Journal articles on the topic 'Autobiographies of poets'

Autobiographies: the contemporary catalogue is huge and bookstore shelves are heavy with the weight of life-stories. Ex-Presidents, actors, cooks, criminals, Nobel prize winners, preachers, poets and CEOs all write them. Rock stars write them, too – ‘marquee names’ like Tina Turner, Melissa Etheridge, Grace Slick, and Meatloaf, but also minor figures such as Dallas Taylor, the former drummer for Crosby, Stills, Nash and Young. And plenty of others, including – to name just a handful – Chuck Berry, Ronnie Spector, Anthony Kiedis of the Red Hot Chili Peppers, both Ray and Dave Davies, Dee Dee Ramone, Martha Reeves, Eric Burdon, and John Cale.

Clann Mhic Grianna (the Greene family) are a famous family of writers, poets, storytellers, composers, and performers of traditional songs from Rann na Feirste in northwest Donegal. Their works are widely studied and discussed to this day. Saturated in Gaelic culture, their works draw from a well of language and heritage and they frequently refer to history, pseudohistory, myth, and legends. Among that discussed are traditions around saints and references to the mythological cycles of Ireland. This paper looks at how various members of the family used the tales and poetry of one such cycle, Fiannaíocht (translated as Fenian, Ossianic, or Finn-Cycle tales), in their novels, short stories, and autobiographies. They also spoke about the folklore of their area on various occasions and some tales have been recorded by Roinn Bhéaloidis Éireann. Some of this material was later published, Amhráin Hiúdaí Fheilímí agus Laoithe Fianaíochta as Rann na Feirste (Ó Baoighill 2001) for one example. The multi-faceted nature of their legacy results in several Ossianic tales being discussed in different genres by various combinations of the siblings and these varied viewpoints allow us to raise and discuss a number of questions regarding Fiannaíocht. This paper compares sources from a number of these siblings and question what their works tell us about when and why people told Fiannaíocht tales.

Dalit literature has been influential in the rising awareness for protest or creating literature of social consciousness. The broad domain of Dalit writings includes the depravation and trauma of certain category of people for some socio-cultural, traditional biases. Maybe one of the tenets of it could be the so-called social stratification or formation of social class. Thus, like writings in many languages in India, in Odia, lots of writing account for the evidences and experiences associated with Dalit consciousness. It also envisages feminine perspectives giving the account of the autobiographies and plights and traumatic evidences of Dalit authors underlining the issues of caste, class, and gender in the backdrop of social exclusion. Dalit Literature in Odia has a rich history that can be traced back to the fifteenth century. In Odia literary creations such as Bouddhagāna, and Dohā, Charyāgeetikā, the anecdotes of social discrimination and casteism are noticed. There is potentiality in contemporary Odia poetry in reflecting on various themes of Dalit consciousness. As it is evident, it starts with saint poet Bhimbhoi who is said to be the first Dalit poet of Odishā in the mid-19th century. Along with glorification of humanitarian attributes, he has outlined the plights of the depraved community. The motifs of Ekalavya, Sanatan, Kalia, Ghinua, Jara Shabara; musical instruments such as baja; the untouchables; Sriya Chandaluni in Laxmi Purana; fingertip print are common in reflecting Dalit issues variously. In this context, this paper focuses on the critical dimensions of Dalit poetry in Odia by including some of the well-known authors such as Gopinath Bag, P.K. Mishra, Nilamani Parida, Ashutosh Parida, Jayadrath Suna, Basudev Sunani, Pitambar Tarai, Akhil Nayak, and Hrushikesh Mallik. Such poets have applied the skills varieties of versification to focus comprehensively on the sensitivity of the traumatic issues of oppression; racial discrimination; socio-cultural taboos; loss of indigenous culture; evil effects of urbanization and politics; existential crisis; victimization of the poor and innocents; loss of ecological harmony; nostalgia and effects of displacement.

The intertwinement of poetic life writing and theological reflections has a long-standing history in British literature. This paper shows how two Victorian poets – Gerard Manley Hopkins and W. Abdullah Quilliam – use dialogic strategies to establish an autobiographic voice, which becomes an essential poetic means of the text. Through the representation of dialogic encounters, the poems establish an autobiographic mode of speaking, which is used to articulate individual conversion experiences and to negotiate conversion as an encounter with God. Based on the works of Martin Buber and Emmanuel Levinas, I will show how a dynamic understanding of text and conversion experience is essential to a reading that seeks to explore the poetic construction of Hopkins’s as well as Quilliam’s works. The representation of the dynamic encounter of the self and the Divine in the contact zone of the text provides a frame in which the authors locate themselves with regard to the religious majority of Victorian Britain. The texts link the spiritual journey of conversion to the self as being caught in the world, responding to God’s call as an answer to the world’s condition.

Amongst the commonly recognized qualities of Timur Kibirov’s poetry is its extensive usage of quotations, occasionally resulting in a cento. While his scholars have been limiting their search to the references to Russian poetry, this article explores Kibirov’s reception of the work and personality of Heinrich Heine in an attempt to prove that the latter influenced Kibirov greatly at the start of his career, as described in Kibirov’s autobiographic Crones, Deceased [Pokoynye starukhi], an epic poem in prose. The author points out indirect evidence of Kibirov’s enthusiastic reading of Heine (quotations, allusions, etc.), analyzes Kibirov’s poems directly referencing Heine’s work (‘Heine’ [‘Geyne’], ‘From Heine’ [‘Iz Geyne’]), and describes the principal similarities between the two poets’ poetics and philosophy, also noting their differences. Zuseva-Ozkan argues that Heine dominates Kibirov’s output, but if in the 1980s-1990s this ‘obsession’ with Heine’s spirit manifested itself mostly in reminiscences and allusions, the early 2000s saw a more vivid introspection, later turning into Kibirov’s self-identifi ation with the German poet.

The article discusses possible sources of Yesenin’s acquaintance with Nikolay Chernyshevsky’s novel What Is to Be Done? and its critical evaluation. Deep comprehension of the the novel on a subconscious level could lead to the fact that the poet’s personal life began to resemble the fate of literary heroes. Yesenin's trip with Isadora Duncan through Western Europe and the United States of America is to some extent reminiscent of Chernyshevsky's characters’ travels abroad; descriptions of their travels in the novel influenced the poet’s attitude to the way of life in different countries. In his autobiographies, Yesenin mentions his trips to America and Western Europe – the fact that emphasizes the importance of these continents in his biography and work; letters from different countries indicating geographic places of stay find parallels with the toponymy in Chernyshevsky’s novel. There is a certain similarity the names in Chernyshevsky’s novel and in Yesenin’s works: Charles and Charin, Jim. Mentioning Ryazan and Tambovskaya guberniia in connection with Lopukhov-Beaumont should have attracted Yesenin’s attention, who was a native of Ryazan region that he praised in his poems; he also wrote about the neighboring Tambov province. Political and economic questions of America raised by Chernyshevsky, Yesenin considered in his Iron Mirgorod.

This article is devoted to analysis of the mechanisms behind the creation of the cultural image of Fryderyk Chopin in selected verse by twentieth-century Polish poets in exile, such as Kazimierz Wierzyński, Jan Lechoń, Stanisław Baliński and Czesław Miłosz. Verse (and excerpts from autobiographic texts) by those poets helps to forge and renew the ‘Chopin legend’ in various ways, through references to the most important moments in the composer’s biography and selected features of his music. From analysis of this verse, we learn that these poets looked at Chopin and his music primarily through the prism of the role assigned to them by history – similar to the role in which Chopin had tried to find his bearings a hundred years earlier on his departure from Poland. The attitude adopted by émigré writers towards Chopin and his music, representing one of the most important symbols in Polish culture, is not unequivocal. Its distinct affirmation is accompanied by reflection on the conditions and limitations of émigré mythology. The poems discussed show the significant currency in émigré circles especially of that aspect of the Chopin legend which refers to the image of a distant and enslaved homeland. That currency distinguishes the émigrés from their peers back home, who wished to see a different symbolism in Chopin and his music, especially one that was free from conventionalised patriotic references. This last observation may also be referred to the analysed poem by Miłosz, which from the proposed comparative perspective comes across as the reverse of the other works discussed in the article. An interesting perspective could no doubt be opened up by comparative studies of a broader scope, showing how this theme functioned and was functionalised in the output of foreign writers, within the constellation of other cultural, social and historical relations.

The article analyzes selected literary works by Erna Rosenstein (1913–2004) through an autobiographical lens. Rosenstein’s poems can be interpreted as emotional and sensual accounts of traumatic experiences from the time of the Second World War.

The poetic legacy of Oleksa Hai-Holovko, a Ukrainian writer and diaspora activist, is presented in three volumes of selected works. His lyricism has been predominantly studied in the context of themes and motifs of Ukrainian-language poets in Canada (I. Nakashidze): love for Ukraine, nostalgia, the image of the steppe, and so forth. The addressed lyrics of the poet have not been thoroughly studied, so this article aims to analyze the features, motifs, and define the uniqueness of the portrayal of the subject and addressee in the writer’s dedicatory verses. The research is conducted using comparative-historical, semiotic methods, contextual analysis of the text, principles of receptive aesthetics with reference to the works by Ukrainian scholars regarding genealogical trends, and genre specificity of addressed lyricism (L. Bondar, Yu. Klymiuk, Yu. Kovaliv, V. Nazarets, L. Skoryna, M. Tkachuk). The novelty of the research lies in the examination of dedicatory poems by O. Hai-Holovko, in which through the prism of a specific addressee, the destiny of Ukraine and the Ukrainian people in “commune-moscow slavery” is predominantly represented. The “Lyrical Portraits” by O. Hai-Holovko vary in genre modification: dedicatory poems to “Friends”, “Full-blooded Sheep”, “Taras Shevchenko”; letter-dedications “Letter to Mother”, “Letter to Yurii Smolych”; address-invocations “My People”, “To Valerian Revutsky”, “To Yurii Holovko”; dedication-epitaphs “To Fedor Odrachiv”, “To Vasyl Stefanyk” and so on. Dedicatory verses do not always reflect the genre in the title, in such poems, after the title, the addressees are indicated with a concise reference or indication of the event: “Ballad to the Warriors” for Yuriy Stefanyk, “Song” for V. Rusalskyi, “Do Not Grieve, My Great Friend” for Y. Pozichanyuk. The peculiarity of addressed lyrics by O. Hai-Holovko is autobiographism, with Ukraine being the overarching image, enslaved by the “commune”, the native people “bound by chains”, and “suppressed by non-glory”. By reinterpreting biblical-Christian motifs and images (“To Metropolitan Ilarion”, “To Bishop Boris on the Day of Departure to Edmonton”, “Burned”) the tragedy of his fate and the fate of the Ukrainian people in a totalitarian society is reproduced. The dedicatory poems by O. Hai-Holovko have significant importance in preserving and retransmitting individual, historical, and cultural memory. They serve as artistic documents of the crimes of the totalitarian regime (“To the Chekists”, “To Stalin”, “To moscow occupiers and their little russian janissaries”) and as important interpretative codes that allow the recipient to discern the importance and scale of the issues raised, hidden meanings, and mysteries of the human soul.

Este poemario de Marta Rojas nos introduce en los problemas que plantea la escritura femenina compemporánea, la búsqueda y la construcción de una identidad a partir de un proceso autobiográfico caracterizado por la renuncia de sí y la apertura hacia el mundo. These poems by Marta Rojas serve as an introduction to the problems presented in contemporary female writings: the search and construction of an identity through an autobiographic process characterized by redemption of oneself and an opening to the world.

This article examines the embodiment of the ideas and aesthetics of Zen Buddhism in the works of M. Voloshin. The purpose of the article is to identify how the thought and aesthetics of Zen Buddhism are presented in the works of M. Voloshin. The material for the work was M. Voloshin’s poetic miniatures - inscriptions on watercolors, autobiographies and memoirs. M. Voloshin himself called Buddhism “the first religious step” in his autobiography. Zen Buddhism does not accept the dualism and irreconcilability of Western philosophy, for example, the opposition “God-man”, “moment - eternity”, “peace - struggle”, etc. One typical feature of M. Voloshin's work is philosophical harmony, and many of his poems resonate with the poems of Zen (Chan) masters. Categories embodied in Zen poems, such as the frailty of the earthly, eternity and harmony of nature, can also be found in the poems of M. Voloshin. The novelty lies in the fact that currently little attention is paid to the manifestations of the philosophy of Zen Buddhism in the works of the poet. The analysis of Maximilian Voloshin’s watercolors paintings allows us to assert that Zen Buddhism occupies an important place among his aesthetic and ideological guidelines. The study of the reception of Zen Buddhism in the work of M. Voloshin is of great importance for understanding his poetry, the concept of creativity and worldview. Under the influence of the ideas and aesthetics of Zen Buddhism, Voloshin’s poems reflect his three fundamental categories of aesthetics: The principle of simplicity; Harmony; The principle of emptiness and silence.

C. S. Giscombe’s Giscombe Road and Nikky Finney’s Rice are arguably book-length poems that construct an environmental consciousness through the lens of Black identity. Of importance in each is the use of material culture—maps, encyclopedia entries, schematic illustrations, and photographs—to construct the texts. Finney’s work tends to use photographs as supplements to her work, that is as illustrations which are intended to humanize against the grain of anti-Blackness; however, the materials in Giscombe’s collection are parts of a whole, not supplements, but quoted texts albeit utilizing a different visual modality. While there is a distinction between their use of material culture, Finney and Giscombe nonetheless create ecographies— autobiographies that situate and map oneself in a history of ecologies.

These two poetry clusters comprised a total of eight poems that offer (a) reflective, “past” event poetry and (b) hopeful “humbling” event pieces for future use. Inspired by scholarship examining novice academics’ emotions upon entering graduate school, each poem outlines a potential path to accessing happiness, humility—an especially important quality in graduate school, particularly while writing—and ideas for self-care. As such, through poetic inquiry, which encourages “poetic living,” this article offers avenues for engaging with authorial voice through “vox autobiographia/autoethnographia,” to confront emotional “messiness,” with a “tender” poetic approach.

<div><p><em>A most significant development that has taken place on the global literary scene during the last few decades or so is the dramatic emergence of African-American voices as a distinct and dominant force. Along with Toni Morrison scores of African American Fiction writers, poets, playwrights, autobiographers, and essayists have mapped bold new territories; they have firmly entrenched themselves in the forefront of contemporary American Literature. This article retraces this exciting literary phenomenon in the context of the lives, works, and achievements of Gloria Naylor and her contemporaries. Naylor discovered feminism and African American Literature, which revitalized her and gave her new ways to think about and define herself as a black woman.</em></p></div>

This study explores autobiographic resonances in the works of Palestinian writer and poet Fadwa Tuqan who wrote her biography in two parts: A Mountainous Journey, 1985, and the Most Difficult Journey 1993. Focusing on a range of devices that combine narrative, dialogue, and straightforward documentation, her autobiographic works merge the literary and the historic, the social and the political, with protest poetry featuring as a prominent form in her oeuvre. This study focuses on exploring the following themes: The Sisyphean aspect: Incorporating the semantics of futility of perseverance using the symbolism of the Greek myth Sisyphus entailed in her poetic works: A Mountainous Journey and the Most Difficult Journey. The Interior World: Focusing on familial oppression as well as colonialist practices and political oppression. Breaking Taboos: Subverting societal patriarchy and unleashing emotional expression are two prominent aspects of her poetry; representing her quest for liberation and ridding herself of the shackles of societal confinement in a male-chauvinistic society. By exploring these three components in Tuqan’s works, the study unveils the inner workings of the poet’s world as she quests to find intellectual enlightenment whilst confronting political and personal strife. The autobiography reflects not only her personal confinement as a female in a male-dominated society but also her confinement in an occupied nation. By combining a multitude of poetic devices, Fadwa Tuqan’s works evoke her deep and personal existential angst.

The Silver age culture involves the search for new forms in literature, poetry, and painting. Egodocuments reflect modernist trends particularly vividly in genres, such as diaries, epistolaries, and autobiographies, among others. Osip Mandelstam’s autobiographical prose “Noise of Time” is an attempt of the poet‘s creative self-expression, his desire to explain the world directly — through his own perception. Author’s direct word shows new forms of communication with the reader: associativity of the narrative, a special relationship with the text, when the reader as if restores the lost subtext moments, while the “sounding mold form” itself becomes the content. The foundations for Mandelstam’s autobiographical prose are his reflections that convey the state of the person staying in the socio-cultural space and seeking to objectify, to get away from his own biography and “to monitor the noise and germination of time”.

The three prose texts in Trakl’s poem collection Sebastian im Traum (1915) blend the fictional and the autobiographic, as well as the poetic and the narrative elements in such a way that the interlocking of these different dimensions does not allow a definite literary classification. Just like in his verse poetry, Trakl’s prose poetry on the one hand falls back upon different genres only to transgress their limits immediately, and on the other hand it also takes in different types of voices : the first person of autobiography and of lyrical expression, the second person of inner monologue and of the narcissistic and/or schizophrenic Doppelgänger, the third person of epic narration or of fantasized biography as well as the first person plural of considerations about human fate. However, because of the size of the poems, the genre boundaries seem to be even more blurred in Trakl’s prose poems than in his versified poetry. They therefore show evidence of the indefiniteness which is constitutive of modern poetry at the turn of the 20th century.

Performing Białoszewski. On MiroFor v. 1 and 2 The article is a discussion on two volumes of the journal MiroFor. Its authors, experts in Białoszewski’s work, present new perspectives of research on the oeuvre of the creator of Memoir from the Warsaw Uprising. After the poet’s death, many unknown works – unpublished during his lifetime – were published, which shed new light on his oeuvre. In the light of the new sensitivity and new methodologies, Białoszewski’s work turns out to still be important, up-to-date and attractive to readers. Themes such as war trauma, homosexuality, autobiographism gain a new illumination. The volumes also present unknown transcripts of recordings and archival materials. This is valuable material for researchers and admirers of Białoszewski. Both volumes of MiroFor are presented as a valuable and inspiring invitation to a joint conversation about Miron Białoszewski’s work.

This article examines in detail Maria Shkapskayas poetry book Tsa-Tsa- Tsa (1923) and its handwritten genesis. It explains the role and significance of ancient Chinese poetry for this literary piece of work. The problem is to attribute the texts that make up the book and find out their translated or stylized basis. The general thesis is that all the poetic texts of the book are translations: the names of Tao-Yuan-Ming, Du Fu, and Bo-Juyi indicated by Shkapskaya in the manuscripts are reported. One of the texts in the book is attributed as the Sixth Poem from the Shi ju gu shi ( Nineteen Ancient Poems ). The removal of the names of Chinese authors (not only in the book published in 1923 but also in the manuscript of 1921) and the alignment of the thematic word series silk, crane, thousand, spring that organize the book into a single text indicate a tendency to blur the border of the own-alien text (even though the book was treated by the author as translation from the Chinese, in autobiographies and correspondence). This trend leads to the appearance of a central artistic image of the book (it is a feature of M. Shkapskayas poetic books). It is the image of a lonely, longing woman. The mention of the spinning wheel connects this image with the popular (especially in Western European literature) image of Gretchen. This way the poetry book Tsa-Tsa-Tsa goes beyond the narrowly translated work and reveals some features of chronologically later literary trends (such as postmodernism and metapoesis).

This paper aims to address the key question, ‘How far autoethnography contributes towards enriching the field of transformative learning?’ Using my lived experiences as a teacher educator/autoethnographer/researcher and contextualizing self/others within a particular socio-pedagogical life courses I build the basis through addressing questions: Why auto/ethnography is one of the most suitable spaces for transformative researchers and to what extent it serves the agenda of envisioning a transformative teacher education. To achieve this objective I use autobiographies, stories, reflections and poems etc. as narratives with multiple logics and genres; pictography as art-based expression; and ethnography as methodological space within multiparadigmatic design space. In so doing autoethnographer has to delve into whole process of research along a continuum of self and beyond within a particular sociocultural context to understand the phenomena at deeper level of consciousness. This transformative paradigm holds a strong basis in the process of research as: re/reading, re/viewing, critically reflecting on self/others, re/writing for meaning making and developing a subjective understanding of phenomena under exploration. This process of research is found to be an innovative way of knowing through ‘interpreting and constructing (Luitel, 2009)within Interpretivism, critically thinking and reflecting within Criticalism, and adding both ‘pluralism and playfulness’ (Taylor, 2013) within Postmodernism. In so doing it raises awareness, develops consciousness and improves capacities constantly that ultimately alters our way of seeing and being in the world differently- a paradigm shift in self/others. It is found to be highly rigorous, dialectically eloquent, dialogically rigorous, critically reflective, consciously awakening, and innovative critical discourse that greatly contributes to transform researcher/s. Therefore, it seems illustrious for teacher educators/teachers to embrace this paradigm in order to foster their transformative learning so that to transform self/others.

This article discusses the performance work by disability activist, Maria R. Palacios who is a Latina feminist writer, poet and spoken word performer. Using narrative inquiry as a method of investigation, performances by Palacios are analyzed within the context of sexuality and disability studies. Specific performances are reviewed under the framework of the nonprofit organization Sins Invalid: An Unshamed Claim to Beauty in the Face of Invisibility, and include the following pieces by Palacios: Maria Full of Sin (2008), Testimony (2009), Hunger (2009), My Sexy Disability (2010) and Vagina Manifesto (2009). As a performance project, Sins Invalid notes in its mission statement that its ‘performance work explores the themes of sexuality, embodiment and the disabled body’, and the performances are designed to inspire visions of beauty and sexuality that disrupt heteronormative, as well as ableist, paradigms. A portion of this work will be centered on the Sins Invalid website focusing on entries in the form of blog postings dedicated to the performances by Palacios. Additionally, her autobiographic and culturally focused spoken word pieces and poems, such as Making Love to Woman in a Wheelchair (2007), will be thematically analyzed regarding her embodied subjectivity as a sexualized and self-identified disabled Latina. In conclusion, an examination of how performance, in conjunction with narrative research, provides a critical lens regarding visibility and the embodiment of dis/abled women of color for future studies is shared.

Purpose. Many writers from various epochs and countries have been admirers and propagandists of the bestiary space. The purpose of the work is to analyze the animalistic images and symbols in the Ukrainian poet Ivan Zlatokudr’s lyrics in the late of 20th and early 21st century.Methods. The elements of the following methods are used in the research: cultural and historical (helps to investigate the functions of poet’s lyrical images in the process of representation of the features of Ukrainian national nature and historical epoch), aesthetic (allows analyzing each text as a phenomenon of literature and art), miphological (for coverage of reproduction of miphological images by poet), hermeneutic (ensures free and open interpretation of texts with the possibility for new explanations), biographic (helps to describe autobiographic markers in the writer's literary works), descriptive (systematization of various elements of the animalistic space in the lyrics of the poet), intertextual (links between writer’s poems and folklore songs and literary general tradition), textual analysis (for coverage of the animalistic motifs and images of Zlatokudr’s collection). The research is based on the general methods of analysis, synthesis, observation, selection and systematization of the material.Results. The author of this article represented the results of literary analysis accomplished over the texts of Ivan Zlatokudr with animalistic motifs and images. The symbols of a horse, dog, cow, ox, sheep, cat, deer, wolf, fox, bear and other animals play an important role in the creation of the artistic image of the world in the writer’s version and show his psychology. The article finds out that Ivan Zlatokudr has delicate understanding of bestiarial space. The effect of a hero’s co-living with the environment depicted by the author, with the animalistic environment in particular, is characteristic of writer’s lyrical collection. Ivan Zlatokudr’s works combine real and fairy plans, have characteristics of legends, tales and mysteries. The poet’s bestiarial dimension deepens understanding of nature and difficult world of human relations and feelings and it has national and similarity sounding. Мета. Бестіарний світ приваблює багатьох письменників різних часів і народів – від давнини й до сьогодення. Метою нашої статті є висвітлення особливостей творення образів-символів звірів у ліричних текстах українського поета з Польщі Івана Златокудра кінця ХХ – початку ХХІ століття.Методи. У статті використано елементи таких методів: культурно-історичного (допомагає виcвітлити функції ліричної образності у процесі відтворення поетом рис українського національного характеру та історичної епохи), естетичного (забезпечує розгляд творів митця як літературно-мистецького феномену), міфологічного (використовується для відстеження репродукування поетом міфологічних образів), герменевтичного (пропонується вільна інтерпретація текстів із можливістю подальших витлумачень), біографічного (простежуються риси автобіографізму в поезіях співця), описового (здійснюється систематизація різноманітних елементів анімалістичного простору в текстах поета), інтертекстуального (звертається увага на зв’язки між віршами митця й українським та світовим фольклором і літературною традицією), текстуального аналізу (застосовується для окреслення анімалістичних мотивів та образів у Златокудровому доробку). Дослідження засноване на загально-науковій методиці аналізу, синтезу, спостереження, добору та систематизації матеріалу.Результати. Автор статті репрезентує результати аналізу текстів Івана Златокудра, присвячених анімалістичним мотивам та образам. Символіка коня, собаки, корови, вола, вівці, кота, оленя, вовка, лисиці, ведмедя та інших тварин виконує важливу роль у розбудові автором художньої картини світу, сприяє розумінню його психології. Для поетичної творчості Івана Златокудра досить характерним є ефект органічного вживання ліричного героя в зображуваний світ, зокрема простір фауни рідного краю. Митець поєднує в текстах реальний і феєричний плани, переплітає дійсність із легендою, казкою, містичними уявленнями. Бестіарний вимір у поета поглиблює й розуміння природної стихії, і складність людських взаємин і почуттів, має як національне, так і загальнолюдське звучання. Висновки. Анімалістична образність у поетичній творчості Івана Златокудра закорінена у світ міфології та фольклору укра-їнського та інших народів, ґрунтується на літературних традиціях. Анімалістичні образи-символи в доробку митця відбивають особливості української ментальності, історико-культурний досвід нашого етносу, віддзеркалюють естетичні цінності нації.Ключові слова: лірика, фольклор, міфологія, зооморфні образи, анімалістична символіка.

The paper focuses on the specific features of the ‘One’s own — Alien’ conflict in the dramatic works by Lesia Ukrainka. The majority of her dramas and dramatic poems were written on the basis of foreign cultural phenomena, including the Ancient Greek, Biblical, and other topoi and images. Foreign cultural realities are aimed at the actualization of both the entire context of Ukraine and the writer’s autobiographic discourse in a recipient’s consciousness, forming the imagological paradigms ‘One’s own — Alien,’ ‘Me — Another’. Upon involving the imagological theories, the author of the paper traces the development of dialogue between various cultural realities in Lesia Ukrainka’s dramatic works. This allowed elucidating the peculiarities in the artistic representation of the exotic topoi of different countries as the significant feature of Neoromantic and, in general, Modernist discourses, which were basic for Lesia Ukrainka’s writing. The textual analysis of Lesia Ukrainka’s dramas reveals the specific features of unfolding the ‘One’s own — Alien’ conflict, first of all, on the ethnic-mental level, epitomized in the ‘conquered — conqueror’ collision of the plays “Babylonian Captivity”, “Over the Ruins”, “Orgy” and “Boiarynia”. The other dimension is the worldview and religious level, mostly realized through the collision ‘Antiquity — Christianity’ (“In the Catacombs”, “Rufinus and Priscilla”, “Martian the Lawyer”, and others). It is proved that the ‘One’s own — Alien’ conflict deepens the problems of the works and serves as a way to reveal the essential characteristics of the heroes. The paradigm of the mentioned conflict highlights the borders of the national and personal identities, emphasizes axiological concepts and active ideas, fundamental for Lesia Ukrainka’s dramatic works, such as the tragedy of misunderstanding, the need for constructive dialogue, the necessity of choice, the search for spiritual and national freedom, the meaning of sacrifice, and the role of art.

The Seweryn Udziela Ethnographic Musem in Cracow holds an impressive collection of old engravings, among which there are also copperplates by Cornelis Galle. He used selected prints from Amorum emblemata (1608) and Amoris divini emblemata (1615) by Otton van Veen and Pia desideria (1624) by Herman Hugo to create his own emblematic cycle on metaphysical relations between the Soul and Amor Divinus. The drawings from the works of Veen and Hugo were very popular in the seventeenth century and inspired numerous poets and editors around Europe. In the Polish-Lithuanian Commonwealth, it was Hugo’s Pia desideria that aroused particular interest. The cycle was imitated and translated by e.g. Mikołaj Mieleszko SJ, Zbigniew Morsztyn, Aleksander Teodor Lacki, and Jan Kościesza Żaba. On three of Galle’s prints stored in the Cracow museum, an anonymous author wrote epigrams, unknown until now, that accompany the images taken from the cycle by Veen (no. 8 and 21) and by Hugo (II 5). This emblematic microcycle was, with all probability, written down at the end of the seventeenth or at the beginning of the eighteenth century by a nun or a monk in one of the Lesser Polish convents or monasteries. Possibly, the origins of the cycle may be linked with the Carmelite convent in Cracow. And whether it is the actual place where the cycle was created or not, it is a good point to begin studies on the employment of emblematic practices in Catholic convents and monasteries in the Polish-Lithuanian Commonwealth from the sixteenth to the eighteenth century. Imported copperplates and woodcuts were a typical piece of the equipment of a cell. They were hung on the cell walls or were simply collected in sets of prints and often exchanged as gifts among nuns or monks, e.g. on the occasion of the New Year (an example of such a gift from 1724 is given in this paper). It was a common practice to write notes of diverse character on the reverse side of such prints, e.g. autobiographic details, short prayers or excerpts from sacred texts and religious literature. Still, the main purpose of the emblems was their application in everyday meditations and other forms of personal prayers. The three subscriptiones in the Ethnographic Museum in Cracow are also prayers of this kind, combining word and image.

Purpose. Many writers from various epochs and countries have been admirers and propagandists of marine literature. The article examines the marine motifs and images of the Ukrainian poet Dmуtro Shupta’s lyrics in the early 21st century. The purpose of the work is to analyze the marine space in his stanzas collection “Autumn facet”.Methods. The elements of the following methods are used in the research: aesthetic (allows analyzing each text as a phenomenon of literature and art), hermeneutic (ensures free and open interpretation of texts with the possibility for new explanations), biographic (helps to describe autobiographic features in the writer’s literary works), intermedial (systematization of various elements of marine, musical and artistic presence in the lyrics of the poet), comparative (provides wide possibilities for the coverage of interdependence between poetry, music and painting micro-images), intertextual (links between writer’s poems and folklore songs and literary tradition), textual analysis (for coverage of the main motifs of stanzas collection). The research is based on the general method of analysis, synthesis, observation, selection and systematization of the material.Results. The effect of a hero’s co-living with the environment depicted by the author, with the marine environment in particular, is characteristic of D. Shupta’s stanzas collection “Autumn facet”. The article finds out that the Ukrainian writer has delicate understanding of music and painting, and can embody it in his own marine texts, combining different artistic elements. He uses auditory, visual and tactile impressions. Marine motifs and images of the literary works of D. Shupta play an important role in the creation of the artistic image of the world by verbal means. Marine space in his interpretation is a symbol of the nature and the world of human passions and life difficulties, their creative sources and ruinous essence. Shupta’s marine works combine real and fairy plans, have characteristics of legends, tales and mysteries. Close relations between the writer’s marine poetry and Ukrainian folklore songs and literary traditions are traced in the article.Conclusions. D. Shupta’s stanzas collection «Autumn facet» is an original artistic work on the crossing of literary, musical and descriptive imagery. The author presents different variants of stanzas, proposes many marine motifs, images, attributes, his own vision of the sea in its power and beauty. The collection confirms that the poet appertains to the best representatives of the national and the world marine literature.Key words: motif, image, metaphor, symbol, poetry, music, painting. Мета. Морська тематика є однією з найулюбленіших у доробку багатьох митців різних часів і країн – шанувальників і пропагандистів літературної мариністики. У статті розглядаються морські мотиви та образи в творчості українського поета Дмитра Шупти початку ХХІ століття. Метою нашої статті є висвітлення особливостей художнього осмислення мариністично-го простору письменником у його збірці стансів «Осіння грань».Методи. У статті використано елементи таких методів: естетичного (забезпечує розгляд творів митця як літературно-мистецького феномену), герменевтичного (пропонується вільна інтерпретація текстів із можливістю подальших витлумачень), біографічного (простежуються риси автобіографізму в поезіях співця), інтермедіального (здійснюється систематизація різноманітних мариністичних, музичних, живописних елементів, наявних у текстах поета), компаративного (висвітлюються взаємозалежності та взаємовпливи між поетичними, музичними, живописними мікрообразами), інтертекстуального (звертається увага на зв’язки між віршами митця та українським фольклором і літературною традицією), текстуального аналізу (застосовується для окреслення провідних мотивів cтансової збірки). Дослідження засноване на загальнонауковій методиці аналізу, синтезу, спостереження, добору та систематизації матеріалу.Результати. Для ліричної збірки Дмитра Шупти «Осіння грань» характерним є ефект органічного вживання героя в зображуване автором середовище й це насамперед мариністичний світ. Цей нерозривний зв’язок український письменник, який тонко розуміє музику і живопис, уміє передавати через переплетіння елементів різних мистецьких стихій. Він майстерно використовує слухові, зорові враження. Морські мотиви та образи виконують важливу функцію у творенні автором художньої картини світу. Мариністичний простір у поета символізує й природну стихію, й амплітуду людських почуттів, і складний вир життя, і творче начало, і руйнівну сутність. У мариністичних замальовках збірки Д. Шупти поєднуються реальний і феєричний плани, дійсність переплітається з легендою, казкою, містичними уявленнями. У статті простежено зв’язки між віршами письменника-мариніста та українським фольклором і літературною традицією. Висновки. Збірка стансів Дмитра Шупти «Осіння грань» є самобутнім мистецьким витвором, що заснований на перехресті літературної, музичної та живописної образності. Варіюючи різні стансові форми, видозмінюючи найрізноманітніші мариністичні мотиви, образи, атрибутику, автор зумів передати своє власне бачення моря у всій його cилі та красі. Збірка потверджує належність митця до найяскравіших представників вітчизняної і світової літературної мариністики. Ключові слова: мотив, образ, метафора, символ, поезія, музика, живопис.

It is obvious that we have more than one form in narrative writing pieces, autobiography an account of writer›s life written by the same writer and autobiographies considered as a literary genre of course, but still there are rules and basics to write in this kind of narrations. Sherko Bekas, beside he is one of the greatest poets and he had managed to have his own creative styles in his writings. In his autobiographic writing, he was successfully creative. Based on his book; we named the study on “Artistic Creatives in Sheko Beskas’s Writing with Water of Ashes (Nüsin be Awi Aolemêş)”. This study it is a trial to analyze this literary genre based on a Kurdish writing which led us to write down the analyses in to two parts; part one, titled as a “Beginning of a Theory”, as we named it is theorical three sub-parts of our study. The first sub-part is about the term of Autobiography as genre then the historical background of the literary term. In the second sub-part we have written about the beginning of Autobiographies in Kurdish Literature, and in the third title and the last of the first part is about the rules of writing in autobiographical style according to European writing theories. The second part is a practical part in our study and titled as on “Artistic Creatives in Sheko Beskas’s Writing with Water of Ashes”, in this part we have mentioned four artistic creatives; the first creative is the work on the title itself, second one is the narrative language, the third one is the narration himself, and the fourth artistic creative is the honesty and transparency in this writing piece with examples and clarifications. Lastly the results of our study are mentioned in bullets with announcing of listed reference sources based on Harvard System.

Christianity, Mysticism, Infidelity: Ivan Grozev and Nikolay RaуnovThis article follows the personal and artistic relations between two famous Bulgarian poets and mystics, Ivan Grozev and Nikolay Raynov. Before 1944, the lives of both passed under the common sign of Orthodox Christianity, spiritualism, Theosophy, and Freemasonry. A separation took place after 1944, when Raynov rejected all forms of religiosity. At first, their relationship was good, but later it came into sharp conflict. The first words of criticism were spoken by Grozev, concerning Raynov’s translation of Thus Spoke Zarathustra by Nietzsche. The further polemics, on the one hand, had a significant impact on some of the intellectual elite in Bulgaria; on the other hand, they illustrate the changing attitude of both writers to religiosity. The source material is archives, memoirs and autobiographies, which reveal the dialogicality in Bulgarian literature in the first half of the 20th century. Chrześcijaństwo, mistycyzm, niewiara. Iwan Grozew i Nikołaj RajnowArtykuł jest poświęcony osobistym i artystycznym relacjom między dwoma słynnymi bułgarskimi poetami i mistykami, Iwanem Grozewem i Nikołajem Rajnowem. Przed rokiem 1944 życie obu upływa pod wspólnym znakiem kolejno: ortodoksyjnego chrześcijaństwa, spirytyzmu, teozofii i wolnomularstwa. Do rozdziału dochodzi po 1944 roku, kiedy Rajnow odrzuca wszelkie formy religijności. Na początku ich wzajemny stosunek jest pozytywny, ale z czasem dochodzi do ostrych sporów. Pierwsze słowa krytyki wypowiada Grozew. Sprawa dotyczy przekładu Rajnowa Tako rzecze Zaratustra Friedricha Nietzschego. Dalsza polemika z jednej strony ma istotny wpływ na część elit intelektualnych w Bułgarii, z drugiej – ilustruje zmieniający się stosunek obu pisarzy do religijności. Materiał źródłowy stanowią archiwa, wspomnienia i autobiografie. Odsłaniają one dialogiczność w bułgarskiej literaturze w pierwszej połowie XX wieku.

<div><p><em>Dalit Literature is the writings about dalits whose primary motive is the liberation of dalits. Dalit writers have provided useful insights on the question of Dalit identity through their poems, short stories, novels and autobiographies. They have given a dignified status to the Dalits liberating them from the sub-human lot imposed on them by the Hindu social order. They use the language of the out-castes and under-privileged in Indian society, with their sharp expression. This paper explores the sensible portrayal of the predicament to the outcastes in Indian society in her select poems. </em></p></div>

The Complete Collected Poems of Maya Angelou (1994) manifests that Maya Angelou’s personal consciousness and public awareness sharpened her poetic capabilities. She used art to communicate the pathos and joys of her evolving spirit. This research paper explores the elements of survival, that is, endurance and aspiration in her poetry. The only freedom she enjoyed was the freedom to write which was rooted in her mind and not curbed by societal forces. The rationale of this paper is to trace how personal struggle and the quest for self-sustaining dignity in Maya Angelou’s poetry serves as an aspiration for America’s black community. Her cerebral autobiographies manifest her struggle for survival in a hostile and racist social environment and her poetry reflects the same. The objective of this research is to locate the motifs of endurance and aspiration in two of her poems namely The Caged Bird (1994) and Still I Rise (1994) from her anthology of Complete Collected Poems (1994). Caged Bird has become legendary due to the use of strong images, dichotomy and masked metaphors. Through these devices the poetess depicts her span of fragile development. As she grows physically and emotionally she discards her old mask and in Still I Rise, she presents her self-image with courage. The lyrical qualities of both poems provide soothing and healing power to the black community. In the light of the current analysis, this research paper concludes that the ultra fine resonance with repetition in Angelou’s poetry generates strong emotions. At the same time, it becomes a mode of free expression and endurance for the poetess. Furthermore, the outcome of this research is that it traces the dynamic elements of aspiration in her poetry through which she gains a voice, a voice to address her pathos with a modulated tone and to introduce the tools for productive survival.

Resumen: Juntando mis pasos (2000) de Elías Nandino es la autodefensa del poeta a la biografía escrita en 1986 por Enrique Aguilar. En este artículo se analiza la construcción biográfica del poeta octogenario que, casi ciego y sordo, hace un ejercicio de la memoria para recuperar fragmentos de su vida. A partir de este análisis el autor destaca temas como la homosexualidad, la vida cultural en el México de los veintes a los ochentas, la familia y el rechazo a la heteronormatividad. Mediante este trabajo se integra Juntando mis pasos, obra que ha sido poco estudiada, al conjunto de testimonios autobiográficos de la cultura mexicana del sigo xx.Abstract: Juntando mis pasos (2000) by Elías Nandino is the self-defense of a poet against the biography written in 1986 by Enrique Aguilar. This article analyzes the biographic construction of the eighty-year old poet, who practically blind and deaf, performs an exercise of memory to recover fragments of his life. From this analysis the author develops themes like homosexuality, the cultural life in Mexico from the 1920’s to the 80’s, the family and rejection of hetero-normativity. This work joins together Juntando mis pasos, a piece that has been little-studied, with the group of autobiographic testimonies about Mexican culture in the 20th century.

AbstractBackground. Literary study of Vasyl Stus’s lyrics doesn’t deal with conceptual meaning ofthe lyric’s hero psychical reactions to the realities of the world correlated with father’s andmother’s figures. Intimate and personal sense of relationship between a son and a father depictedin Vasyl Stus’s poems extrapolates on the different things, defines civil, patriotic and religiousfeelings. Though this sense destroys the “iconic” image of the poet it discovers worldview’sgrounds of the author’s consciousness, expends the opportunities to the interpretation. Purpose. The specificity of art presentation of the father’s figure embodied inautobiographic image of the father, in the images of the totalitarian leaders and God in VasylStus’s lyrics is studied. Methods. The question of the reflecting consciousness in lyrics concerns the field of theanthropological literary. The methodical complex of psychoanalysis is effective for the coverage ofthe mechanisms of the author’s consciousness’s emergence. The basic literary methods such asanalysis of images and motives, structural and semantic analysis need to discover artrepresentation of relationship between a son and a father in Vasyl Stus’s lyrics. Results. Ambiguous relationship with the father’s figure according to the son’s Oedipuscomplex is expressed in Vasyl Stus’s lyrics. Autobiographic image of the dead father complementedby son’s feelings of love, sad, shame, remorse is presented in the Stus’s poem “One hundred blackdogs have barked. One hundred dogs…”. Son’s feelings of love and respect are extrapolated for theimage of Stus’s friend I. Svitlychniy in the poem “I can’t do without Ivan’s smile…”. It’sremarkable, that sharply negative lyric hero’s attitude to totalitarian leaders, particularly toYo. Stalin, is implemented within the Cruel Father archetype and very often is transformed intoanti-colonial, dissident motives in Stus’s poems. Ambiguous relationship between lyric hero andGod in Stus’s collections “Creativity Time”, “Palimpsests” demonstrates such type of son’sOedipus complex as Christ Way and Prodigal Son’s Way leaded to submit to God-as-father orLucifer’s Way opposing His Power. Discussion. Father’s figure expresses wide autobiographic, civil, religious meaning in VasylStus’s lyrics. Ambiguous son – father relationship bases on the Oedipus complex, archetypes Fatherand Son and correlates with moral and ethic, patriotic and religious believes of the author’sconsciousness. Psychoanalytic view on Vasyl Stus’s lyrics expends its interpretative field.Keywords: Vasyl Stus’s lyrics, lyric consciousness, figure of a father, Oedipus complex,son – father relationship.

Czesław Miłosz’s poetry displays two reverberating topics which may be defined as contradictory existence and world experiences. One of those is the admiration for the beauty of the world and awe consequent upon capturing the simultaneous existence of individual entities (Amazement), whilst the other is the topic of the lack of fulfilment, torment, the feeling of lack of authenticity, blame, and shame (This).Miłosz depicted his “I” (represented by various personae), the split between individual consciousness, a strong sense of individuality, distinct from the commune of ordinary people (a strand salient in the pre-war volume Three Winters), at the same time nurturing a feeling of strong bonds with the society.The poet’s self-reflection holds for both topics, while the autobiographic discourse is orientated to the questions about the functions of the poetic language and about the status and sense of poetry, thereby addressing the self-topicality.

OPSOMMING In Antjie Krog se bundel mede-wete verskyn 'n aantal gedigte waarin die ek-spreker se soeke na 'n nuwe soort spiritualiteit verwoord word en waarin die implisiete versugting na die eenheid van alle dinge voorkom. Die doel van hierdie artikel is om 'n teoretiese konsep aan die hand te doen waarvolgens die spirituele aspekte in hierdie bundel bespreek kan word. Teorieë oor outobiografie as spirituele praktyk, veral in die digter se laatwerk, sowel as postsekularisme en ekopsigologie sal vir hierdie doel ingespan word. Daar sal hoofsaaklik eksemplaries te werk gegaan word deurdat enkele kerngedigte in die bundel ontleed word, te wete "moniaal", " 'n eland staan by 'n kuil", "ongelowig is nie die regte woord nie" en "kerssonnet". Daar word aangetoon op welke wyse Krog kategorieë of gehele wat in moderne tye hulle relevansie verloor het, poëties nuut verwoord deur te fokus op die verbeelding van 'n groter geheel waarin plante, diere en mense interverbonde is en interafhanklik van mekaar bestaan. Sodoende word die grense van die paradigma van egosentrisme waarin moderne mense verval het, opgehef en bestaande religieuse grense word deurbreek deurdat holisme op kreatiewe wyse as nuwe werklikheid daargestel word. Trefwoorde: Antjie Krog, mede-wete, outobiografie, laatwerk, postsekularisme, ekopsigologie, spiritualiteit, interverbondenheid, holisme ABSTRACT In Antjie Krog's collection of poetry, mede-wete (English translation, Synapse, by Karen Press)1there are a number of poems in which the author's search for a new kind of spirituality is articulated and in which the implicit longing for unity of all living things is suggested. Even before Socrates, philosophers speculated that wholes do indeed exist, but that their independently functioning parts are nothing but theoretical speculation. In modern physics, this concept is embodied in quantum field theory, which implies that everything that exists can be compared to waves at sea that cannot exist independently of the ocean. For the seeker of spiritual truth, the holistic path is a mystical path on which life reveals itself in its deeper meaning and "where our thoughts, feelings and actions are integrated by a clear intelligence and knowledge, and where a feeling of intimacy and participation with something greater than our normal selves occurs" (Ashraf 2012). In this manner the individual pursues so-called "higher knowledge". The purpose of this article is to suggest a theoretical paradigm on the basis of which the spiritual aspects in mede-wete can be discussed. I mainly rely on theories of autobiography as a spiritual practice, especially as an aspect of authors' "late work", post-secularism and ecopsychology when analysing a number of core poems, namely "moniaal", ("postulant"), "'n eland staan by 'n kuil" ("an eland stands at a pool"), "ongelowig is nie die regte woord nie" ("faithless is not the right word"), and "kerssonnet" ("christmas sonnet"). It can be argued that, in these poems, it becomes evident that rigid categories have lost their relevance in modern times. New categories have been imagined by the poet and phrased in poetic similes suggesting a larger whole in which plants, animals and people exist in interrelated and interdependent ways. In this way the boundaries of egocentrism by which modern people have been trapped are lifted, and existing religious boundaries are re-imagined through the creation of holism as a new reality - a reality that is greater than the sum of its individual elements; a liquid, ever-changing reality, adapted to the situation as it presents itself. The first section of the article focuses on spiritual autobiography and the individual's search for transcendent meaning as an aspect of identity construction. Spirituality involves, among other things, the feeling of interconnectedness with something greater than ourselves, which often includes a search for the meaning of the individual's life. As such, it is a universal human experience that can deeply affect human beings emotionally. Spiritual autobiography is often practised by writers who, towards the end of their lives, focus on the past in the light of universal human experiences in order to make sense of their own lives. Especially in autobiographies written in the later phase of an author's life, family and family relationships often play an important role - not only the role of the poet's ancestors and origins is investigated and reflected upon, but often children and even grandchildren form part of a reflection on the future and the legacy of the individual to posterity. It is precisely these poems that are examined in this article. Although mede-wete is clearly not intended as a spiritual autobiography, there is ample reason to consider several poems in this collection through the lens of theories on this particular genre, as there are such a large number of poems that correspond to the poet's (Antjie Krog's) biographical details. What is interesting is that three of the poems analysed directly follow on a poem about the poet's grandchildren or other toddlers. Therefore, I argue that there is a rhetorical connection between these "child poems" and the poems on spiritual reflection that directly follow them. It seems that "child poems" often give rise to reflection on transcendent experiences and to the need to explain these experiences. Several poems in mede-wete can be interpreted as confessions of faith. In the second section, I discuss the poem "kerssonnet" ("Christmas sonnet") from which it would appear that biblical metanarratives no longer provide modern people adhering to a secular value system with the hermeneutics of trust necessary for a firm belief in biblical truths. In its stead, the speaker, for example in a poem such as "ongelowig is nie die regte woord nie" ("faithless is not the right word"), suggests an alternative paradigm that does not imply a return to traditional religions, but rather a greater awareness of the continuing relevance of religion in secular societies. Such "post-secular" discourse is characterised by individual preferences for particular aspects of spirituality, implying that spirituality is still important, although it does not depend on the hegemony of mainstream discourse. In a post-secular world, new metaphors must be found to talk about God. In "ongelowig is nie die regte woord nie" ("faithless is not the right word") the following metaphor is significant: "we all drink like babies at a breast we feel / the nipple between our gums and say: it's / God (...)". By means of this metaphor, then, postmodern feminist discourse enters the poem - a discourse that refers to Julia Kristeva's theory of the mother as abject. Abjection here is the personification of the radical Other, the non-Self - or God. The poem "'n eland staan by 'n kuil" ("an eland stands at a pool"), discussed in the third section, depicts a mystical experience, an ecstatic moment in which the speaker comes into direct contact with the Holy One and feels herself, in a mystical way, being united with the universe. It is interesting to note that the eland is considered by San people to be a sacred animal, but that it is also the animal associated with rites of passage and initiation. My argument being that one can also read this poem as the creed of a newly initiated, someone who begins to walk a new spiritual path. The poem expresses the insight, which also underlies the whole volume of poetry, that all things created are interconnected. Keywords: Antjie Krog, synapse, autobiography, late work, post-secularism, ecopsychology, spirituality, interconnectedness, holism

The present paper, ‘Exploring the Role of Testimonio Method in Shaping Collective Memory of Indenture History: from Empathy to Empowerment,’ attempts to study how the Testimonio method of study, which is a powerful literary genre rooted in oral history, can be used to study indenture history from the Bhojpuri speaking areas of North India and bridge the gaps and silences of this history using folksongs, folktales, oral accounts, poems, diary, autobiographies, etc. It also highlights the role of Bhojpuri as a lingua franca of the community and its impact on cultural preservation and literary expression, also focussing on the role of Khelauni (baby-sitter) and Ajie (grandmother) culture in the formation of a distinct community in the erstwhile sugar colonies like Fiji, Mauritius, etc., through folk stories and songs narrated to young children. This paper seeks to elucidate the Testimonio method’s effectiveness in unravelling the untold stories of indentured people, and by analyzing a range of testimonial narratives and literary works, it highlights the multifaceted dimensions of indenture history, gender dynamics, and the preservation of cultural identity. It also underlines that the Testimonio method’s unique approach, centred on personal narratives and collective memory, allows for a nuanced understanding of the lived experiences of the Girmitiyas’ struggles and triumphs.

The power of silence in literature lies in its transcending and enriching characteristic which renders it possible to grasp a deeper meaning by way of telling the things that cannot be told by words. In this respect, Ilya Kaminsky uses polysemous silence as a narrative technic in his partially autobiographic book, Deaf Republic. Silence is primarily used as an instrument of insurgency by the townspeople who reject to hear consciously and revolt against the authoritarian government. With this unusual resistance, the meaning of silence expands. The ongoing power relations between the public and the state gets destabilized. Relatedly, stripped of its primary meaning in all the poems, silence becomes an important part of the dialogue and turns out to be a significant component of the language. Another layer is that metamorphosing the concept of silence that has been used against them as a tool of oppression for centuries, women use it this time to raise their voices. Lastly, it is seen that in most of the poems, Kaminsky creates absences with various forms and once again silence takes its place in these absences, visibly loaded with meaning. Hereby, consciously refusing to hear with a kind of resistance that can be called an act of civil disobedience in certain aspects, the citizens resist against tyranny and thus silence gets positioned at the centre of the narrative, which allows the phenomenon of silence to be analysed with the aforementioned aspects. In this respect, the aim of this study is to analyse the phenomenon of silence in Deaf Republic as a multilayered field of meaning with its theoretical dimensions.

This study has been based on the researcher’s requestioning the results of the a/r/tographic autobiography study with students on Arnold Schönberg and his works, which was carried out between 2017-2021. In the research the aim was to observe the effects of thinking through atonal music and its reflections on visual arts education as well as the cognitive skills and sensual awareness of the participants. The requestioning of the autobiographic outputs of the researcher with her students within an a/r/tographic perspective was considered important in terms of creating new meanings and actions in visual arts education. The study was carried out with the researcher and 16 undergraduate and 1 graduate student from Kırıkkale University Faculty of Fine Arts in the academic year 2021-2022 Spring semester over a work from Schönberg. There were 6 applications in total, each application lasted 4 hours. The data of the study consist of video and voice recordings, photographs, art works, poems, student opinions, observation notes, student diaries, performance activities, personal communications, Schönberg's String Quartet No. 4 Op. 37 composition and the 39 paintings that the researcher made for this composition. The data was interpreted through a/r/tographic inquiry. At the end of the study it was observed that the application of musical thinking with atonality acts to visual arts applications brought forth skills such as making deep interpretations, developing theories, solving problems, thinking critically, self inquiry, and the use of senses in a intuitive perspective within personal experiences.

Pasolini: Fascism – Consumism – Catholicism. And a Search for LifeWhen it comes to writing about Pier Paolo Pasolini’s oeuvre, nobody can approach it without a subjective and political position. The author of this text takes as his point of departure the presence of the poet and filmmaker in his host country Italy, where the name Pasolini means much more than merely the name of an author. Pasolini stands for the rebellious spirit at a time when the Italian economic miracle was coming to an end, during which a great “contaminazione” (Pasolini), a mutual “infectiousness” took place between the vulgar and the sublime, the culture of the poor suburbs and the discourses of the intellectuals, between old myths and new seductions. In this situation, Pasolini’s texts and films are searching for a way to counter the horror of a new fascism in the form of the petit bourgeois “consumistic” rule with a “force of the past”. Points of reference for this are a radical Catholicism and communism, the latter moving via a Marxist analysis of society to an archaic Ur-communism. Pasolini always saw himself as a stranger. Almost all of his films (leaving aside the vital “Trilogy of Life”, from which he distanced himself in his last and most radical film “Salò”) are attempts to look into the strangeness of the familiar and the familiarity of the strange. In doing so, the author and filmmaker never spared himself; his films are a magic autobiography. To put it another way, Pasolini’s biography makes his films “readable” and his films make the inner history of Italy (and to a certain extent that of Europe as a whole) in the sixties and seventies “readable”, just as in his films bodies make “readable” ideas and ideas make “readable” bodies. Texts on Pier Paolo Pasolini can be markings for these processes of reading. However, they can never be a substitute for following one’s own way which leads back and forth between both the physicality (the reality of the streets, “contaminated” by art history) and the world of ideas (the myth and religion, “contaminated” with Marxism and psychoanalysis). Pasolini: faszyzm – konsumpcjonizm – katolicyzm. I poszukiwanie życiaNie da się pisać o twórczości Piera Paola Pasoliniego, nie artykułując przy tym subiektywnego i politycznego stanowiska. Punktem wyjścia autora jest obecność poety i filmowca we Włoszech, gdzie nazwisko Pasolini znaczy o wiele więcej niż nazwisko jakiegokolwiek innego autora. Pasolini reprezentuje ducha buntu w schyłkowym okresie włoskiego cudu gospodarczego, w którym nastąpiła wielka contaminazione (Pasolini), wzajemne „skażenie” tego, co wulgarne, i tego, co wzniosłe, kultury biednych przedmieść i dyskursu intelektualistów, starych mitów i nowych omamień. W tej sytuacji teksty i filmy Pasoliniego szukają sposobu, by dzięki „sile przeszłości” przeciwstawić się grozie nowego faszyzmu w postaci „konsumpcyjnych” rządów rosnącego w siłę drobnomieszczaństwa. Punktami odniesienia są tu radykalny katolicyzm oraz komunizm, który poprzez marksistowską analizę społeczną zmierza do archaicznego komunizmu pierwotnego. Sam Pasolini zawsze postrzegał siebie jako „obcego”, a niemal wszystkie jego filmy (może z wyjątkiem witalistycznej Trylogii życia, od której zdystansował się swoim ostatnim i najbardziej radykalnym filmem Salò) są próbami wytropienia obcości w tym, co znajome, i swojskości w tym, co obce. Przy tym pisarz i filmowiec nigdy nie oszczędzał siebie, jego filmy to magiczna autobiografia. Inaczej rzecz ujmując, biografia Pasoliniego czyni jego filmy „czytelnymi”, a filmy Pasoliniego czynią „czytelną” wewnętrzną historię Włoch (i do pewnego stopnia całej Europy) lat sześćdziesiątych i siedemdziesiątych, tak jak w jego filmach ciała pozwalają czytać idee, a idee – ciała. Teksty o Pierze Paolo Pasolinim mogą dostarczyć wskazówek dla tych procesów lektury, nigdy jednak nie zastąpią własnej drogi, meandrowania pomiędzy cielesnością (która „zanieczyszcza” rzeczywistość ulicy historią sztuki) i światem idei (który „zanieczyszcza” mit i religię marksizmem i psychoanalizą). Pasolini: Faschismus – Konsumismus – Katholizismus. Und eine Suche nach dem LebenÜber das Werk von Pier Paolo Pasolini kann wohl niemand ohne eine subjektive und politische Position schreiben. Der Autor geht von der Gegenwärtigkeit des Poeten und Filmemachers in seinem Gastland Italien aus, in dem der Name Pasolini viel mehr bedeutet als der Name eines Autors. Pasolini steht für den rebellischen Geist in der Zeit des ausgehenden italienischen Wirtschaftswunders, in dem sich eine große „contaminazione“ (Pasolini), eine wechselseitige „Ansteckung“ zwischen dem Vulgären und dem Erhabenen, der Kultur der armen Vorstädte und den Diskursen der Intellektuellen, zwischen alten Mythen und neuen Verführungen ereignete. In dieser Situation suchen Pasolinis Texte und Filme nach einem Weg, dem Schrecken eines neuen Faschismus in Form der „konsumistischen“ Herrschaft des wachsenden Kleinbürgertums eine „Kraft der Vergangenheit“ entgegen zu setzen. Die Bezugspunkte dafür sind ein radikaler Katholizismus und ein Kommunismus, der sich über eine marxistische Gesellschaftsanalyse zu einem archaischen Ur-Kommunismus bewegt. Pasolini selbst hat sich dabei immer als „Fremder“ gesehen, und nahezu alle seine Filme (vielleicht von der vitalistischen Trilogie des Lebens abgesehen, von der er sich mit seinem letzten und radikalsten Film, Salò distanzierte) sind Versuche, der Fremdheit im Vertrauten und der Vertrautheit im Fremden nachzuspüren. Dabei hat sich der Autor und Filmemacher selber nie geschont; seine Filme sind eine magische Autobiographie. Anders gesagt: Pasolinis Biographie macht seine Filme „lesbar“, und Pasolinis Filme machen die innere Geschichte Italiens (und bis zu einem gewissen Grad ganz Europas) in den sechziger und siebziger Jahren „lesbar“, so wie in seinen Filmen die Körper die Ideen und die Ideen die Körper lesbar machen. Texte zu Pier Paolo Pasolini können Markierungen für diese Vorgänge des Lesens geben, aber nie den eigenen Weg ersetzen, der zwischen beidem hin- und herführt: der Körperlichkeit (die Straßenwirklichkeit mit Kunstgeschichte „kontaminiert“) und die Ideenwelt (die Mythos und Religion mit Marxismus und Psychoanalyse „kontaminiert“).

Artiklis vaadeldakse Maksim Gorki eestindusi nende ajaloolises kontekstis ja tuuakse välja põhimõttelised erinevused 20. sajandi alguse tõlgete ja varaste nõukogudeaegsete tõlgete vahel. Need erinevused on tingitud esiteks rahvusliku tõlketeooria kujunemisest Eestis 1920.–1930. aastatel, teisalt avaldas olulist mõju Gorki kirjanikustaatuse muutumine tuntud Euroopa kirjanikust nõukogude klassikuks. Betti Alveri tõlgitud Gorki „Lapsepõlve“ (1946) võrdlus tema abikaasa Heiti Talviku sama jutustuse esimese osa tõlkekatsetusega võimaldab detailselt jälgida uue tõlkekaanoni kujunemist Eestis. In 1946 the tenth anniversary of the death of Maxim Gorky was celebrated in the Soviet Union. A number of celebratory events were organised in Estonia in connection with this date, including the planned release of the first Soviet translations of Gorky’s works into Estonian. It was not Mother or some other “programmatic” work of Gorky’s that was chosen to serve as this representative translation, but, rather, his autobiographic trilogy (My Childhood, In the World, My Universities), which is most telling as regards the formation of an ideologically orthodox Soviet myth about Gorky in a new cultural space. The trilogy represented a sort of hagiography of the main Soviet writer, and it was meant to be accessible to any resident of the newly Soviet country in a language they could understand. Betti Alver, who would later become one of Estonia’s most interesting and influential female poets, completed the translation of the entire trilogy. However, the original translation contract was signed not with Alver, but with her husband Heiti Talvik. Talvik, however, did not manage to finish the work on the translations due to his deportation to Siberia in May 1945, where he died, apparently in July 1947. The contract for My Childhood was renegotiated with Betti Alver – immediately after her husband’s deportation. Talvik had managed to translated only several pages of the first chapter of My Childhood. This article demonstrates in detail that Alver’s translation was not merely a continuation of her husband’s work, but, rather, assumed a particular personal meaning (which was especially important in a situation where she had no news of Talvik, and working on the translation was the only possible form of dialogue with him). Alver’s use of the work her husband completed testifies to the way in which she entered a unique “dialogue” with him: she did not discard that work, yet did not copy it either. Rather, she made some – not numerous, but meaningful – corrections. The article demonstrates the difference in the two translators’ strategies on the basis of those corrections. The comparison of the two translations becomes even more interesting due to the fact that Talvik’s translation – despite the modest amount of his completed work – very clearly demonstrates his translation strategy. First and foremost, this lies in a commitment to high precision and literal translation – especially with regard to syntax and punctuation (Gorky uses a full arsenal of punctuation marks, and Talvik carefully preserves all his ellipses, semicolons and dashes, maintains the length of sentences and tries to retain the number and order of words to the extent possible). The second particularity of Talvik’s translation is the interiorisation of the source text by the receiving culture, which demonstrates his allegiance to the pre-Soviet tradition of the reception of Gorky in Estonian (Gorky was first translated into Estonian at the end of the 1890s; this article provides a short analysis of the very first translation, that of Gorky’s short story “Kirilka”, and demonstrates its main features, one of which is the translator’s attempt to translate the language of the main character, a Russian peasant woman, using Estonian dialectisms). Meanwhile, Betti Alver’s translation is characterised by opposite tendencies. First and foremost, she seeks to erase the gap that exists between the hero of the autobiography and the adult narrator, electing to use the narrator’s objective point of view. Such a strategy of translation was in line with the official, early-Soviet interpretation of Gorky’s autobiographical prose, which held that My Childhood was, first and foremost, a large-scale epic “about the oppressive horrors of life”, and the lyrical opening of the story was declared to be virtually absent. The analysis of specific examples provided in this article demonstrates the translator’s aspiration to smoothen and neutralise, rather than emphasise, the style of the source text. She sought to make the text to be understood more easily in the new culture and more convenient for the Estonian reader, which is especially evident in contrast with the preserved draft of Talvik’s translation – Talvik’s work was characterised by heightened attention to the stylistic experiments of the original. This article emphasises the fact that the change to a new translation paradigm took place literally during work on a single text. The confrontation of these two paradigms is visible in My Childhood: Talvik was still thinking within the framework of the Estonian translation culture in the 1920–30s, according to which the goal of translation was to enrich the readesr with the cultural particularities of the original, to educate them. Meanwhile, Alver’s work clearly belongs to a new era, in which the main task was not cultural enrichment, but, rather, the preservation of the Estonian language, even in translated texts. At the same time, all of the tendencies noted in Alver’s translation also correspond to unvoiced attitudes in the theory of Soviet translation that was forming at the time: a “smooth”, homogenised style – without linguistic experimentation and meant to be convenient for the receiving culture – replaced literalism, which had been branded as a manifestation of formalism in translation. Such an approach also suited with the Soviet view of Gorky, which detached the work of the “Soviet classic” from Modernist culture with its linguistic experiments in prose, expressionism and subjectivism.

Cookbooks can be interpreted as sites of exchange and transformation. This is not only due to their practical use as written instructions that assist in turning ingredients into dishes, but also to their significance as interconnecting mediums between teacher and student, perceiver and perceived, past and present. Hinging on inescapable notions of apprenticeship, occasion, and the passing of time—and being at once familiar and unfamiliar to both the reader and the writer—the recipe “as text” renders a specific brand of culinary uncanny. In outlining the function of cookbooks as chronicles of the everyday, Janet Theophano points out that they “are one of a variety of written forms, such as diaries and journals, that [people] have adapted to recount and enrich their lives […] blending raw ingredients into a new configuration” (122). The cookbook unveils the peculiar ability of the ephemeral “text” to find permanence and materiality through the embodied framework action and repetition. In view of its propensity to be read, evaluated, and reconfigured, the cookbook can be read as a manifestation of voice, a site of interpretation and communication between writer and reader which is defined not by static assessment, but by dynamic and often incongruous exchanges of emotions, mysteries, and riddles. Taking the in-between status of the cookbook as point of departure, this paper analyses the cookbook as a “living dead” entity, a revenant text bridging the gap between the ephemerality of the word and the tangibility of the physical action. Using Joanne Harris’s fictional treatment of the trans-generational cookbook in Five Quarters of the Orange (2001) as an evocative example, the cookbook is read as a site of “memory, mourning and melancholia” which is also inevitably connected—in its aesthetic, political and intellectual contexts—to the concept of “return.” The “dead” voice in the cookbook is resurrected through practice. Re-enacting instructions brings with it a sense of transformative exchange that, in both its conceptual and factual dimensions, recalls those uncanny structural principles that are the definitive characteristic of the Gothic. These find particular resonance, at least as far as cookbooks are concerned, in “a sense of the unspeakable” and a “correspondence between dreams, language, writing” (Castricano 13). Understanding the cookbook as a “Gothic text” unveils one of the most intriguing aspects of the recipe as a vault of knowledge and memory that, in an appropriately mysterious twist, can be connected to the literary framework of the uncanny through the theme of “live burial.” As an example of the written word, a cookbook is a text that “calls” to the reader; that call is not only sited in interpretation—as it can be arguably claimed for the majority of written texts—but it is also strongly linked to a sense of lived experience on the writer’s part. This connection between “presences” is particularly evident in examples of cookbooks belonging to what is known as “autobiographical cookbooks”, a specific genre of culinary writing where “recipes play an integral part in the revelation of the personal history” (Kelly 258). Known examples from this category include Alice B. Toklas’s famous Cook Book (1954) and, more recently, Nigel Slater’s Toast (2003). In the autobiographical cookbook, the food recipes are fully intertwined with the writer’s memories and experiences, so that the two things, as Kelly suggests, “could not be separated” (258). The writer of this type of cookbook is, one might venture to argue, always present, always “alive”, indistinguishable and indivisible from the experience of any recipe that is read and re-enacted. The culinary phantom—understood here as the “voice” of the writer and how it re-lives through the re-enacted recipe—functions as a literary revenant through the culturally prescribed readability of the recipes as a “transtextual” (Rashkin 45) piece. The term, put forward by Esther Rashkin, suggests a close relationship between written and “lived” narratives that is reliant on encrypted messages of haunting, memory, and spectrality (45). This fundamental concept—essential to grasp the status of cookbooks as a haunted text—helps us to understand the writer and instructor of recipes as “being there” without necessarily being present. The writers of cookbooks are phantomised in that their presence—recalling the materiality of action and motion—is buried alive in the pages of the cookbook. It remains tacit and unheard until it is resurrected through reading and recreating the recipe. Although this idea of “coming alive” finds resonance in virtually all forms of textual exchange, the phantomatic nature of the relationship between writer and reader finds its most tangible expression in the cookbook precisely because of the practical and “lived in” nature of the text itself. While all texts, Jacques Derrida suggests, call to us to inherit their knowledge through “secrecy” and choice, cookbooks are specifically bound to a dynamic injunction of response, where the reader transforms the written word into action, and, in so doing, revives the embodied nature of the recipe as much as it resurrects the ghostly presence of its writer (Spectres of Marx 158). As a textual medium housing kitchen phantoms, cookbooks designate “a place” that, as Derrida puts it, draws attention to the culinary manuscript’s ability to communicate a legacy that, although not “natural, transparent and univocal”, still calls for an “interpretation” whose textual choices form the basis of enigma, inhabitation, and haunting (Spectres of Marx 16). It is this mystery that animates the interaction between memory, ghostly figures and recipes in Five Quarters of the Orange. Whilst evoking Derrida’s understanding of the written texts as a site of secrecy, exchange and (one may argue) haunting, Harris simultaneously illustrates Kelly’s contention that the cookbook breaks the barriers between the seemingly common everyday and personal narratives. In the story, Framboise Dartigen—a mysterious woman in her sixties—returns to the village of her childhood in the Loire region of France. Here she rescues the old family farm from fifty years of abandonment and under the acquired identity of the veuve Simone, opens a local crêperie, serving simple, traditional dishes. Harris stresses how, upon her return to the village, Framboise brings with her resentment, shameful family secrets and, most importantly, her mother Mirabelle’s “album”: a strange hybrid of recipe book and diary, written during the German occupation of the Loire region in World War II. The recipe album was left to Framboise as an inheritance after her mother’s death: “She gave me the album, valueless, then, except for the thoughts and insights jotted in the margins alongside recipes and newspaper cuttings and herbal cures. Not a diary, precisely; there are no dates in the album, no precise order” (Harris 14). It soon becomes clear that Mirabelle had an extraordinary relationship with her recipe album, keeping it as a life transcript in which food preparation figures as a main focus of attention: “My mother marked the events in her life with recipes, dishes of her own invention or interpretations of old favourites. Food was her nostalgia, her celebration, its nurture and preparation the sole outlet for her creativity” (14). The album is described by Framboise as her mother’s only confidant, its pages the sole means of expression of events, thoughts and preoccupations. In this sense, the recipes contain knowledge of the past and, at the same time, come to represent a trans-temporal coordinate from which to begin understanding Mirabelle’s life and the social situations she experienced while writing the album. As the cookery album acts as a medium of self-representation for Mirabelle, Harris also gestures towards the idea that recipes offer an insight into a person that history may have otherwise forgotten. The culinary album in Five Quarters of the Orange establishes itself as a bonding element and a trans-temporal gateway through which an exchange ensues between mother and daughter. The etymological origin of the word “recipe” offers a further insight into the nature of the exchange. The word finds its root in the Latin word reciperere, meaning simultaneously “to give and to receive” (Floyd and Forster 6). Mirabelle’s recipes are not only the textual representation of the patterns and behaviours on which her life was based but, most importantly, position themselves in a process of an uncanny exchange. Acting as the surrogate of the long-passed Mirabelle, the album’s existence as a haunted culinary document ushers in the possibility of secrets and revelations, contradictions, and concealment. On numerous occasions, Framboise confesses that the translation of the recipe book was a task with which she did not want to engage. Forcing herself, she describes the reading as a personal “struggle” (276). Fearing what the book could reveal—literally, the recipes of a lifetime—she suspects that the album will demand a deep involvement with her mother’s existence: “I had avoided looking at the album, feeling absurdly at fault, a voyeuse, as if my mother might come in at any time and see me reading her strange secrets. Truth is, I didn’t want to know her secrets” (30). On the one hand, Framboise’s fear could be interpreted as apprehension at the prospect of unveiling unpleasant truths. On the other, she is reluctant to re-live her mother’s emotions, passions and anxieties, feeling they may actually be “sublimated into her recipes” (270). Framboise’s initial resistance to the secrets of the recipe book is quickly followed by an almost obsessive quest to “translate” the text: “I read through the album little by little during those lengthening nights. I deciphered the code [and] wrote down and cross-referenced everything by means of small cards, trying to put everything in sequence” (225). As Harris exposes Framboise’s personal struggle in unravelling Mirabelle’s individual history, the daughter’s hermeneutic excavation into the past is problematised by her mother’s strange style: “The language […] in which much of the album was written was alien to me, and after a few abortive attempts to decipher it, I abandoned the idea […] the mad scrawlings, poems, drawings and accounts […] were written with no apparent logic, no order that I could discover” (31). Only after a period of careful interpretation does Framboise understand the confused organisation of her mother’s culinary thoughts. Once the daughter has decoded the recipes, she is able to use them: “I began to make cakes [...] the brioche and pain d’épices of the region, as well as some [...] Breton specialties, packets of crêpes dentelle, fruit tarts and packs de sablés, biscuits, nutbread, cinnamon snaps [...] I used my mother’s old recipes” (22). As Framboise engages with her mother’s album, Mirabelle’s memory is celebrated in the act of reading, deciphering, and recreating the recipes. As a metaphorically buried collection waiting to be interpreted, the cookbook is the catalyst through which the memory of Mirabelle can be passed to her daughter and live on. Discussing the haunted nature of texts, Derrida suggests that once one interprets a text written by another, that text “comes back” and “lives on” (‘Roundtable on Translation’ 158). In this framework of return and exchange, the replication of the Mirabelle’s recipes, by her daughter Framboise, is the tangible expression of the mother’s life. As the collective history of wartime France and the memory of Mirabelle’s life are reaffirmed in the cookbook, the recipes allow Framboise to understand what is “staring [her] in the face”, and finally see “the reason for her [mother’s] actions and the terrible repercussions on [her] own” life (268). As the process of culinary translating takes place, it becomes clear that her deceased mother’s album conceals a legacy that goes beyond material possessions. Mirabelle “returns” through the cookbook and that return, in Jodey Castricano’s words, “acts as inheritance.” In the hauntingly autobiographical context of the culinary album, the mother’s phantom and the recipes become “inseparable” (29). Within the resistant and at times contradictory framework of the Gothic text, legacy is always passed on through a process of haunting which must be accepted in order to understand and decode the writing. This exchange becomes even more significant when cookbooks are concerned, since the intended engagement with the recipes is one of acceptance and response. When the cookbook “calls”, the reader is asked “to respond to an injunction” (Castricano 17). In this framework, Mirabelle’s album in Five Quarters of the Orange becomes the haunted channel through which the reader can communicate with her “ghost” or, to be more specific, her “spectral signature.” In these terms, the cookbook is a vector for reincarnation and haunting, while recipes themselves function as the vehicle for the parallel consciousness of culinary phantoms to find a status of reincarnated identification through their connection to a series of repeated gestures. The concept of “phantom” here is particularly useful in the understanding put forward by Nicholas Abraham and Maria Torok—and later developed by Derrida and Castricano—as “the buried speech of another”, the shadow of perception and experience that returns through the subject’s text (Castricano 11). In the framework of the culinary, the phantom returns in the cookbook through an interaction between the explicit or implied “I” of the recipe’s instructions, and the physical and psychological dimension of the “you” that finds lodging in the reader as re-enactor. In the cookbook, the intertextual relationship between the reader’s present and the writer’s past can be identified, as Rashkin claims, “in narratives organised by phantoms” (45). Indeed, as Framboise’s relationship with the recipe book is troubled by her mother’s spectral presence, it becomes apparent that even the writing of the text was a mysterious process. Mirabelle’s album, in places, offers “cryptic references” (14): moments that are impenetrable, indecipherable, enigmatic. This is a text written “with ghosts”: “the first page is given to my father’s death—the ribbon of his Légion d’Honneur pasted thickly to the paper beneath a blurry photograph and a neat recipe for buck-wheat pancakes—and carries a kind of gruesome humour. Under the picture my mother has pencilled 'Remember—dig up Jerusalem artichokes. Ha! Ha! Ha!'” (14). The writing of the recipe book is initiated by the death of Mirabelle’s husband, Yannick, and his passing is marked by her wish to eradicate from the garden the Jerusalem artichokes which, as it is revealed later, were his favourite food. According to culinary folklore, Jerusalem artichokes are meant to be highly “spermatogenic”, so their consumption can make men fertile (Amato 3). Their uprooting from Mirabelle’s garden, after the husband’s death, signifies the loss of male presence and reproductive function, as if Mirabelle herself were rejecting the symbol of Yannick’s control of the house. Her bittersweet, mocking comments at this disappearance—the insensitive “Ha! Ha! Ha!”—are indicative of Mirabelle’s desire to detach herself from the restraints of married life. Considering women’s traditional function as family cooks, her happiness at the lack of marital duties extends to the kitchen as much as to the bedroom. The destruction of Yannick’s artichokes is juxtaposed with a recipe for black-wheat pancakes which the family then “ate with everything” (15). It is at this point that Framboise recalls suddenly and with a sense of shock that her mother never mentioned her father after his death. It is as if a mixture of grief and trauma animate Mirabelle’s feeling towards her deceased husband. The only confirmation of Yannick’s existence persists in the pages of the cookbook through Mirabelle’s occasional use of the undecipherable “bilini-enverlini”, a language of “inverted syllables, reversed words, nonsense prefixes and suffices”: “Ini tnawini inoti plainexini [...] Minini toni nierus niohwbi inoti” (42). The cryptic language was, we are told, “invented” by Yannick, who used to “speak it all the time” (42). Yannick’s presence thus is inscribed in the album, which is thereby transformed into an evocative historical document. Although he disappears from his wife’s everyday life, Yannick’s ghost—to which the recipe book is almost dedicated on the initial page—remains and haunts the pages. The cryptic cookbook is thus also a “crypt.” In their recent, quasi-Gothic revision of classical psychoanalysis, Nicholas Abraham and Maria Torok write about the trauma of loss in relation to psychic crypts. In mourning a loved one, they argue, the individual can slip into melancholia by erecting what they call an “inner crypt.” In the psychological crypt, the dead—or, more precisely, the memory of the dead—can be hidden or introjectively “devoured”, metaphorically speaking, as a way of denying its demise. This form of introjection—understood here in clear connection to the Freudian concept of literally “consuming” one’s enemy—is interpreted as the “normal” progression through which the subject accepts the death of a loved one and slowly removes its memory from consciousness. However, when this process of detachment encounters resistance, a “crypt” is formed. The crypt maps, as Abraham and Torok claim, the psychological topography of “the untold and unsayable secret, the feeling unfelt, the pain denied” (21). In its locus of mystery and concealment, the crypt is haunted by the memory of the dead which, paradoxically, inhabits it as a “living-dead.” Through the crypt, the dead can “return” to disturb consciousness. In Five Quarters of the Orange, the encoded nature of Mirabelle’s recipes—emerging as such on multiple levels of interpretation—enables the memory of Yannick to “return” within the writing itself. In his preface to Abraham and Torok’s The Wolf-Man’s Magic Word, Derrida argues that the psychological crypt houses “the ghost that comes haunting out the Unconscious of the other” (‘Fors’ xxi). Mirabelle’s cookbook might therefore be read as an encrypted reincarnation of her husband’s ghostly memory. The recipe book functions as the encrypted passageway through which the dead re-join the living in a responsive cycle of exchange and experience. Writing, in this sense, re-creates the subject through the culinary framework and transforms the cookbook into a revenant text colonised by the living-dead. Abraham and Torok suggest that “reconstituted from the memories of words, scenes and affects, the objective correlative of loss is buried alive in the crypt” (130). With this idea in mind, it is possible to suggest that, among Mirabelle’s recipes, the Gothicised Yannick inhabits a culinary crypt. It is through his associations with both the written and the practical dimension food that he remains, to borrow Derrida’s words, a haunting presence that Mirabelle is “perfectly willing to keep alive” within the bounds of the culinary vault (‘Fors’ xxi). As far as the mourning crypt is concerned, the exchange of consciousness that is embedded in the text takes place by producing a level of experiential concealment, based on the overarching effect of Gothicised interiority. Derrida remarks that “the crypt from which the ghost comes back belongs to someone else” (‘Fors’ 119). This suggestion throws into sharp relief the ability of the cookbook as a haunted text to draw the reader into a process of consciousness transmission and reception that is always and necessarily a form of “living-dead” exchange. In these terms, the recipe itself—especially in its embodiment as instructed actions—needs to be understood as a vector for establishing the uncanny barriers of signification erected by the bounds of the cookbook itself as a haunted site of death, enchantment, and revenant signs. In this way, eating, a vital and animated activity, is “disturbingly blended with death, decomposition and the corpse” (Piatti-Farnell 146). And far from simply providing nourishment for the living, Mirabelle’s encrypted recipes continue to feed the dead through cycles of mourning and melancholia. Mirabelle’s cookbook, therefore, becomes a textual example of “cryptomimeses”, a writing practice that, echoing the convention of the Gothic framework, generates its ghostly effects through embodying the structures of remembrance and the dynamics of autobiographic deconstructive writing (Castricano 8). As heimliche and unheimliche collide in practices of culinary reading and writing, the cookbook acts as quasi-mystical, haunted space through which the uncanny frameworks of language and experience can become actualised. ReferencesAbraham, Nicolas, and Maria Torok, The Shell and the Kernel: Renewals of Psychoanalysis. Chicago: U of Chicago P, 1994. Amato, Joseph. The Great Jerusalem Artichoke Circus. Minneapolis: U of Minnesota P, 1993. Castricano, Jodey. Cryptomimesis: The Gothic and Jacques Derrida’s Ghost Writing. London: McGill-Queen’s UP, 2003. Derrida, Jacques. “Fors: the Anglish words of Nicolas Abraham and Maria Torok.” Eds. Nicholas Abraham, and Maria Torok. 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