the end of Japan’s unfounded optimism of the bubble economy era, Attack on Titan is the revenant marking the post-2008 cultural shift from the free movement of globalised neoliberalism to the rising populism of the far-right and the normalisation of conspiracy theories. Game of Thrones, in the end, succumbed to the temptation of uncomplicated crowd-pleasers, which is why it has no re-watch value for me under lockdown. AoT and Eva, on the other hand, tackle what Mark Fisher termed the sense of a cancelled future under capitalist realism.

Course Description: Hysteria marks the presence of a traumatic memory that arouses wild bodily symptoms, treated psychologically by translating feelings into words. Often considered a particularly female ailment, hysteria has been read by feminist scholars as a deviant, desirous language of the female body. Hysteria crosses the boundaries of pain and pleasure, madness and lucidity, and the personal and the political. In this course, we will examine psychological and theoretical accounts of hysteria as well as representations of hysteria in the arts: literature, poetry, television, film, painting, photography, and music. In hysteria, the body acts out. The focus of this class, therefore, will be thinking of hysteria as both a personal performance and a political protest.

En este texto se destaca la presencia de Guadalupe Nettel en la narrativa mexicana como una voz que experimenta con los imaginarios geográficos de China, Japón y México. En este texto se destaca la presencia de Guadalupe Nettel en la narrativa mexicana como una voz que experimenta con los imaginarios geográficos de China, Japón y México.  Se posiciona la figura de Nettel como una escritora que consolida una estética producto del intercambio literario con Oriente y América Latina.

The present study scrutinizes the outlawry and outlaws that appear in the Icelandic Family Sagas. It provides a thorough description about outlawry on the basis of extant law and saga texts as well as an analysis of referential connotations attached to it. The concept of outlawry was fundamental for the medieval Icelanders conceptions of their past. Indeed, understanding outlawry is essential for understanding many of the Family Sagas. Outlaws appear in saga texts in significant roles.

The Icelandic Family Sagas comprise a group of prose narratives that were written down in the 13th and 14th century Iceland. They are based on events and personae that belong to the 10th century Iceland. These narratives introduce many outlaws, out of which some 75 are named.

The Family Sagas are studied here as one corpus and special emphasis is given to those narrative features that repetitively appear in connection with outlawry and the outlaw characters. Therefore, the eventual objects of this study are the medieval Icelanders general conceptions of the historical outlawry as well as the variations of these conceptions throughout the period of saga writing. The medieval Icelanders general conceptions about the 10th 11th century, which are reflected in the Family Sagas, are here referred to as the Saga World. The Saga World is the historically based taleworld to which all of the Family Sagas refer.

The medieval law texts, which were derived from centuries old legislative traditions, reveal that outlawry meant banishing from the society and being denied all help, and that the outlawed person lost the protection of the law. In practice, outlawry was a death sentence.

However, outlaws occupy many differing roles in the saga narratives even in connection with recurrent narrative motifs. These roles reflect the social and spatial structures of the Saga World. The inspection of outlawry within these structures reveals that the definition of outlawry as it appears in the law texts is insufficient for understanding outlawry in the saga texts.

The social and spatial structures also provide a basis for the connotations of outlawry. In this study, these connotations are inspected primarily from the referential connections between outlawry in the Family Sagas and corresponding phenomena in other concurrent literature. This is done by studying the implementations of the basic elements of outlawry in the Family Sagas marginalization, banishing, rejection and solitariness within other literary genres and the taleworlds to which they refer. It is argued that these taleworlds reflect the same ideas that were associated with outlawry in the Family Sagas albeit in different forms and that these different forms reciprocally contributed to the conceptions of outlawry.

The variety of denotations and connotations of outlawry that is visible in the medieval Icelandic texts reflects the ambiguity of outlawry in the Family Sagas. This ambiguity may shed light to questions such as why an outlaw could be perceived as a hero in a literary genre that predominantly promoted law and order and why the same outlaw could be perceived as a villain on another occasion.

Angela Carter and Margaret Atwood exploit fairy tale characters, settings, motifs , and plots in their fiction, they are also authors of original reworkings of fairy tales. This article compares the use of fairy-tale elements in Carter's The Magic Toyshop and Atwood's Life Before Man, which not only evoke these resonant forms of story-telling in their titles, character names and plot devices, but create intertexts that parody and give alternate or even reversed meanings to fairy-tale tropes. Both writers see fairy tales as open sources that can be subverted and rewritten. The article focuses on the strategies the authors use to rewrite the traditional patterns of passive female heroine and inscribe a constructive ambiguity. Fairy tale parodies Both Angela Carter and Margaret Atwood draw on fairy tales and re-use elements of recognition, survival, and magical transformation in constructing the identity of their heroines. The use of fairy tales and myths by Atwood and Carter has been discussed by numerous critics, including Danielle M. Roemer and Cristina Bacchilega. Atwood's fairy tale intertextual strategies have been extensively discussed by Sharon Rose Wilson, Brooks Bouson, Shuli Barzilai and others. Carter and Atwood exploit fairy tale characters, settings, motifs, and plots in their fiction and have also written their own reworkings of traditional fairy tales.

The article contends that Elena Ferrante's Neapolitan Novels occupy a special place among contemporary literature in that they superficially adopt traditional modes of storytelling, typically associated with the nineteenth century Bildungsroman, while destabilizing them through a first-person narrator keenly aware of the manipulative potentialities of plot(ting). It supports this contention in a twofold manner. Firstly, by scrutinizing the text’s apparent linear trajectory and, through Genette’s notion of the arbitraire, coming to the conclusion that such linearity is revealed to be, at the end of the penultimate section, entirely constructed by the protagonist in an effort to exact vengeance on her friend. The article proceeds to examine how the textual apparatus bears the brunt of this revelation. In doing so, it adopts Peter Brooks’s thermodynamic model and reconfigures it into a metabolic model meant to monitor the set of activities and energetic transformations at work in the text. It identifies a metabolic malfunction in the novel’s last section, manifested as a form of textual hypothyroidism whereby the plot becomes, as it were, constipated. The article finally concludes that in halting the progress of the novel’s plot, Ferrante offers a cutting commentary on our exegetic practices and our tendency to read consequence into sequence, while simultaneously advancing a geometry of narrative entanglement that stands in sheer opposition to the linear.

Geçmişin savaşçı kültürlerinin edebiyat alanındaki izdüşümü olan destanlar, anlatı türü olarak tanımlanabilmek için belirli birtakım özellikler sergilerler. Savaşçı, cesur ve neredeyse insanüstü özelliklere sahip kahramanların ekseninde gelişen olaylar savaşçı kültür kodları ile beslenir. Soylu akrabalardan oluşan yönetici sınıfa mensup savaşçıların hükümdarlarına her koşulda sadık kalması gerekirken hükümdarlarının onları ganimet, toprak veya diğer savaş yağmaları ile cömertçe ödüllendirmesi beklenir. Modern adalet sisteminin henüz oluşmadığı zamanları hikâyelendiren destan kahramanları, toplumlarının içinden ya da dışından düşmanlara ve hatta ejderha ve devler gibi doğaüstü güçlere karşı kendinden yardım bekleyen halkları korumak zorundadır. Tetikte bekleyen ölüme karşı kazanılan her zafer, varoluşsal bir sevinci simgeleyen ziyafetlerle kutlanır. Dünya edebiyatında ilk ve orta çağ dönemlerine ait, çoğu sözlü gelenek ürünü, farklı coğrafyalarda ortaya çıkmış birçok destan bulunmaktadır. Bu destanlar anlatı türünün gerektirdiği ortak unsurları taşımalarına rağmen var oldukları kültürlerin aralarındaki farklılıklar sebebiyle birbirlerinden ayrışırlar. Bu çalışmada Türk edebiyat geleneğinin en önemli epik eserlerinden Dede Korkut Kitabı ile eski İngiliz edebiyatının en bilinen örneklerinden Beowulf destanı karşılaştırmalı edebiyat çerçevesinde ele alınacaktır. Dede Korkut Kitabı on üç boylamadan oluşur ve her boylamanın odağında farklı kahramanlar bulunmaktadır. Bu anlatıları bir araya getiren ve destanları birbirine bağlayan ana kahraman ise Oğuz toplumunun en saygın kişisi bilge Dede Korkut’tur. Çeşitli Anglosakson kabilelerinin ıstıraplarını anlatan Beowulf destanında ise olaylar bir kahramanın merkezinde gelişir. Bu iki destan evlilik, aile yapıları, kadın erkek ilişkileri gibi konularda Oğuz ve Anglosakson toplumlarına dair birçok detaya işaret eder.

La critica letteraria è una materia in cui “parole e cose” sono strettamente intrecciate le une alle altre, e in cui tra i componenti materiali dei testi e le categorie che li classificano esiste un intricato rapporto di individuazione reciproca: non c’è termine, nel lessico della teoria letteraria, che non sia nato da un dato testuale, un caso particolare che ne ha influenzato natura e confini con le proprie caratteristiche specifiche, e allo stesso tempo non si dà dato testuale che possa essere identificato come tale in mancanza di una categoria che gli preesiste, di uno spazio teorico che lo fa esistere in quanto oggetto e ne garantisce la riconoscibilità. Partendo da questo doppio presupposto, questo libro si offre come strumento di partenza per lo studio della narrativa, occasione per riepilogare i concetti fondamentali della critica riportandoli – per quanto possibile – ai loro contesti di origine, così da coniugare nozione ed evoluzione, significato e storia.

This paper uses Plato and Aristotle's concept of censorhip in discussing the novel titled The Last Duty by Isidore Okpewho. The novel upon reading has explicit profane expressions and other immoral acts which do not help in nurturing of an African Child and thus go contrary to the concept of censorship propounded by Plato and Aristotle. The author therefore uses this concept of Censorship developed by Plato and Aristotle as a guide for the youth in reading of the novel.

La première pièce de Joanna Laurens, The Three Birds, (2000) propose une révision dramatique du mythe grec de Philomèle qui s’inscrit en contrepoint de la fable telle qu’elle est relatée dans les Métamorphoses d’Ovide. Le rapport à la langue et à la figure du barbare, paradigme de l’Autre, engage une réflexion sur la question des minorités, la voix de l’étranger et l’idée d’une réversibilité des postures. Barbarismes, irrégularités syntaxiques, « babélisation » font ici violence au langage ainsi qu’aux différentes langues parlées dans la pièce qui s’altèrent et se barbarisent à l’image des personnages, incarnant ainsi dans la chair du verbe la mutilation de la langue qui fait la matière cruelle du mythe. Au cœur de la pièce, elle-même réécriture d’une autre pièce – celle, perdue, du Térée de Sophocle – on retrouve en effet l’écriture d’une autre scène – celle, tabou, du viol et de l’amputation de la langue de Philomèle – qui, à défaut de pouvoir se dire, vient s’écrire sur la tapisserie que brode la jeune fille à l’attention de sa sœur pour révéler le crime étouffé par les mensonges en cascades de Térée en même temps qu’elle se reflète dans la trituration du langage. Cet article s’intéressera donc aux enjeux de la réécriture en tant que mise en place d’une alternative fondamentale à partir d’une perspective neuve – celle du barbare amoureux, ou plutôt de la barbarie de l’amour impossible – qui se reflète dans le motif intradiégétique de l’activité de tissage en tant qu’écriture de « l’Autre » (réécriture par l’Autre, la femme, de l’autre scène ou de l’autre pièce, qui ne peut être dite). Avec la duplicité intrinsèque du langage et l’exploration de son potentiel de transformation, nous verrons dès lors comment l’altérité se donne plutôt à voir comme altération, voire aliénation, jusqu’au creux de la langue où elle prend naissance pour la faire délirer (Deleuze). Le langage de la pièce reflète ainsi la façon dont l’humain vient faire trace dans la langue du barbare et montre comment, par-delà l’humanisation du Thrace, la barbarie vient à son tour réinvestir l’humain et marquer de son empreinte l’acte et le langage d’amour devenus viols. En déroulant à l’extrême le fil ténu qui sépare humanité et barbarie, les expérimentations poétiques de Laurens, où le langage et « l’autre » du langage se rencontrent dans leurs contradictions-mêmes, permettent ainsi de renouveler le sens du mythe grec autant que le langage dramatique sur la scène théâtrale à l’aube du vingt-et-unième siècle.

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Joanna Laurens’ first play The Three Birds (2000) is a retelling of the Greek myth of Philomela in which language undergoes a poetic treatment unprecedented on the contemporary British stage. Mirroring and enacting the characters’ evolution from innocence to barbarism, language is distorted and altered to an extreme through a creative process involving word coinage (i.e. barbarisms), syntactic irregularities, and ‘babelisation,’ thus bringing out and performing the violence of the myth. Departing from Ovid’s poem which is itself a reworking of the original fable, as well as from the feminist takes on the story during the second half of the twentieth century, Laurens’ dramatic writing offers a new approach to the language and figure of the Barbarian, a traditional paradigm of the Other. She addresses such issues as the oppression of minorities, the voice of the stranger, and the reversibility of ethical positions by providing a reflection on the intrinsic duplicity of language itself and by exploring its potential for ‘metamorphosis’ and manipulation, thus presenting otherness as alienation. At the core of the play, which is a rewriting of another (lost) tragedy – that of Sophocles’ Tereus –, are Tereus’ lies, which are a rewriting of another (taboo) story – that of Philomela’s rape and amputated tongue. Although it can’t be verbally expressed by the young woman, this traumatic episode is nonetheless revealed through a tapestry she weaves for her sister Procné to denounce the crime of the lying husband, the needlework compensating her lost voice. This article thus looks at the issues at stake in Laurens’ rewriting, which can be read as the Other of the Greek myth and its famous feminist interpretations. Not only does her play propose an alternative which stems from an unusual, profoundly humane perspective – the suffering of a man whose love is thwarted – but this reversal is also mirrored in the intradiegetic motif of the tapestry as a writing of the Other (the scene behind the scenes, unheard of) by the Other (the abused, silenced woman). I propose to study how the Other comes to be inscribed at the core of language where it takes shape, rendering it delirious (Deleuze), as humanity can be traced in the Barbarian and barbarism can in turn affect humanity beyond the figure of the Thracian. As the act and language of love are turned into linguistic abuse and physical rape, Laurens’ formal experimentations, where language and the Other of language meet at the crossroad of their own contradictions, allow for a renewal in the meaning of the Greek myth as well as in the dramatic language on the British stage at the start of the twenty-first century.

Two volumes comparing three famous rabbinic tales of adultery, shame and suicide. Literary and historical analysis of the evil impulse, sexuality and marital fidelity. Comparison of classical and contemporary  commentaries  and the lessons they might teach about couple relations.The corrupting power of systematic distrust in marriage.
Two pictures of Bruria: Tough love and loving consolation or feminist arrogance and infidelity. Tales of honor suicide: Rabbinic and Roman.
Vol two - Bruria and Rabbi Meir; Rabbi Tzadok and Roman Matronita

OS SONETOS COMPLETOS DE ANTERO DE QUENTAL
PREFÁCIO: J. P. Oliveira Martins
NOTA PRÉVIA , TRANSCRIÇÕES E POSFÁCIO: Patricio Ferrari
CAPA: João Botelho
REVISÃO: Susana Tavares Pedro
Impresso na Guide para a Guimarães em Novembro de 2010
Lisboa: Guimarães [Babel], 2010. ISBN: 978-972-665-651-7

This thesis explores Maurice Blanchot’s notion of the “limit-experience” through a close reading of Thomas the Obscure. I examine Blanchot’s notion of the limit-experience through Thomas’ symptoms of psychosis and melancholia. These symptoms are important for understanding the “limit-experience” because they show the corrosive force of language on identity. Blanchot emphasizes the limits to thought and knowledge that is outside of the lived experience. I argue that Thomas’ “limit-experience” depicts a missed experience that includes both self and the other relations. Further, I suggest that Blanchot provides a unique account of what it is to put being into question but that he does so in literature. His récit will be examined here accordingly in terms of the way it enacts a questioning of the “limit-experience”.

The notion of the “limit-experience” hinges upon the idea that language is a counter-world to the real. Language is portrayed as an absence and presence that conceals and reveals being. I trace this thought through the narration of Thomas’ presence that is pushed to the extreme limits of experience and knowledge. I approach Thomas’ series of “limit-experiences” through a twofold perspective as I investigate his relationship with “the image” and “the symbol”. I argue that these two relationships with the anterior link Thomas’ being-in and for-itself (consciousness) to culture/ presence/ “I”.

"Guavas for Dummies, American Jíbaras, & Postnational Autonomy: When I Was Puerto Rican in the Hemispheric Turn" (2019) re-engages this text after I taught it in Puerto Rico four years. In this 2009 essay, Santiago’s memoir is said to bridge U.S. and Caribbean lit. WIWPR begins with a remembered Puerto Rico, and ends in the author’s adulthood in the USA. Studying Santiago’s text within a trajectory of immigrant narratives familiarizes the text to readers who are often processing their own entries into the US / its cultural orbit. This essay examines Santiago’s representation of jibaros, a subculture whose place in in Puerto Rico parallels the conflicted relationship many Jamaicans have with Rastafarians. Also, the theme of “Translating and Resisting Imperialism” is developed through a close reading of the chapter “The American Invasion of MacÚn.” Santiago’s treatment of gender roles in her family is also explored.