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Journal articles on the topic 'Literary quote'
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1
Chapman, Don. "To Quote or Not to Quote: Literary Quotations as Change from Above." Studia Anglica Posnaniensia 54, s1 (December 1, 2019): 267–85. http://dx.doi.org/10.2478/stap-2019-0013.
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AbstractPhrases deriving from literary quotations are sometimes included in language histories as contributions from famous writers, like Shakespeare. This paper will argue that the label “change from above” is still a useful label for the addition of literary phrases to the language, even if such an addition is not typical of the variationist changes for which the label was coined. This paper will also demonstrate that the process of incorporating a literary quotation into the language involves several alterations to the quotation’s form and meaning, and that these changes are also part of the “change from above” characterizing the adoption of literary phrases.
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Keyes, Ralph. "The Quote Verifier." Antioch Review 64, no. 2 (2006): 256. http://dx.doi.org/10.2307/4614974.
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Forni, Pier Massimo. "Forme innocue nel [French left quote]Decameron[French right quote]." MLN 104, no. 1 (January 1989): 39. http://dx.doi.org/10.2307/2904990.
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Lucente, Gregory L. "Response: [On Renzo's [French left quote]Baggianata,[French left quote]]." MLN 104, no. 1 (January 1989): 239. http://dx.doi.org/10.2307/2905004.
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Neville Morley. "Thucydides Quote Unquote." Arion: A Journal of Humanities and the Classics 20, no. 3 (2013): 9. http://dx.doi.org/10.2307/arion.20.3.0009.
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Motoh, Helena. "“The Master Said:”––Confucius as a Quote." Asian Studies 7, no. 2 (June 28, 2019): 287–300. http://dx.doi.org/10.4312/as.2019.7.2.287-300.
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The paper focuses on the phenomenon of quoting Confucius, the classical Chinese thinker of the Western Zhou Dynasty. Firstly, it approaches the core issue of quotes and historicity of the “master said” narrative which marked the tradition of quoting Confucius and understanding his heritage through the form of quotes. In the core part of the paper, a selection of ten quotes that most commonly circulate on the Internet are analysed and traced to their most probable sources, while the paper then concludes by approaching the problem of misquoting from a historical and philosophical point of view.
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Marchand, James W. "An Unidentified Latin Quote in "Piers Plowman"." Modern Philology 88, no. 4 (May 1991): 398–400. http://dx.doi.org/10.1086/391891.
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Driscoll, David F. "The Pleasures of Lyric in Plutarch’s Hierarchies of Taste." Mnemosyne 72, no. 5 (September 3, 2019): 803–26. http://dx.doi.org/10.1163/1568525x-12342566.
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AbstractIn his Quaestiones Convivales, a sympotic text recounting more than 75 purportedly historical banquets set in Rome and Greece, Plutarch represents intellectuals engaging with early lyric (melic, iambic, and elegiac poetry) as they express broader views about aesthetic taste. In contrast to Homeric poetry, which is commonly quoted by all characters in the symposium but proportionally more by lower-ranking participants, those who quote lyric appear to be exclusively individuals of higher status. The paper provides specific metrics that further illuminate this phenomenon, and it makes a number of suggestions regarding the relationship between literary taste and social status in Plutarch’s Quaestiones Convivales.
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Warzocha, Anna. "Cultural transgressions in contemporary literary texts for children." Podstawy Edukacji 14 (2021): 59–70. http://dx.doi.org/10.16926/pe.2021.14.05.
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Literature, also created with children in mind, to quote Kazimierz Brodziński, is a mirror of the age and the nation. Reacting to the change of cultural paradigm, it opens the borders, meets the current needs of the audience, adapts its repertoire to their interests and new narrative practices. Contemporary technological ubiquity generates an asymmetry of semiotic matter and communicative context, which realizes displacements in the area triad: culture-literature-media, thus triggering transgressions in literary texts. The questioning of the conventions of writing and printing causes modifications in the architectural structure of readings, which become on-linear, use the language of old and new media, and follow the example of audiovisual productions. The article highlights some of the transformations taking place in literature aimed at the on-adult reader in times of a culture that is changing anthropologically in spectacular and audiovisual way.
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Henry, Nathalie. "The Song of Songs and the Liturgy of the velatio in the Fourth Century: from Literary Metaphor to Liturgical Reality." Studies in Church History 35 (1999): 18–23. http://dx.doi.org/10.1017/s0424208400013930.
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Jerome and Ambrose often quote from the Song of Songs in their ascetic treatises. The writings of Ambrose on virginity contain no fewer than 130 quotations from or allusions to the poem. Jerome’s letter 22 to the young virgin Eustochium includes around thirty references to it. It seems paradoxical for the Fathers to use the erotic images of the Song of Songs to encourage young women to keep their virginity. How can we explain this phenomenon?Were the Fathers simply seduced by the nuptial images of the poem? If so, Ambrose and Jerome were not the first. Before them Methodius of Olympus and Athanasius had already applied the Song of Songs to virginal life: Methodius in his Symposium and Athanasius in his letters to virgins. Another possibility is that Ambrose and Jerome quote from the Song of Songs because the poem was used in the consecration of virgins in their day. This is the question which is discussed below.
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Elizarieva, Maria A., Marina A. Chigasheva, Boris Blahak, and Maria Yu Mikhina. "Intertextuality of Political Discourse in Germany (on the Example of “Political Ash Wedfnesday”)." Nauchnyi dialog, no. 7 (July 30, 2020): 76–90. http://dx.doi.org/10.24224/2227-1295-2020-7-76-90.
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The article is devoted to the role of intertext in public speeches of politicians of the Christian Social Union in Bavaria within the framework of the “political ash Wednesday”. On the example of the speeches of M. Söder, A. Scheuer and M. Blume in 2018, the relationship between the type of intertext and its pretext, on the one hand, and the speaker’s intention, on the other, was analyzed. As a result of the analysis of 23 intertextual inclusions, four intentions were revealed, among which (48 %) criticism of political opponents (SDPG, “The Greens”, AfD, “Free Voters”) prevails. Quotes from representatives of these parties, political slogans, a paraphrase of the name of the eco-movement and a quote from an artist are used to express it. As the intertextual analysis showed, to verbalize the second intention (appeal to authoritative opinion and emphasize the continuity of the party course), the former chairman of the CSU F. J. Strauss is cited, while the third intention (opposing Bavaria to the rest of Germany) is implemented using a quote from the Bavarian anthem, a paraphrase of a television commercial and quotations from a literary work. In addition, the authors found that the fourth intention (emphasizing the dialogic nature of communication with ordinary people) is found only in M. Söder’s speech in the form of a retelling of his dialogues with ordinary citizens.
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Fraser, Andrea. "“‘To quote,’ say the Kabyles, ‘is to bring back to life’”." October 101 (July 2002): 7–11. http://dx.doi.org/10.1162/octo.2002.101.1.7.
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Winarsih, Sri. "ANALYSIS OF FEELING IN JOHN KEATS’ AND KATE CHOPIN’S LITERARY WORKS." Musamus Journal of Language and Literature 1, no. 1 (October 31, 2018): 1–10. http://dx.doi.org/10.35724/mujolali.v1i1.1064.
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Some of the best literary works around the world are very good to learn, such as a poem “Ode on a Grecian Urn” by John Keats which is phenomenal by the quote “Beauty is truth, truth beauty”, and in prose, the work from Kate Chopin entitled The Awakening which is also phenomenal by the way the story ends. By using the theory of comparative literature, this study aims to describe the intense feeling of two different kinds of literary work by depicting their similarities and differences. The analysis shows that those works provide the description of different feeling delivered by each author. Keats presents the poetry in romantic mood, full of cheers and energy, although it serves momento mori. While Chopin presents the prose in elegiac or tragic mood. Those feeling are depicted throughout the way both authors represent the values of their works. Three values which are depicted in its similarities and differences are; 1) the meaning of death, 2) nature attribute, and 3) revealing truth. The feelings shown in the both literary works are basically about the reality of life. The beauty, the truth, the life, and the death are enclosed into the social life experienced by the people in the world.
Keywords: comparative literature, feeling, , values of literary works
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Bestebreurtje, F. P. "Oerchristendom en historische methode. De actualiteit van Franz Overbecks probleemstelling." NTT Journal for Theology and the Study of Religion 63, no. 1 (February 18, 2009): 37–50. http://dx.doi.org/10.5117/ntt2009.63.037.best.
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In current research, there is no clear definition of the notion of ‘Urchristentum’ (‘primitive Christianity’); its historical and theological-normative connotations are often confused. According to Franz Overbeck, ‘Urchristentum’ should be defined as the period in which the Christian believers did not distinguish between oral and literary Christian tradition. With Irenaeus such a distinction is given, as he is the first author known to quote Christian scripture as Scripture. Some methodological implications emerging from Overbeck’s definition are considered in order to set out an appropriate academic approach to ‘Urchristentum’.
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Kargól, Marta. "Referring to Regional Dress: Dutch Traditional Costumes as Recurring Inspiration for Contemporary Fashion Design." Załącznik Kulturoznawczy, no. 6 (2019): 231–46. http://dx.doi.org/10.21697/zk.2019.6.11.
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In this article, the author aims to classify and analyze the use of Dutch regional costumes as a source of inspiration by contemporary fashion designers. The strategies have been assigned the following concepts taken from literary (and cultural) studies: quote, allusion, paraphrase, pastiche and translation. The definitions of these concepts are used as tools for interpreting the ways in which Dutch regional costumes are made present by fashion designers in their outfits. The article discusses the role of distance and similarities between the source of inspiration and its interpretation in the contemporary fashion design.
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JOHNSON, LINCK. "EMERSON: AMERICA'S FIRST PUBLIC INTELLECTUAL?" Modern Intellectual History 2, no. 1 (April 2005): 135–51. http://dx.doi.org/10.1017/s1479244304000368.
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As most readers of this journal will already know, 2003 marked the bicentennial of Ralph Waldo Emerson's birth in Boston on May 25, 1803. The occasion did not generate quite the hoopla that characterized the celebration of the centennial of his birth; then, as Lawrence Buell notes in his own generous tribute to Emerson, children in Concord were let out of school for the day, and there were major celebrations both there and in Boston. To the chagrin of some of Emerson's admirers, the bicentennial passed without official recognition: as one complained on a website, “It's Emerson's 200th Birthday—and there's no postage stamp,” an important indicator of cultural currency in the United States. In 1967, for example, the Post Office issued a stamp to commemorate the mere 150th anniversary of the other most famous Transcendentalist, Henry Thoreau. Nonetheless, like Thoreau, Emerson retains a tenacious foothold in American popular culture, though he is probably known there primarily for the inspirational aphorisms—usually collected under headings such as “action,” “confidence,” and “conformity”—on websites with names like Brainy Quote and Wisdom Quotes. Despite challenges from both the left and the right, Emerson also remains a central figure in American literary and cultural history; and he has been the focus of sustained scholarly attention, especially since the so-called “Emerson Renaissance,” the resurgence of interest in his life and writings beginning around 1980.
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Schenkeveld, D. M. "The Philosopher Aquila." Classical Quarterly 41, no. 2 (December 1991): 490–95. http://dx.doi.org/10.1017/s0009838800004626.
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In his Ars grammatica Fl. Sosipater Charisius quotes long portions of text which he has taken over from books of other grammarians. One of these quotations starts at 246.18 (‘C. Iulius Romanus ita refert de adverbio sub titulo ϕορμν’) and continues up to 289.17. At 246.19–252.31 we find a long argument in which Romanus offers a sort of introduction to the theory of the adverb. This introduction is a surprise to modern readers because it is written in a very rhetorical manner. I mention this because otherwise one cannot understand why at 251.22ff. the author of a Latin treatise on grammar should quote from a Greek work on Aristotle's Categories by a certain Aquila.
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Sulaeman, Agus, Enawar Enawar, and Supyan Sori. "SLANG LANGUAGE IN THE NOVEL ANALOGY CINTA BERDUA BY DARA PRAYOGA." Journal of English Language and Literature (JELL) 6, no. 2 (September 4, 2021): 1–8. http://dx.doi.org/10.37110/jell.v6i2.130.
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The purpose of this study is to describe the slang contained in Novel literature ‘’Analogi Cinta Berdua” by Dara Prayoga’’ Language is a tool used by humans to communicate language in the form of sound symbols issued by human speech organs, Slang is contemporary or easy to disappear and is not permanent, therefore it is rare to find slang that is permanent and long used for a long period of time. The approach used is qualitative to analyze the novel using the content analysis method From the results of the study, it was found that the use of slang in the form of linguistic symbols such as. Yoi, sekarang gue punya pacar!” From these quotations, researchers can find out the use of slang. The quote is translated into Indonesian as "yes now I have a lover".“Emang punya duit lo, Ka? Anak kos aja”. From these quotations, researchers can find out the use of slang. The quote is translated into Indonesian as "Do you really have money, Sis? Just kiddos." “Yah, giliran kalah main PES aja kabur. Cupu!”. From these quotations, researchers can know the use of slang. The quote is translated into Indonesian as "Well, it's your turn to lose playing PES, just run away. Geek!” In literary works there are those who use slang as their writing, such as in youth novels, the language is more popular with readers because the language is easy to understand and use in everyday life.
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Ursulesku, Oana. "In Between the ‘Brows’: The Influx of Highbrow Literature into Popular Music." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 1 (June 20, 2016): 81–95. http://dx.doi.org/10.4312/elope.13.1.81-95.
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The global phenomenon of popular music from the middle of the twentieth century on played a pivotal role in the merging of what was traditionally deemed high and low cultures. Performers of popular music of different genres started including direct references to literary works from the Anglo-American literary canon, one of the most famous examples being Kate Bush’s 1989 single “The Sensual World,” in which she originally intended to quote verbatim from Molly Bloom’s soliloquy Bloom in James Joyce’s Ulysses; however, since permission from the Joyce Estate was not granted, the song did get recorded, but with lyrics that Bush wrote herself, inspired by Molly Bloom’s words on the page.This paper analyses the way ideas from the original literary work get transposed and adapted in the lyrics of the popular song, giving credit to the musicians as not only innovative creators of a new work of art, but creators of an adapted work of art that can be intertextually read in the context of the artist’s cultural heritage.
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Tamošiūnienė, Lora. "Translating Korean Nature. Translation Strategies in Lithuanian and English Literary Translation." Research in Language 18, no. 2 (June 30, 2020): 205–17. http://dx.doi.org/10.18778/1731-7533.18.2.05.
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World literatures today often impose a separation of narratives from their geographic and linguistic origins. Translated versions of literary texts that were created and received within local cultural contexts, when translated, enter new, foreign contexts. When translations into many other languages appear, a writer may expect many diverse valuations of one`s work. Literary texts in translation, in fact, are an inseparable from literary experiences for many readers and the study of translated texts has a long-standing tradition. The future of such texts may also lie in the emerging future reading - “distant reading” to quote Walkowitz` use of Moretti`s term. Among the strongest arguments in support of such reading is the possibility, through translated texts, to establish a more aesthetic distance towards the object of a fictional text in translation. Translation gives us as readers a new and different approach towards objects we fail to notice because of their familiarity. Nature scenes and objects may be included among such features of the narrative that could be more aesthetically appreciated in the translated versions. The paper compares translations of nature scenes and objects of Shin Kyung-Sook`s novel into English Please Look After Mom (2011) and into Lithuanian Prašau, pasirūpink mama (2019). The paper reveals the scope of translation strategies of domestication and foreignization through comparison of translation of nature scenes and items into Lithuanian and English.
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Zenit, Avisena Rifdah. "Karakterisasi Tokoh Utama Anime Sakurasou No Pet Na Kanojo." Janaru Saja : Jurnal Program Studi Sastra Jepang 6, no. 1 (May 31, 2017): 37–41. http://dx.doi.org/10.34010/js.v6i1.2148.
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Abstrak
Penelitin ini bertujuan untuk meneliti karakterisasi tokoh-tokoh dalam anime Sakurasou No Pet Na Kanojo karya Hajime Kamoshida. Menggunakan metode struktural dan teori karakterisasi. Sumber data yang digunakan merupakan kutipan yang menunjukkan karakter setiap tokoh dari 24 episode anime tersebut. Hasil dari penelitian ini berupa penjelasan karakterisasi dari setiap tokoh yang diteliti menggunakan metode-metode karakteriasi menurut ahli. Penjelasan karakter-karakter yang dimiliki setiap tokoh yang diteliti menggumanakn metode karakterisai secara langsung maupun tidak langsung. Melalui penelitian ini pun dapat disimpulkan bahwa amanat sebagai unsur intrinsik karya sastra dapat dimuat dalam karakter tokoh fiksi dan menjadikan karya sastra sebagai sarana pendidikan dan hiburan.
Kata Kunci : karakterisasi, anime, struktural, tokoh, sastra
Abstract
This study aimed to examine the characterization of characters in the Sakurasou No Pet Na Kanojo anime by Hajime Kamoshida. Using structural methods and characterization theory. The data source used is a quote that shows the character of each character from the 24 episodes of the anime. The result of this study in the form of an explanation of the characterization of each character studied using characterization methods according to expert. Explanation of the characters possessed by each character examined using the characterization method directly or indirectly. Through this research it can be concluded that the mandate as an intrinsic element of literary works can be contained in the characters of fictional characters and make literaty works as a means of education and entertainment.
Keywords : characterization, anime, structural, character, literary
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Bădulescu, Dana. "A ‘Palimpestuous’ Reading of Lisa Strøme’s The Strawberry Girl." University of Bucharest Review. Literary and Cultural Studies Series 10, no. 1 (October 5, 2021): 99–110. http://dx.doi.org/10.31178/ubr.10.1.8.
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This reading of Lisa Strømme’s debut novel The Strawberry Girl (2016) is informed by Gérard Genette’s approach to literature as ”hypertextual,” by which the literary theorist means that any text evokes “some other literary work” (Palimpsests: Literature in the Second Degree 9). To weave the story of how Munch painted the first version of his iconic Skrik (The Scream) at Åsgårdstrand, Strømme read Munch’s journals, newspaper archives, an old memoir by a local woman, Inger Alver Gløersen, whose stepfather was a friend of Munch’s, she explored Munch events and exhibitions, Munch’s paintings, and she had talks with local people. Aside from these non-literary sources, the writer referenced Goethe’s Faust, the legend of Peer Gynt, the Poetic Edda, Dostoevsky, and she prefaced each chapter of the novel with a quote from Goethe’s Theory of Colours. This kind of multi-layered writing lends itself to what Genette calls, using Philippe Lejeune’s coinage, “a palimpsestuous reading” (399) done by readers whose barthesque “jouissance” leads them into the temptation of loving “(at least) two [texts] together” (399), and, in this case, a lot more than two, and not just texts, but also the enthralling art of painting, in a synesthetic experience.
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Ortiz, María Salvadora. "La cita y la reminiscencia como formas de intertextualidad en El recurso del método de Alejo Carpentier." Revista de Filología y Lingüística de la Universidad de Costa Rica 15, no. 2 (August 31, 2015): 13. http://dx.doi.org/10.15517/rfl.v15i2.19212.
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En este artículo voy a explorar dos de los recursos literarios del discurso barroco: la cita y reminiscencias. Analizo estos dos recursos en la novela El recurso del método, por el autor cubano Alejo Carpantier. Teóricamente concibo el texto como una construcción dialógica del tipo propuesto por Severo Sarduy y Michael Bajtín.In this article I explore two of the literary resources of baroque discourse: the quote and reminiscences. I analyze these two resources in the novel El recurso del método, by Cuban author Alejo Carpantier. Theoretically I conceive of the text as a dialogic construction of the type proposed by Severo Sarduy and Michael Bakhtin.
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Wesseling, Ari. "Dutch Proverbs and Ancient Sources in Erasmus's Praise of Folly." Renaissance Quarterly 47, no. 2 (1994): 351–78. http://dx.doi.org/10.2307/2862917.
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Clarence Miller, the learned editor and commentator of Erasmus's Praise of Folly, made a challenging remark in a recent issue of Renaissance Quarterly. In discussing a collection of essays on the Moria and the Colloquies,he observes in conclusion that it is “very difficult to say much that is both new and true” about Erasmus's satire. With a view to the flood of secondary literature on the subject, his observation seems quite to the point.I shall illustrate a number of basic textual ingredients in the Moria whose origin has escaped the attention of Erasmus specialists, namely, Dutch proverbs and expressions. More than once it is Folly herself that suggests she is going to quote from the vernacular.
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Venediktova, Tatiana D. "Flowers for Louise Gluck, or On the Possible Uses of Poetic Pragmatism." Literature of the Americas, no. 10 (2021): 135–52. http://dx.doi.org/10.22455/2541-7894-2021-10-135-152.
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May not a “sorceress”/poet be “a pragmatist at heart” (Louise Gluck)? How does her “sorcery” — to quote the Nobel jury: using “poetic voice” to make “individual existence universal” — communicate and work in her readers? How may the notion of language as experience inherited from the pragmatist tradition inform literary pedagogy in the age of globalization? A sample of recent (December 2020) readings of Louise Gluck’s poems by Moscow University students is considered, including their judgments on the measure and scope of the poet’s “universality”. Slow motion, experiential reading inviting “disentrenchment” of the subject position is suggested as a useful alternative to text-centredness and insistence on the unique and holistic nature of the cultural context.
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Jennings, Karen. "Behind the wall in Kobus Moolman’s A Book of Rooms." Tydskrif vir Letterkunde 56, no. 2 (July 26, 2018): 21–27. http://dx.doi.org/10.17159/2309-9070/tvl.v.56i2.5330.
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Kobus Moolman prefaces A Book of Rooms with a quote by Georges Perec. The quote details the irrevocability of the past through memory. However, both Perec and Moolman not only recover memory, but are able to do so in great detail, specifically through thorough catalogic descriptions of spaces and objects that surround them in the domestic realm. Analysis of these catalogic descriptions forms the key component of this article. The structure of Moolman’s work, with different rooms used to demarcate different sections, and the significance of objects, further contribute towards his project of recovering the irrevocable. Comparison of Moolman’s project with that of Perec, with reference to Bachelard’s thoughts on the home, serves in the analysis of how the self is related to the concept of a house, with its many rooms in which are stored those things which contribute to an individual’s sense of identity. The generation of narrative via description and cataloguing of these various domestic objects and events is considered, with specific focus given to the ‘bed’ as it plays a significant role in the formation of the self and the recollection of memories.
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Carey, William B. "LITERARY QUOTES." Journal of Developmental & Behavioral Pediatrics 23, no. 3 (June 2002): 165. http://dx.doi.org/10.1097/00004703-200206000-00008.
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MacFadyen, Heather. "Lady Delacour's Library: Maria Edgeworth's Belinda and Fashionable Reading." Nineteenth-Century Literature 48, no. 4 (March 1, 1994): 423–39. http://dx.doi.org/10.2307/2933619.
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During the late-eighteenth and early-nineteenth centuries novel reading was persistently associated with women, and trope of female reading was generated that asserted that women's reading is an act of the body, not the mind. Maria Edgeworth frequently draws on this trope, but in her best-known domestic novel, Belinda (1801), she constructs two tropes: a disruptive trope of fashionable reading that the associates with Lady Delacour and a corrective trope of domestic reading that the associates with Belinda Portman. Both fashionable reading and female reading present women's reading as a breach of domestic femininity. While the typical female reader is marked by her excessive emotional and sexual but essentially private responses to texts, the fashionable reader is marked by her excessive public display of textual knowledge. As a fashionable reader, Lady Delacour indulges in highly public demonstrations of her literary skill in order to ensure the publicity upon which her status within a system of fashionability rests. Her ability to quote and to allude to a wide variety of texts provides her with a series of literary costumes that enable the adoption of nondomestic identities. The transformation of Lady Delacour from a fashionable women into a domestic woman, metonymically expressed in the cure of her apparent breast cancer, is effected by a change in her reading practices. Instrumental in Lady Delacour's cure is Belinda Portman, who gradually draws her away from the literary self-display toward the domestic literary practices.
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Janusz-Lorkowska, Monika. "„Lokomotywa” na nowych torach, czyli jak uwspółcześnia się Tuwima." Załącznik Kulturoznawczy, no. 6 (2019): 427–50. http://dx.doi.org/10.21697/zk.2019.6.22.
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The aim of this paper is an attempt to understand the provenance of various contemporary adaptations and interpretations of the poem Locomotive by Julian Tuwim. Selected and discussed examples of literary works based on Tuwim’s Locomotive deviate so much from the original that they are considered not in terms of adaptation or intersemiotic translation, but as inspiration, artistic creation and reinterpretation. One of the reasons for this approach to Tuwim’s legacy is the use of right to quote for artistic purposes guaranteed by Polish copyright law, which makes it possible to refer to someone’s work without an obligation to ask for authors’ or their inheritors’ permission. The article also briefly recalls the history of the poem Locomotive and basic interpretations of its original form.
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Liljegren, Lars. "A "Shocking" or a "Moving" Scene?" Educare - vetenskapliga skrifter, no. 3 (October 4, 2020): 77–108. http://dx.doi.org/10.24834/educare.2020.3.3.
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I argue that there needs to be a greater critical awareness in parts of the academic world as regards the use of literary translations published at a time of state censorship. Using the first English translations of August Strindberg’s Giftas (1884; 1886) and I havsbandet(1890) as a case in point, this paper demonstrates the extent to which translations of books whose content clashed with the British Obscene Publications Act 1857 deviated from their source texts, often on the very points that made the books and their authors famous. Although there are more recent and uncensored translations available today, the old and censored translations of “provocative” authors such as Strindberg, Zola and Flaubert often outnumber more recent ones on the market, sometimes under the guise of being “Scholar’s Choice” editions. I will demonstrate that several literary scholars quote and refer to censored translations, even to the censored passages themselves, and that some use them in academic courses focussing on the very aspects that were censored. I therefore suggest that it should be made mandatory for all courses dealing with translated literature to include critical discussions on the use of translations.
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Samarin, Aleksandr Yu. "“Against the Background of Pushkin”: S.I. Vavilov’s Speech at a Meeting at the Poet’s Monument in June 1949." Observatory of Culture 17, no. 5 (November 12, 2020): 550–59. http://dx.doi.org/10.25281/2072-3156-2020-17-5-550-559.
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The article introduces a previously unpublished speech of the outstanding Russian scientist-physicist, President of the USSR Academy of Sciences, academician Sergey Ivanovich Vavilov, which was delivered by him at the anniversary meeting held on June 5, 1949, at the monument to Alexander Pushkin in Moscow in connection with the celebration of the 150th anniversary of the great Russian poet’s birth. S.I. Vavilov was a great connoisseur of Pushkin’s poetry and literature about him. In the second half of the 1940s, Vavilov actively participated in projects to prepare the anniversary celebrations dedicated to Alexander Pushkin and perpetuate the memory of the poet. Analysis of S.I. Vavilov’s speech, which, unlike his other “Pushkin speeches”, was not intended for the press, shows that in evaluating the great poet’s work, along with the use of cliches, traditional for the epoch, the scientist also took certain liberties. In particular, he did not utter the ritual words praising Stalin, the Communist Party and the Soviet State. The poet Ya.P. Polonsky quoted by Vavilov was not among the classics recognized by Soviet literary criticism, and the selected quote from him could be interpreted as a hint of condemnation of the surrounding Stalinist reality. Numerous fragments of the scientist’s personal diaries indicate his critical attitude towards the latter, in particular.
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Schrager Lang, Amy, and Daniel Rosza Lang/Levitsky. ""Realists of a Larger Reality": On New Science Fiction." Monthly Review 67, no. 11 (April 5, 2016): 55. http://dx.doi.org/10.14452/mr-067-11-2016-04_5.
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<div class="quote-intro">Any human power can be resisted and changed by human beings.<p class="quote-intro-author">—Ursula K. Le Guin</p></div>Le Guin is undoubtedly right about resistance in the "real" world, but in reading, only some books offer a call to resistance and the possibilities of a new reality. Among the books considered here, some come to us as "literary fiction"; others are marked as belonging to another, historically denigrated, form, "science fiction" or "fantasy." This could be a distinction without a difference: two are near-future dystopian novels about corporate capitalism in the United States (both by well-established white authors); two are collections of near-future short stories that set out to critique the human powers that structure our world (written by both established and new voices, primarily writers of color). But the books that embrace rather than evade their status as science fiction or fantasy are the ones able to imagine the resistance and change that Le Guin invokes.<p class="mrlink"><p class="mrpurchaselink"><a href="http://monthlyreview.org/index/volume-67-number-11" title="Vol. 67, No. 11: April 2016" target="_self">Click here to purchase a PDF version of this article at the <em>Monthly Review</em> website.</a></p>
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Kershaw, Allan. "A sign of a new speaker in Plautus and Terence?" Classical Quarterly 45, no. 1 (May 1995): 249–50. http://dx.doi.org/10.1017/s0009838800041896.
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The phrase ei mihi is used fifteen times by Plautus. On all but one occasion these words introduce a new speaker. The single ‘exception’ is, I suggest, rather an error of transmission. I quote the line in context, Bac. 1171–4NIC. Ni abeas, quamquam tu bella es,malum tibi magnum dabo iam. BACCH. Patiar,non metuo, ne quid mihi doleatquod ferias. NIC. Ut blandiloquast!ei mihi, metuo. SOR. Hie magis tranquillust.1173 non – blandiloquast uno versu B 1174 SOROR B: B D
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Pascual, Esther, and Emilia Królak. "The ‘listen to characters thinking’ novel." Review of Cognitive Linguistics 16, no. 2 (November 5, 2018): 399–430. http://dx.doi.org/10.1075/rcl.00016.pas.
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Abstract This article explores direct speech involving fictive interaction, that is not functioning as an ordinary quote (e.g. “a look of ‘I told you so’”; Pascual, 2006, 2014). We specifically deal with its use as a literary strategy, in which different fictive speech constructions may serve to: (i) give access to characters’ mental worlds; (ii) show the relationships and non-verbal communication between characters; (iii) create new semantic categories; and (iv) produce such rhetorical effects as vividness or humor. Special emphasis is placed on a comparative analysis of the English fictive direct speech plus noun construction (e.g. “the ‘why bother?’ attitude”) with its translations into Polish and Spanish. We show that the construction proves a challenge to translators, since neither of these languages has an exact syntactic equivalent. This study is based on an extensive and heterogeneous database that includes 30 bestselling novels from different genres, published between 1935 and 2013.
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Classen, Albrecht. "Medieval and Early Modern Murder: Legal, Literary and Historical Contexts, ed. Larissa Tracy. Woodbridge: The Boydell Press, 2018, xiv, 486 pp., 3 b/w ill." Mediaevistik 31, no. 1 (January 1, 2018): 294–95. http://dx.doi.org/10.3726/med012018_294.
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This volume treats one of the worst crimes people can commit, murder, as it was perceived and evaluated in the Middle Ages and the early modern age. Originally conceived in 2013, the project then grew out of a number of scholarly events organized by Larissa Tracy. While much work has already been done on violence in the Middle Ages, murder in its specific legal and cultural connotations certainly deserves particular and further attention, although crime and punishment have also been addressed even quite recently (Crime and Punishment in the Middle Ages and Early Modern Age, ed. A. Classen and Connie Scarborough, 2012; here not consulted). Crime constitutes a legal case, and should be studied first of all through the lens of legal history, which is the case here in the first section of papers. But it remains unclear how the entire volume really intends to embed the deed within the legal discourse, although Tracy refers to some major law books (leaving out others, again, such as Eike von Repgow’s famous Sachsenspiegel, ca. 1225/1230). The discourse on crime at large, and on murder in specific allows us to understand any society throughout time because murder has been a universal phenomenon. Would it hence make sense to quote Michel Foucault (Discipline and Punish, here in the trans. by Alan Sheridan, 1995), who had only a vague idea about the Middle Ages and claimed that the legal system as we know it today emerged only in the early modern age (6)? Tracy uses him as a fig <?page nr="295"?>leaf and quickly turns away from him because early medieval societies knew already of extensive legal codes, some of which are here taken into consideration by individual contributors.
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Pothecary, Sarah. ""The Chambers of the Dead and the Gates of Darkness": A Glimmer of Political Criticism in Strabo's Geography (Strabo 14.5.4, 670 C, ll. 22-3, ed. Radt)." Mnemosyne 62, no. 2 (2009): 206–20. http://dx.doi.org/10.1163/156852508x321149.
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AbstractThe prosecution of Caepio and Murena was a politically unpopular event from the early years of Augustus' reign. Strabo refers to the matter using a 'quoted quote' from Euripides. I look at possible conclusions to be drawn from Strabo's indirect way of handling his subject matter. I review the evidence for the date of the prosecution of Caepio and Murena. A bitter scholarly debate has led to the rejection of an early 23 BCE date. This legitimate rejection has resulted in a reaction against any date in 23 BCE. I suggest a date late in 23 BCE. A late 23 BCE date has implications for the trial of Primus, which immediately preceded Murena's own trial. I trace a possible connection between Murena's defence of Primus and his own subsequent prosecution for conspiracy. Whatever lay behind Murena's prosecution and death, his treatment shocked contemporaries so much that even the normally pro-Augustan Strabo feels compelled to register his criticism, albeit in an indirect way.
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Geertz, Armin. "Ethnohermeneutics in a postmodern world." Scripta Instituti Donneriani Aboensis 17, no. 1 (January 1, 1999): 73–86. http://dx.doi.org/10.30674/scripta.67244.
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During the last three decades a growing amount of literature has accumulated that, to quote from the title of a recent collection of essays, can aptly be summed up with the words: The Empire Writes Back. This literature addresses Western literature and science and definitively rejects much of that literature and its stereotypes. It shows how power is at the center of Western literature, and it therefore addresses issues of hegemony, language, place and displacement, racism and sexism, and it attempts to address a common post-colonial theory. This critical literature, sometimes extreme but usually insightful, coincided with the postmodern crisis in ethnography and other cultural sciences that have also assimilated literary theory. Some of the greatest philosophers, sociologists, psychologists, historians, and cultural scientists are either ignorant of world history or adamantly ethnocentric. Ethnohermeneutics is an appeal to professionalism in dealing with these cultures, especially in requiring the basics of the study of any other religion, namely, historical insight, linguistic knowledge.
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Mihet, Marius. "Revisiting the avant-gardes." Swedish Journal of Romanian Studies 2, no. 1 (May 16, 2019): 192–95. http://dx.doi.org/10.35824/sjrs.v2i1.18845.
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The tome written by Paul Cernat, a known specialist of the avant-gardes, analyzes the anatomy and human blueprints set out by the Romanian and European avant-gardes found under the immediate influence of the symbolic year of 1933. The “amphibian” nature of these radicalisms is characteristic for an entire process of modernization. That is why Paul Cernat critically revisits all of the marquee and obscure cases, offering us a critical panoramic view that invites novel re-assessments. The studies are written using a blend of tools you might see a literary historian and a portraitist wield in their work, a blend that lets shine truly special expressive abilities, and qualities in terms of synthesis. Whether tackling famous names, household figures from around the world – such as Ionescu and Blecher – or discussing the work of more provincial or minor writers, the author withholds from us no memorable quote. An essential study for those interested in the phenomenon of the Romanian avant-garde.
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Artico, Tancredi. "Danese Cataneo, «felicissimo spirito» nelle carte tassiane. L’Amor di Marfisa e la Gerusalemme liberata." Italianistica Debreceniensis 23 (December 1, 2017): 8–20. http://dx.doi.org/10.34102/italdeb/2017/4633.
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Published in 1562, Danese Cataneo’s epic-chivalric poem Amor di Marfisa had a wide but undervalued influence in Torquato Tasso’s masterpiece, Gerusalemme liberata. In this short essay I’ll provide the necessary evidences to demonstrate the existence of a deep connection between those two poems, and establish how it is organized. In particular, Cataneo’s literary legacy, which is underlined by a long list of quote, is strongly perceptible for what concerns the expression of feelings and thoughts. Amor di Marfisa, in this regard, gives to the young Tasso an unusual example of epic poem interested in characters’ psychology: aspects such as the self-analysis and the fragmentation of the ego are underrated in Ariosto’s Orlando furioso and all the other Italian poems in ottava rima, whereas they are fundamental in Cataneo’s poem. More than just an example, it represents for Tasso a training ground and a mine, where he founds themes and lexicon that later will be used in Gerusalemme liberata.
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Putnam, Michael C. J. "Virgil and Tacitus, Ann. 1.10." Classical Quarterly 39, no. 2 (December 1989): 563–64. http://dx.doi.org/10.1017/s0009838800037642.
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Among the insinuations that Tacitus bequeaths to posterity in the negative segment of his post mortem of Augustus (Ann. 1.10) is the emperor's putative role as machinator doli in the death of the consul Hirtius during the fighting at Mutina in the spring of 43. The historian is thinking of a focal moment in the Aeneid when Sinon releases his fellow Greeks from within the wooden horse. I quote Aen. 2.264–7. Among the heroes who descend from the animal's belly are Ulixes, Neoptolemuset Menelaus et ipse doli fabricator Epeos.invadunt urbem somno vinoque sepultam;caeduntur vigiles, portisque patentibus omnisaccipiunt socios atque agmina conscia iungunt.
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Sdobnova, Yulia N., and Аlla О. Manuhina. "From the history of one quote… (The role of the French language in the international arena in the XVI century: diachronic aspect)." Philological Sciences. Scientific Essays of Higher Education, no. 5 (September 2020): 18–24. http://dx.doi.org/10.20339/phs.5-20.018.
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The article is devoted to analyzing the role of the French language in the European society of the XVI century, when la langue francoyse becomes the common language of the communication to both in the field of the official correspondence and in the literature. The research is conducted in the diachronic aspect, concerning different extralinguistic factors (political, ideological, historical and cultural). The origins of this phenomenon are considered: for example, since the XI century, French language was the official language of the court of England and the aristocracy, and then became the working language of the court (le français du loi) and Parliament (the so-called Norman French). Gradually, the tendency to use French as a means of communication between the king and his entourage became the norm of court etiquette in Europe. The XVI century is not only the period of active formation of the French language as the national literary language of France, but also the time of its distribution in Europe as the language of diplomacy, international business and cultural communication of the European elite. The work shows how, due to the compositions of encyclopedic scientists, the work of Francophone teachers outside of France, and the popularization of the French language by translators-humanists (who served at the court of the king François I and his descendants), la langue francoyse consolidated its position in the international arena in the XVI century. At the same time, with the spread of translations into French from the ancient languages (Latin, ancient Greek) the interest of the secular elite of France increases to the past of Europe. And the translations into French from the “living” languages (Italian and Spanish) contributed to the interest to the current problems of modern European literature, as well as history, politics and culture, which was typical for the Renaissance. The article deals with the special attitude of the Renaissance to the French language through the prism of the language worldview of that epoch.
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Katalin, Dér. "Vidularia: Outlines Of A Reconstruction." Classical Quarterly 37, no. 2 (December 1987): 432–43. http://dx.doi.org/10.1017/s0009838800030627.
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The last play of the Varronian canon, Vidularia, is transmitted to us through two different channels. Some pages of it survive in the Codex Ambrosianus, containing the prologue and a couple of scenes from the beginning of the play. On the other hand grammarians quote fragments of a few lines out of context, as examples of idiosyncratic Latin syntax and morphology. From the combination of these two disparate sources classical scholars have reconstructed a Vidularia that is parallel to Rudens on all major points. The plot is not very different, and on the whole the consensus philologorum is correctly summed up by the Terentian sentence of Leo: qui utramve recte novit, ambas noverit (p. 10).
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Kasner, Małgorzata. ""Z życia zostaje co?..." Prof. dr hab. Algis Kalėda (2.10.1952 – 11.05.2017)." Acta Baltico-Slavica 42 (December 31, 2018): 288–96. http://dx.doi.org/10.11649/abs.2018.014.
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“What remains of life?...”Prof. Dr hab. Algis Kalėda (2.10.1952 – 11.05.2017)This article is devoted to Professor Algis Kalėda, a renowned Lithuanian literary scholar, specialist in Polish literature and Lithuanian comparative literary studies, and a prominent translator of Polish literature. Over the years he worked at scholarly institutions in Lithuania (including the Institute of Lithuanian Literature and Folklore, Vilnius University Centre of Polish Studies, Vilnius Pedagogical Institute) and Poland (including Warsaw University, Jagiellonian University, Adam Mickiewicz University in Poznań). He collaborated with leading researchers from all over the world. Professor Kalėda left us the great legacy of his scholarly works and literary translations (from such authors as Czesław Miłosz, Wisława Szymborska and Stanisław Lem). The title of the article, “What remains of life?...”, is a quote from Czesław Miłosz’s poem “Notatnik: Bon nad Lemanem”, translated into English by George (György) Gömöri and Clive Wilmer: “From a notebook: Bon on Lake Geneva”, Poetry Nation Review 9, Vol. 6 No. 1, September–October 1979, https://www.pnreview.co.uk/cgi-bin/scribe?item_id=6270 Z życia zostaje co?...Prof. dr hab. Algis Kalėda (2.10.1952 – 11.05.2017)Artykuł został poświęcony pamięci Profesora Algisa Kalėdy – wybitnego litewskiego badacza: polonisty i lituanisty, komparatysty, tłumacza, w pierwszą rocznicę śmierci. Profesor Algis Kalėda przez długie lata był związany z litewskimi (m.in. wileńskim Instytutem Literatury Litewskiej i Folkloru, Centrum Polonistycznym Uniwersytetu Wileńskiego, Wileńskim Instytutem Pedagogicznym) i polskimi instytucjami naukowymi (Uniwersytetem Warszawskim i tamtejszą lituanistyką, Uniwersytetem Jagiellońskim, Uniwersytetem im. Adama Mickiewicza w Poznaniu). Współpracował z wybitnymi naukowcami z całego świata. Profesor Algis Kalėda pozostawił wybitną spuściznę badawczą oraz znakomite przekłady literatury polskiej na język litewski (m.in. Czesława Miłosza, Wisławy Szymborskiej, Stanisława Lema). Tytuł artykułu Z życia zostaje co?... jest cytatem z wiersza Czesława Miłosza Notatnik: Bon nad Lemanem (Brzegi Lemanu).
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Benit, Moran. "In the Footsteps of the Absent Father: The Protagonist as a Writing Subject in the Work of Ronit Matalon." IYUNIM Multidisciplinary Studies in Israeli and Modern Jewish Society 36 (December 25, 2021): 97–122. http://dx.doi.org/10.51854/bguy-36a125.
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The article addresses the literary development of the young female protagonist in Ronit Matalon’s early writing, and the character’s relationship with her absent father. Despite the prevalence of this theme, little research has been dedicated to the father-daughter relationship in Matalon’s work and its influence on the daughter’s decision to become a writer. The article examines this theme in Matalon’s young adult novel, A Story that Begins with a Snake’s Funeral (1989). My main argument here is that the father-daughter relationship in Matalon’s work is central to the construction of the daughter’s ’decision to write‘, and points to the issue of inter-generational accountability, in which the daughter is entitled to an inheritance from her father despite her critical view of him. As I will show in my reading of the novel, the fictional representation of this relationship bears an autobiographical imprint, particularly in light of Matalon’s choice to quote her father, Felix Matalon, and to lend his voice to the father figure in her writing. As part of the exploration of this theme, which consists of both fictional and autobiographical aspects, I suggest that the heroine’s efforts to place her absent father in the context of her life and to cope with his absence through her writing point to Matalon’s own efforts to deal with her father’s legacy by writing about him and giving him a place in the Israeli literary canon, while maintaining a critical attitude towards him.
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OUYANG, WEN-CHIN. "Fictive Mode, ‘Journey to the West’, and Transformation of Space: ‘Ali Mubarak’s Discourses of Modernization." Comparative Critical Studies 4, no. 3 (October 2007): 331–58. http://dx.doi.org/10.3366/e1744185408000062.
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I begin my exploration of ‘Ali Mubarak (1823/4–1893) and the discourses on modernization ‘performed’ in his only attempt at fiction, ‘Alam al-Din (The Sign of Religion, 1882), with a quote from Guy Davenport because it elegantly sums up a key theoretical principle underpinning any discussion of cultural transformation and, more particularly, of modernization. Locating ‘Ali Mubarak and his only fictional work at the juncture of the transformation from the ‘traditional’ to the ‘modern’ in the recent history of Arab culture and of Arabic narrative, I find Davenport's pronouncement tantalizingly appropriate. He not only places the stakes of history and geography in one another, but simultaneously opens up the imagination to the combined forces of time and space that stand behind these two distinct yet related disciplines.
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Kaźmierczak, Marta. "Wieża Babel czy wieża z kości słoniowej? Recepcja przekładoznawstwa zachodniego w rosyjskojęzycznej nauce o przekładzie – próba rozpoznania." Przekładaniec, no. 41 (2020): 7–49. http://dx.doi.org/10.4467/16891864pc.21.001.13583.
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The Tower of Babel or Ivory Tower? The Reception of Western Translation Research in Russian-language Translation Studies – a Reconnaissance The aim of this paper is to survey what texts and authors representing Western translation studies have been translated into Russian over the last seven decades and to describe the dynamics of the emergence of these translations as well as possible agendas behind the choices. It also traces, on a partial corpus, to what extent Russian translation scholars tend to cite and quote Western ones. The findings lead to a tentative conclusion that so far TS knowledge has been transferred mainly by unfrequent references to original publications and by way of mediated accounts (reviews, textbook summaries), while translations of particular studies have only recently begun appearing on a wider scale, their impact as yet uncertain.
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Al Hakim, Muhammad Hanif, and Azhar Alam. "Semantic Analysis of the Term Fitna in the Qur'an." AL QUDS : Jurnal Studi Alquran dan Hadis 3, no. 1 (May 27, 2019): 71. http://dx.doi.org/10.29240/alquds.v3i1.720.
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Some Muslim groups often quote the Qur'anic verse Chapter Al-Baqarah 191 which shows the meaning of al-fitnatu asyadd min al-qatl. Based on that verse, they encourage every member of the Muslim community not to cast slander to other Muslims because slander is worse than killing. The meaning of the term slander is still ambiguous and this article tries to explore its nuances. By using a qualitative approach and semantic analysis method, this study tries to describe various interpretations of slander from several prominent literary sources. This study aims to uncover the bulk of meanings of the word fitna as well to balance and to improve the narrow understanding of slander. This study found that the scope of meaning for the word fitna, includes words such as accusations, calamities, conflicts and disputes, which all have one purpose, i.e. efforts to find out which Muslims are good and which Muslims are bad. Fitna unexpectedly can befall us in various forms. Just like education tests, examinees or Muslims who are facing defamation must know how to overcome them.
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Allington, Daniel. "‘Power to the reader’ or ‘degradation of literary taste’? Professional critics and Amazon customers as reviewers of The Inheritance of Loss." Language and Literature: International Journal of Stylistics 25, no. 3 (August 2016): 254–78. http://dx.doi.org/10.1177/0963947016652789.
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The Inheritance of Loss by Kiran Desai (2006) was critically lauded, gaining many positive periodical reviews and winning both the Man Booker Prize and the National Book Critics Circle Award for Fiction. However, it has received mixed reviews from customers of the online retail giant, Amazon: an arguable expression of the challenge that digital consumerism presents to literature’s longstanding claim to autonomy from the market. In order to understand the relationship between the book’s professional and customer reviews, a collection comprising both was constructed. Qualitative analysis of these reviews was followed by the use of thematic coding to compare sub-collections divided by means of publication and by geographical location, with social network graphs being used to represent similarities between reviews and graph density being employed as a measure of overall similarity. No distinctions were found between reviews when grouped according to geographical location. However, the novel’s professionally published reviews were found to be a more homogeneous group than its Amazon customer reviews, and to be more likely to recommend the novel and to praise it for its humour and its narrative, while customer reviews were found to be more likely to criticise it for its characters, and less likely to quote it or to discuss its political themes. It is argued that this is because the book was produced to satisfy the expectations of a ‘literary’ rather than a ‘popular’ audience, where professional book reviewers represent the former almost by definition.
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Fedorov, Alexey V. "“He tolerated everything in himself...”: The personality and poetry of V.A. Zhukovsky." Literature at School, no. 2, 2020 (2020): 9–25. http://dx.doi.org/10.31862/0130-3414-2020-2-9-25.
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The article offers an understanding of the life and creative path of V.A. Zhukovsky, his role in the development of the Russian literature of the first half of the XIX century. The general review of Zhukovsky’s poetic heritage, characteristic of the main genres and literary directions are combined with the analysis of some works that are most important for understanding the creative specificity of the poet. When considering the biography, a wide range of memoir material is involved, journal articles of the time are used; the critics’ statements as well as the modern literary scholars’ observations help to understand more precisely and fully the uniqueness of the place occupied by V.A. Zhukovsky in the Russian literature of the “Golden age”. The general methodological direction of reflections on the phenomenon of Zhukovsky, figuratively expressed in the title (quote from F.I. Tyutchev’s poem “In memory of V.A. Zhukovsky”), can be considered a statement about the harmonious nature of the creative talent of the poet, his high moral qualities and genuine Christian faith, which could not but affect the works, always imbued with the ideal, organically combining the aesthetic perfection and educational value. Opening the poems of Zhukovsky, the first Russian romantic poet, genial translator, mentor of the future Emperor, author of the words of the hymn «God save the Tsar», friend and poetic teacher of Pushkin, educator, guardian genius, we let into our soul the silence and light that gives us strength to resist everyday thunderstorms, reminds us of eternity.
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Feldman, Yael S. "“A People that Dwells Alone”?" AJS Review 28, no. 1 (April 2004): 83–103. http://dx.doi.org/10.1017/s0364009404000066.
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No Hebrew reader, at least no reader with some Hebraic literacy, would be able to ignore the strong national resonance of the biblical phrases that Amalia Kahana-Carmon—one of Israel's foremost writers, the recipient of the 2000 Israel Prize—inserted into the masterful opening of the title novella of her 1984 triptych, Up on Montifer. Indeed, the evocative power of these intertexts is inescapable. “עAm levadad yishkon,” a verbatim quote from Balaam's prophecy (Numbers 23:9), is one of the sources for the construction of the Israelite and Jewish national identity, connoting uniqueness, exclusivity, and chosenness. The slightly veiled phrases “עover(et) lifnei hamaḥaneh” and “hanshei ḥalutz kovshim” add allusions to the foundational myth of the conquest of Canaan. In fact, they invoke the story of the tribes Gad and Reuben (Numbers 32), whose role as vanguard, crossing the Jordan before the rest of the Israelites (actually, “before the Lord,” as the biblical text insists), no doubt stands behind the modern Zionist use of the biblical term ḥalutz (vanguard) as “pioneer.”