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Journal articles on the topic 'Djuha'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

George, Grigore. "The Wise Fool Djuha – a Quick Sketch." International Journal of English Language and Translation Studies 02, no. 04 (2014): 99–103. https://doi.org/10.5281/zenodo.15947.

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This paper entitled The wise fool Djuha – a quick sketch presents the origin of the very known hero of Arabic folk literature, Djuha, the features of his personality, his travel to the all cultures of the world, his relation with another character, the Turk Nasreddin Hodja, and his adaptation to the problems of the contemporary world.

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2

Ricks, H. C., and Andrew Field. "Djuna Barnes." Contemporary Literature 26, no. 1 (1985): 114. http://dx.doi.org/10.2307/1208205.

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3

Neilen, Deirdre, Phillip Herring, and Djuna Barnes. "Djuna: The Life and Work of Djuna Barnes." World Literature Today 70, no. 3 (1996): 702. http://dx.doi.org/10.2307/40042215.

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4

Grace, Sherrill E. "DJUNA BARNES: INTERVIEWS." Resources for American Literary Study 16, no. 1 (1989): 164–69. http://dx.doi.org/10.2307/26366352.

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5

Grace, Sherrill E. "DJUNA BARNES: INTERVIEWS." Resources for American Literary Study 16, no. 1 (1989): 164–69. http://dx.doi.org/10.2307/resoamerlitestud.16.1.0164.

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6

Nishimura, Satoshi. "Djuna Barnes's NIGHTWOOD." Explicator 69, no. 4 (2011): 203–6. http://dx.doi.org/10.1080/00144940.2011.640924.

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7

Déjeux, Jean. "Djoha et la nâdira." Revue du monde musulman et de la Méditerranée 77, no. 1 (1995): 41–49. http://dx.doi.org/10.3406/remmm.1995.1710.

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8

Richardson, Laura K. "Djuna Barnes’ antihumanist reproduction." Textual Practice 34, no. 9 (2020): 1435–54. http://dx.doi.org/10.1080/0950236x.2020.1808299.

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9

Gutkin, Len. "Djuna Barnes'sNightwoodand Decadent Style." Literature Compass 11, no. 6 (2014): 337–46. http://dx.doi.org/10.1111/lic3.12142.

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10

Bornes-Varol, Marie-Christine. "Djoha juif dans l'Empire ottoman." Revue du monde musulman et de la Méditerranée 77, no. 1 (1995): 61–74. http://dx.doi.org/10.3406/remmm.1995.1712.

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11

Jackson, Celeste. "Parables in Djuna Barnes's NIGHTWOOD." Explicator 75, no. 3 (2017): 166–68. http://dx.doi.org/10.1080/00144940.2017.1346570.

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12

Whiting, Emma. "Djuna Barnes's ‘Poetics of Impropriety’." Women: A Cultural Review 22, no. 1 (2011): 98–100. http://dx.doi.org/10.1080/09574042.2011.542378.

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13

Kaup, Monika. "The Neobaroque in Djuna Barnes." Modernism/modernity 12, no. 1 (2005): 85–110. http://dx.doi.org/10.1353/mod.2005.0043.

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14

Fitch, Noel Riley, and Mary Lynn Broe. ""Lightning Bolts" for Djuna Barnes." Contemporary Literature 33, no. 1 (1992): 144. http://dx.doi.org/10.2307/1208378.

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15

NTINU, Prince MABWETA, Gaétan KALALA BOLOKANGO, Augustin NGOMBO NZOKWANI, Charlotte MAFUTA BLAISINE, and Marcel MUENGULA MANYI. "Facteurs influençant l’adoption des nouvelles variétés de maïs dans la Commune rurale de Djuma." IOSR Journal of Agriculture and Veterinary Science 18, no. 6 (2025): 15–23. https://doi.org/10.9790/2380-1806011523.

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La lutte contre les ennemis de culture est l’une des propriétés des producteurs dans les pays en voie de développement. Le Gouvernement de la République Démocratique du Congo a pris l’option de résoudre les problèmes de baisse de rendement de maïs dus aux attaques de ravageurs principalement la chenille légionnaire d’automne par l’utilisation des variétés résistantes distribuées par le Programme National de Développement agricole. Cette étude a pour objectif d’identifier les facteurs explicatifs de l’adoption des variétés améliorées de mais dans la commune rurale de Djuma. Pour y parvenir, une

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16

Djité, Paulin G. "The Spread of Dyula and Popular French in Côte d'Ivoire." Language Problems and Language Planning 12, no. 3 (1988): 213–25. http://dx.doi.org/10.1075/lplp.12.3.02dji.

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SOMMAIRE Le rayonnement du Dioula et du français populaire en Côte d'Ivoire: Son rapport à la politique linguistique Cet article montre, à travers une présentation de la situation sociolinguistique de la Côte d'Ivoire, que: (1) le Français Standard, en dépit de son statut de langue nationale et officielle et de son prestige, n'a pu s'établir comme une langue de masse et est menacé dans son rôle de moyen de communication majeur par deux lingua francas: le Dioula et le Français Populaire; (2) l'intégration socioeconomique minimale, le taux élevé des renvois scolaires, l'importance de l'exode rur

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17

Behling, Laura L. "The inconceivability of Djuna Barnes'sLadies Almanack." Women's Studies 28, no. 5 (1999): 503–25. http://dx.doi.org/10.1080/00497878.1999.9979275.

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18

Nimeiri, Ahmed. "Djuna Barnes'sNightwoodand “the Experience of America”." Critique: Studies in Contemporary Fiction 34, no. 2 (1993): 100–112. http://dx.doi.org/10.1080/00111619.1993.9935235.

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19

Freeman, E. "Sacra/mentality in Djuna Barnes's Nightwood." American Literature 86, no. 4 (2014): 737–65. http://dx.doi.org/10.1215/00029831-2811730.

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20

Petty, Leslie. "Queer Feminism in Djuna Barnes's Journalism." Legacy: A Journal of American Women Writers 40, no. 1-2 (2023): 134–59. http://dx.doi.org/10.1353/leg.2023.a917940.

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21

Thoden van Velzen, H. U. E. "The Gaan Gadu Cult Material Forces and the Social Production of Fantasy." Social Compass 32, no. 1 (1985): 93–109. http://dx.doi.org/10.1177/003776868503200107.

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Lorsqu'à la fin du siecle dernier la ruée vers l'or modifia les rapports de production au sein de la société Djuka au Suriname, un nouveau culte religieux fit son apparition. Et ce sont ceux qui contrôlaient le principal moyen de production de l'époque - le transport par bateau - qui s'avérèrent être les principaux défen seurs de ce nouveau culte: le Gaan Gadu.

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22

Vandenburg, Margaret. "Aryan Mundus and Sexual Inversion: Eliot's Edition of Nightwood." Prospects 23 (October 1998): 329–55. http://dx.doi.org/10.1017/s0361233300006372.

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Despite its notorious sexual politics, Djuna Barnes's Nightwood gained considerable literary respectability when T. S. Eliot endorsed the first American edition with his Introduction. The presiding dean of Modernist letters at Faber and Faber in London, Eliot could distinguish even obscure writers with a single stroke of his editorial pen. Though his decision to publish Djuna Barnes's wildly subversive Nightwood suggests that an antic disposition lurked beneath his studied propriety, he expurgated several of the manuscript's most transgressive episodes, thus diminishing the redemptive role of

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23

Herring, Scott. "Djuna Barnes and the Geriatric Avant-Garde." PMLA/Publications of the Modern Language Association of America 130, no. 1 (2015): 69–91. http://dx.doi.org/10.1632/pmla.2015.130.1.69.

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Though her publications were slight after she permanently moved to Greenwich Village, in New York City, in 1940, Djuna Barnes labored over scores of literary and nonliterary typescript drafts from the 1940s to the 1980s. This unpublished artwork constitutes a geriatric avant-garde that deepened her earlier investments in modernist aesthetics. Archived documents record the elderly writer performing the principles of high modernism—innovation, experimentalism, and novelty—across an unprecedented array of genres, such as the poem, the pharmacy order, the grocery list, the medicine regimen, the me

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24

Pajin, Dusan. "Sublime in the works of Djura Jaksic." Theoria, Beograd 63, no. 4 (2020): 159–73. http://dx.doi.org/10.2298/theo2004159p.

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Some artists related to romanticism - like Djura Jaksic - were able to create a number of valuable works, in spite of the unfavourable environment - not being welcome, or being ignored - in spite of personal handicaps, as being poor, or sick - they would continue to create until their last days, without compromising. So, on one side we see their vulnerability and being subject to strong emotions, and on the other side an ironlike creative determination, ready to sacrifice the person, and its physical and emotinal wellbeing, if that is the price for creating sublime and majestic art-works. His

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25

Shin. "Djuna Barnes, History's Elsewhere, and the Transgender." Journal of Modern Literature 37, no. 2 (2014): 20. http://dx.doi.org/10.2979/jmodelite.37.2.20.

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26

Musselman, Courtney. "Autobiographical Representations: Family in Djuna Barnes's NIGHTWOOD." Explicator 74, no. 2 (2016): 107–9. http://dx.doi.org/10.1080/00144940.2016.1171200.

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27

Nugent, Georgina. "Unfathered Connections: Samuel Beckett and Djuna Barnes." Journal of Beckett Studies 32, no. 1 (2023): 45–63. http://dx.doi.org/10.3366/jobs.2023.0388.

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This essay explores Beckett’s engagement with Djuna Barnes, starting with their epistolary exchanges in the 1970s and working back to his reading of her work in the 1930s in order to position Barnes as yet another modernist woman writer who, along with Gertrude Stein, facilitated Beckett’s transition away from Joyce in the 1930s. It explores their shared connection with James Joyce before developing on two key comparative critical readings of their aesthetics by Tyrus Miller and Daniela Caselli in order to situate Barnes as a valid aesthetic counterpoint to Joyce, a development on the ‘Nominal

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28

Pesic, Vladimir, Budimir Pavlovic, and Jelena Jovanovic-Simic. "The first pediatricians in Serbia." Srpski arhiv za celokupno lekarstvo 133, no. 1-2 (2005): 101–5. http://dx.doi.org/10.2298/sarh0502101p.

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Dr. Platon Papakostopulos (1864-1915), Dr. Milenko Materni (1875-1929), Dr. Milan Petrovic (1886-1963), Dr. Nadezda Stanojevic (1887-1979) and Dr. Djura Jovanovic (1892-1977) were founders of modern pediatrics in Serbia. They established and managed the first pediatric institutions: Hospital pediatric departments, Mother and Child Health Care Consultations and Child welfare clinics in Belgrade and Novi Sad. They also established Pediatric Section of the Serbian Medical Association and published numerous scientific and popular articles in pediatrics.

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29

Fitch, Noel Riley, and Mary Lynn Broe. "Silence and Power: A Reevaluation of Djuna Barnes." Tulsa Studies in Women's Literature 10, no. 2 (1991): 323. http://dx.doi.org/10.2307/464030.

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30

LARISA MCNEIL. "“Square Dance” and “Trans-Pacific Express” By DJUNA." Acta Koreana 18, no. 1 (2015): 265–91. http://dx.doi.org/10.18399/acta.2015.18.1.010.

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31

Hadj-Naceur, Malika. "Double je... et double jeu ou « djeha » revisité." Horizons Maghrébins - Le droit à la mémoire 37, no. 1 (1999): 47–51. http://dx.doi.org/10.3406/horma.1999.1730.

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32

Goodby, J. "Djuna Barnes As A Source For Dylan Thomas." Notes and Queries 58, no. 1 (2011): 127–30. http://dx.doi.org/10.1093/notesj/gjq217.

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33

Le-Guilcher, Lucy. "A Fashionable Pair: Djuna Barnes and Muriel Spark." Women: A Cultural Review 18, no. 3 (2007): 354–57. http://dx.doi.org/10.1080/09574040701612486.

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34

Scuriatti, Laura. "Book review: Improper Modernism: Djuna Barnes’s Bewildering Corpus." European Journal of Women's Studies 20, no. 2 (2013): 223–25. http://dx.doi.org/10.1177/1350506812472628b.

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35

Eisenhauer, Drew. "“Crazy Yourself!”: Eugene O’Neill’s Letters to Djuna Barnes (August 25, 1924, and Spring 1931)." Eugene O'Neill Review 45, no. 1 (2024): 1–12. http://dx.doi.org/10.5325/eugeoneirevi.45.1.0001.

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ABSTRACT An evaluation of the evolution of the relationship between Eugene O’Neill and Djuna Barnes based on two letters from O’Neill to Barnes (1924 and 1931). This article also touches on the little-known history of Barnes’s attempts to have two dramas, Ann Portuguise and Biography of Julie von Bartmann, produced by the Experimental Theatre, Inc. (O’Neill, Kenneth Macgowan, and Robert Edmond Jones). This group ran the Provincetown Playhouse after the demise of Jig Cook’s original Provincetown Players, with whom Barnes had previously staged three short plays.

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36

Sobczak, Izabela. "Ostępy języka. Modernistyczna proza Djuny Barnes w polskim tłumaczeniu." Krytyka przekładu i okolice, no. 42 (December 29, 2021): 160–79. http://dx.doi.org/10.4467/16891864pc.21.022.14333.

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Backwoods of Language. The Modernist Prose of Djuna Barnes in Polish Translation No sooner than after eighty years since the moment of the original publication of Djuna Barnes’s Nightwood was Polish literary market enriched by a translation of one of the most peculiar novels of the Euro-American modernism. Marcin Szuster’s translation under Polish title Ostępy nocy has already managed to earn much praise and also some prizes and open a first Polish discussion about the work of the eccentric American writer. The paper’s focus is to analyze the Polish translation of Nightwood with a special inte

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37

Nestorovic, Zorica. "Narrators and their stories." Prilozi za knjizevnost, jezik, istoriju i folklor 70, no. 1-4 (2004): 103–18. http://dx.doi.org/10.2298/pkjif0404103n.

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The paper deals with narrative techniques in Djura Jaksic's story One night that takes the exclusive place in narrative corpus of this great poet of Serbian romanticism as well as in Serbian prose in XIX century. The narrative technique known as skaz and the procedure of his shaping in the narrative structure are specially analyzed. The interpretation of narrative mechanisms expectation - realization, which was developed in the tradition of folk narrative, underlines the symbolic function of the elements from folklore legend in formatting the narrative structure and the narrator.

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38

Solares, Blanca. "Sobre el bosque de la noche de Djuna Barnes." Estudios: filosofía, historia, letras 8, no. 28 (1992): 78. http://dx.doi.org/10.5347/01856383.0028.000170819.

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39

Chanfrault, Bernard. "Jeha (Djoha) en Tunisie, de la tradition au modernisme." Revue du monde musulman et de la Méditerranée 77, no. 1 (1995): 51–59. http://dx.doi.org/10.3406/remmm.1995.1711.

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40

Smorul. "Of Marionettes, Boxers, and Suffragettes: Djuna Barnes's Performative Journalism." Journal of Modern Literature 39, no. 1 (2015): 55. http://dx.doi.org/10.2979/jmodelite.39.1.55.

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41

Whybrew, Simon Daniel. "Crisis-Ridden Heteronormativity and Homonormativity in Djuna Barnes's Nightwood." aspeers: emerging voices in american studies 7 (2014): 73–88. http://dx.doi.org/10.54465/aspeers.07-06.

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Nightwood transgresses and undermines binary conceptions of gender and with them the distinction between hetero- and homosexual relationships. I seek to determine whether the failure of the relationships in the novel can be viewed as a criticism of the heteronormative constraints that are shown to permeate both the heterosexual and the homosexual partnerships in the novel. Consequently, it is argued that the failure of these relationships signifies the failure of the underlying heteronormative structures. The novel reveals not only the constructed nature of this system but also the limiting an

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42

Martins, Susana S. "Gender Trouble and Lesbian Desire in Djuna Barnes's "Nightwood"." Frontiers: A Journal of Women Studies 20, no. 3 (1999): 108. http://dx.doi.org/10.2307/3347225.

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43

Goody, Alex. "Improper Modernism: Djuna Barnes's Bewildering Corpus (review)." Modernism/modernity 18, no. 2 (2011): 478–80. http://dx.doi.org/10.1353/mod.2011.0042.

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44

Davidson, M. "Pregnant Men: Modernism, Disability, and Biofuturity in Djuna Barnes." Novel: A Forum on Fiction 43, no. 2 (2010): 207–26. http://dx.doi.org/10.1215/00295132-2010-001.

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45

Parsons, Deborah L. "Women in the circus of modernity: Djuna Barnes andNightwood." Women: A Cultural Review 9, no. 3 (1998): 266–77. http://dx.doi.org/10.1080/09574049808578357.

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46

Hardie, Melissa Jane. "Repulsive Modernism: Djuna Barnes' The Book of Repulsive Women." Journal of Modern Literature 29, no. 1 (2006): 118–32. http://dx.doi.org/10.1353/jml.2006.0007.

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47

Hanrahan, Mairéad. "Djuna Barnes's Nightwood: the Cruci-Fiction of the Jew." Paragraph 24, no. 1 (2001): 32–49. http://dx.doi.org/10.3366/para.2001.24.1.32.

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48

Heise, Thomas. "Degenerate Sex and the City: Djuna Barnes’s Urban Underworld." Twentieth-Century Literature 55, no. 3 (2009): 287–321. http://dx.doi.org/10.1215/0041462x-2009-4004.

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49

Starck, Lindsay. "Djuna Barnes's Ladies Almanack and the Politicization of Gossip." MFS Modern Fiction Studies 65, no. 2 (2019): 239–63. http://dx.doi.org/10.1353/mfs.2019.0012.

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50

Allen, Carolyn. "The Erotics of Nora's Narrative in Djuna Barnes's "Nightwood"." Signs: Journal of Women in Culture and Society 19, no. 1 (1993): 177–200. http://dx.doi.org/10.1086/494866.

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