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1
Gilroy, James P., and Richard Teleky. "The Oxford Book of French-Canadian Short Stories." Rocky Mountain Review of Language and Literature 39, no. 2 (1985): 164. http://dx.doi.org/10.2307/1347343.
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Mezei, Kathy, and Richard Teleky. "The Oxford Book of French-Canadian Short Stories." Yearbook of English Studies 15 (1985): 253. http://dx.doi.org/10.2307/3508558.
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Semenchenko, Iurii I. "THE VOICE PHENOMENON IN BECKETT’S FRENCH-LANGUAGE SHORT STORIES." Вестник Пермского университета. Российская и зарубежная филология 12, no. 4 (2020): 128–35. http://dx.doi.org/10.17072/2073-6681-2020-4-128-135.
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The article deals with the specific features of the voice phenomenon representation and the peculiarities of its functioning in French-language short stories written by Beckett, namely in Premier amour (First Love), Le calmant (The Calmative) and Au loin un oiseau. The abovementioned texts allow us, on the one hand, to demonstrate the genesis of the writer’s artistic and aesthetic principles of representing the studied phenomenon, which were later reflected in theatrical, radio and television plays, and, on the other hand, – to shed light on the specificity of the literary world of these texts. The research conducted allows us to conclude that in all the analyzed texts the voice is captured in different forms of representation and has a varying (from text to text) functionality. In Premier amour, there is a feminine voice asking to restore the corporeality and individuality of its origin. However, the stamp of convulsiveness in the heroine’s voice paradoxically has its source not in the corporeal but in the ideal. In Le calmant, the protagonist’s feebleness, expressed by the signs of his corporeal conditions, is doubled by his aphony, which thus transcends one of the most important motifs for Beckett’s writing – that of human weakness. This motif also reveals here another shade of meaning – weakness as a ‘respite’ from the suffering which human existence bears. Finally, in Au loin un oiseau we see a ventriloquist character. Due to the ‘I’ living inside, the ‘He’ is becoming similar to ventriloquists. Unlike them, however, his speaking capacity is under control of the narrator.
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M, Saratha, and Selvakumaran S. "Prabhanjan will narrates short stories Puduvai Tamil status of during the French rule." International Research Journal of Tamil 3, no. 4 (September 17, 2021): 135–39. http://dx.doi.org/10.34256/irjt21417.
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This Article, The Position of The Tamils of Pondicherry during the French rule, which deals with the short stories of Vishwasan, who is one of the most important tamil short story creators, is based on the short stories of The Cycle, Security, Brother Oro and Business of The Universe. It also examines the difficulties faced by the inequalities of caste and religion and the racist activities of the French rulers, especially when Pondicherry was under the control of the French in the 16th and 19th centuries. This article also deals with the tragic history of the exile of tamil people by using their ignorance and poverty to foreign countries for tea plantation industries.
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Badenas Roig, Sonia Rut. "El cuento como recurso didáctico en la enseñanza del francés lengua extranjera." Revista de Lingüística y Lenguas Aplicadas 13, no. 1 (July 13, 2018): 21. http://dx.doi.org/10.4995/rlyla.2018.8694.
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<p>This article offers a pragmatic reflection on the use of short stories in the teaching of French as a foreign language. After analyzing the use of short stories in the foreign language classroom as didactic material, we briefly assess the different advantages of short stories and inquire about the validity of this genre as a suitable material for the teaching of written expression in the light of the Common European Framework of Reference for Languages (CEFRL). On this basis, we propose a practical approach in which short stories are integrated to the teaching of written expression within a communicative context.</p>
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Luffin, Xavier. "Senegalese, Gurkha, Sikh . . . : The French and British Colonial Troops in the Eyes of the Arab Writers." Arabica 60, no. 6 (2013): 762–77. http://dx.doi.org/10.1163/15700585-12341283.
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Abstract The former great European colonial empires had incorporated soldiers recruited in their colonies into their armies. Several Arab authors from Lebanon, Syria, Iraq and Morocco remember them through their novels and short stories, giving us an interesting perception of the “Other”: strangers brought into the Arab world by other strangers. They also represent different negative faces of the colonial period: the exploitation of the indigenous population, the dilemma of Muslims forced to fight their brothers . . .
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Holbekov, Mukhammadjon. "PERCEPTION AND INTERPRETATION OF CREATIVITY OF ALISHER NAVOI IN FRENCH ORIENTAL STUDIES." INTERNATIONAL JOURNAL OF WORD ART 6, no. 3 (June 30, 2020): 40–50. http://dx.doi.org/10.26739/2181-9297-2020-6-6.
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The great Uzbek poet Alisher Navoi(1441-1501), during his lifetime, was widely known not only in his homeland, but also far beyond its borders. A contemporary and biographer of Navoi, the famous historian Hondemir, of course, not without some hyperbole, wrote: "He (Navoi -M.Kh.) in a short time took the cane of primacy from his peers; the fame of his talents spread to all ends of the world, and the stories of the firmness of his noble mind from mouth to mouth were innumerable.The pearls of his poetry adorned the leaves of the Book of Fates, the precious stones of his poetry filled the shells of the universe with pearls of beauty
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Lysenko, N. "WORLD CREATION POTENTIAL OF ALLUSION IN FRENCH POSTMODERN SHORT-FORM PROSE (BASED ON THE STORIES BY B. WERBER)." International Humanitarian University Herald. Philology 2, no. 45 (2020): 91–94. http://dx.doi.org/10.32841/2409-1154.2020.45-2.22.
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Nodier, Charles, Elizabeth Berkebile McManus, and Daniela Ginsburg. "The Fantastic in Literature." Publications of the Modern Language Association of America 134, no. 3 (May 2019): 540–54. http://dx.doi.org/10.1632/pmla.2019.134.3.540.
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Charles Nodier (1780–1844) holds the dismal distinction of being the most important French Romantic you have never heard of. A child prodigy, Nodier was reading Montaigne and Plutarch, and writing fluently in French and Latin, by the age of ten. By twenty-five he had vandalized a guillotine, founded the ironically Freemasonesque antiJacobin society called the Philadelphes, published one of the irst French works of scholarship on Shakespeare, and served a month in prison for criticizing Napoleon in the poem “La Napoléone.” It was only then that he got serious, and in 1806 Les tristes was published, a collection of short stories, poems, dialogues, and essays that marked him as a disciple of the Romanticism of Goethe and Schiller and hinted at his future affinity for the visionary, fantastic mode of E.T.A. Hoffmann.
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Симанков, Виталий. "Детское Чтение (1785-1789) и Детския Забавы (1792): Рецепция немецкого протестантизма в детских изданиях XVIII в." ВИВЛIОθИКА: E-Journal of Eighteenth-Century Russian Studies 5 (November 27, 2017): 18–39. http://dx.doi.org/10.21900/j.vivliofika.v5.551.
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This article is focused on Protestantism-related ideas encrypted in children’s literature in eighteenth-century
Russia. The primary focus of the study is on Detskiia Zabavy (1792), a short-story collection that was thought
to be an original Russian book. As this study shows, the book in question is actually a collection of texts
translated from German and French. The bulk of the collection deals with the so-called short didactic stories,
the ideological roots of which have been overlooked and understudied. The author’s findings help to clarify,
among other things, the subject of Pushkin’s parody in his Detskaia Knizhka (1830).
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Savina, Anfisa D. "“The riddle that the critic must solve”: V. Bryusov about Villiers de l’Isle-Adam." Literary Fact, no. 19 (2021): 268–85. http://dx.doi.org/10.22455/2541-8297-2021-19-268-285.
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This publication concerned with the problems of Valeriy Bryusov’s critical works and his interest in French culture. The aim of the paper is to introduce into scientific circulation the Bryusov’s text relating to the late French Romanticist Au. Villiers de l'Isle- Adam. Our introductory article gives a brief description of the literary relations between the Russian poet and the French writer. It is noted that for a quarter of a century Brusov turned to the work of Villiers de l'Isle-Adam as an editor, as a translator and as a novelist, attentive to the creative search of his predecessors. The published materials are a draft of Bryusov's article, made after 1910. In this text Bryusov expresses his attitude towards the French writer in detail and turns to the analysis of his short stories. The critic sums up literary fate in Russia of Villiers de L'Isle-Adam and other poètes maudits. In addition, Bryusov gives his vision of the level of the Russian readership and determines the degree of familiarity of the “average reader” with the French literature.
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Turcu, Luminița-Elena. "“A Person Not In The Story”: Clérambault’s And M. R. James’s Textile/Textual Folds." Messages, Sages and Ages 2, no. 2 (December 1, 2015): 56–65. http://dx.doi.org/10.1515/msas-2015-0012.
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Abstract Though unrelated when it comes to their scientific occupations, Clérambault and M. R. James give to the 21st-century observer the impression that they were strikingly similar in their compulsive preoccupation with draped bodies or with what Gilles Deleuze names “the Fold”. The article investigates the manner in which the French psychiatrist exploited his passion in the innumerable photographs he took in Morocco and in which the English philologist exorcised his fear in fiction, especially in one of his best-known short stories, “Oh, Whistle and I’ll Come to You, My Lad”.
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Linus, Euro, and Lala Palupi Santyaputri. "Applying Post-colonial theory “Inferiority Complex” Concept on Film Production in Short Film “Luckiest Man on Earth” as a Social Phenomenon." IMOVICCON Conference Proceeding 2, no. 1 (July 6, 2021): 194–99. http://dx.doi.org/10.37312/imoviccon.v2i1.47.
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Film is a medium that can be used to convey a message or story in audio and visual form. Film, which also functions as an art medium, can be used to communicate about a social phenomenon that occurs in society. This paper aims to examine social phenomena that occur in society and reflect on these things through the film "Luckiest Man on Earth" and how the inferiority complex affects the stories contained in this film. The fictional film "Luckiest Man on Earth" tells the story of a young man who works as an ojek at a tourism location in Indonesia and meets a woman of French descent. With Google Translate, they can communicate with one another, but this is used by the motorcycle taxi driver as material to show off to friends and relatives that he has a girlfriend of French descent. This film is produced based on the concept of an inferiority complex that is deeply embedded in Indonesian society.
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Dolk, Liesbeth. "Allemaal Gelogen." Acta Neerlandica, no. 15 (July 10, 2020): 219–33. http://dx.doi.org/10.36392/actaneerl/2019/15/11.
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In this article I briefly introduce the Dutch diplomat and author Carel Jan Schneider (Batavia 1932-Den Haag 2011) and his literary work. Under his pseudonym F. Springer he published fourteen books: novels and short stories. His work has been translated into French, German, Thai, Danish, Bulgarian, Slovak and Japanese. In 1995 Springer was awarded the prestigious Constantijn Huygens Prize for his complete works of fiction.
In my article I will touch upon the following questions: did Schneider’s profession as a diplomat influence his way of writing and to what extent are fact and fiction interwoven in his work?
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Shakory, Sharry, Xi Chen, and S. Hélène Deacon. "Learning Orthographic and Semantic Representations Simultaneously During Shared Reading." Journal of Speech, Language, and Hearing Research 64, no. 3 (March 17, 2021): 909–21. http://dx.doi.org/10.1044/2020_jslhr-20-00520.
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Purpose The value of shared reading as an opportunity for learning word meanings, or semantics, is well established; it is less clear whether children learn about the orthography, or word spellings, in this context. We tested whether children can learn the spellings and meanings of new words at the same time during a tightly controlled shared reading session. We also examined whether individual differences in either or both of orthographic and semantic learning during shared reading in English were related to word reading in English and French concurrently and 6 months longitudinally in emergent English–French bilinguals. Method Sixty-two Grade 1 children (35 girls; M age = 75.89 months) listened to 12 short stories, each containing four instances of a novel word, while the examiner pointed to the text. Choice measures of the spellings and meanings of the novel words were completed immediately after reading each set of three stories and again 1 week later. Standardized measures of word reading as well as controls for nonverbal reasoning, vocabulary, and phonological awareness were also administered. Results Children scored above chance on both immediate and delayed measures of orthographic and semantic learning. Orthographic learning was related to both English and French word reading at the same time point and 6 months later. In contrast, the relations between semantic learning and word reading were nonsignificant for both languages after including controls. Conclusion Shared reading is a valuable context for learning both word meanings and spellings, and the learning of orthographic representations in particular is related to word reading abilities. Supplemental Material https://doi.org/10.23641/asha.13877999
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Lysenko, N. "WORLD CREATION POTENTIAL OF LANGUAGE GAME IN CONTEMPORARY FRENCH POSTMODERN SCIENCEFICTION SHORT-FORM PROSE (BASED ON THE STORIES BY BERNARD WERBER)." International Humanitarian University Herald. Philology 2, no. 42 (2019): 72–75. http://dx.doi.org/10.32841/2409-1154.2019.42.2.18.
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Ousselin, E. "'Privileged Moments' in the Novels and Short Stories of J.M.G. Le Clezio: His Contemporary Development of a Traditional French Literary Device." French Studies 63, no. 4 (October 1, 2009): 494. http://dx.doi.org/10.1093/fs/knp180.
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Armellin Secchi, Giovanna. "Aproximación a los cuentos de Charles Nodier." Revista de Filología y Lingüística de la Universidad de Costa Rica 23, no. 1 (August 30, 2015): 77. http://dx.doi.org/10.15517/rfl.v23i1.20392.
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El propósito de este artículo es contribuir al conocimiento de Charles Nodier (1780- 1844), un escritor francés poco conocido en la actualidad. Presentamos un breve estudio acerca de los cuentos escritos por este autor entre 1830 y 1840, una década en que Nodier produjo abundantes trabajos narrativos relacionados con el tema del sueño.The purpose of this artic\e is to contribute to the knowledge of Charles Nodier (1780- 1844), a French writer who is not yet well known. We present a brief study of the short stories written between 1830 and 1840, a decade in which Nodier produced many narrative works related to the subject of dream.
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McKay, Belinda. "Transformative Moments: An Interview with Janette Turner Hospital." Queensland Review 11, no. 2 (December 2004): 1–10. http://dx.doi.org/10.1017/s1321816600003676.
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Janette Turner Hospital is the author of eight novels, four collections of short stories, a novella published only in French, and a crime thriller under the pseudonym Alex Juniper. Her work has been published in 20 countries, and in 12 languages other than English. She is the recipient of a number of overseas literary awards, and both Griffith University (in 1996) and the University of Queensland (in 2003) have conferred honorary doctorates upon her. In 2003 she won the Queensland Premier's Literary Award for Best Fiction Book for her most recent novel, Due Preparations for the Plague, and the Patrick White Award for Lifetime Literary Achievement.
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Shih, Shu-Mei. "Gender, Race, and Semicolonialism: Liu Na'ou's Urban Shanghai Landscape." Journal of Asian Studies 55, no. 4 (November 1996): 934–56. http://dx.doi.org/10.2307/2646529.
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In 1924 a half-Taiwanese, half-Japanese man travelled from Japan to Shanghai to study French at the Jesuit Université L'Aurore. He was young, flamboyant, and rich, and eventually used his own personal funds to found two bookstores and three journals in Shanghai. Despite his ambiguous national identity and lack of formal Chinese education, he also became the founder of a Chinese modernist literary movement called new sensationism (xinganjue pai), earned substantial notoriety, and attracted a host of followers. Murdered by an unidentified assassin in 1939, in his shorr life Liu Na'ou (1900–39) mirrored the literary movement that he created and that died with him. But this was not before he had published an intriguing collection of short stories entitled Scène (his own French title, 1930a), which was in some measure to define what urban writing meant for Chinese writers in Shanghai during the Nanjing decade (1927–37), as the quotation above suggests.
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Tossou, Okri Pascal. "Généricité Dans Lullaby De J. M. G. Le Clézio. Une Analyse De La « Complexité Des Faits De Discours »." European Scientific Journal, ESJ 13, no. 29 (October 31, 2017): 158. http://dx.doi.org/10.19044/esj.2017.v13n29p158.
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J. M. G. Le Clézio represents one of the most eloquent contemporary French writers. This celebrity stems not only from a wide range of biography-based writings but mostly from the contents and aesthetics of his preferences. To me, Lullaby links up these two main facets which cristalize the singular character of Clézio productions. Firstly edited in 1978 by Gallimard in a book of short stories named Mondo et autres histoires, the text reveals itself as a youth novel by the same editor in 1980. Yet, this research apprehends it as a Bildungsroman, from its inner discourse, sharpened within the angle of initiatory convictions. To achieve such a goal, research tools include poetic narrative, sociocritics and discourse analysis.
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Peraino, Judith A. "Et pui conmencha a canter: refrains, motets and melody in the thirteenth-century narrative Renart le nouvel." Plainsong and Medieval Music 6, no. 1 (April 1997): 1–16. http://dx.doi.org/10.1017/s0961137100001224.
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In many surviving thirteenth-century romances, short segments of lyric poetry, called ‘refrains’ by present-day scholars, interrupt the narrative with the implication of song. In the romance Renart le nouvel, attributed to Jacquemart Giélée (fl. 1290), refrains take their place among a wide variety of literary registers and forms. Renart le nouvel is a late derivative of a long and international tradition of adapting, elaborating and making reference to the stories from the Roman de Renart. The Roman de Renart refers to a collection of approximately fifteen Old French verse narratives, written between 1174 and 1205, that recount the exploits of the cunning fox Renart and various other anthropomorphized members of the animal kingdom.
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Smithson, Lisa, Elena Nicoladis, and Paula Marentette. "Bilingual children’s gesture use." Gesture 11, no. 3 (December 31, 2011): 330–47. http://dx.doi.org/10.1075/gest.11.3.04smi.
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Previous studies have shown that bilinguals use more manual gestures than monolinguals (Pika et al., 2006; Nicoladis et al., 2009), suggesting that gestures may facilitate lexical retrieval or may reduce the cognitive load on working memory during speech production. In this study, we tested the generalizability of these findings by comparing the use of gestures in three groups of children (English monolinguals, Mandarin Chinese-English bilinguals, and French-English bilinguals) between 7 and 10 years of age as they retold two short stories about a cartoon. The bilingual children were asked to retell narratives in both languages. The results showed that the French-English bilinguals used significantly more gestures than the Chinese-English bilinguals. With respect to gesture rates accompanying speech in English, the monolinguals did not differ from either bilingual group. The bilingual children’s use of gestures was generally not correlated with our measures of working memory (narrative length and speech rate). These results suggest that culture may be a more important determiner of gesture rate than bilingualism and/or working memory capacity.
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Daut, Marlene L. ""Sons of White Fathers": Mulatto Vengeance and the Haitian Revolution in Victor Sééjour's "The Mulatto"." Nineteenth-Century Literature 65, no. 1 (June 1, 2010): 1–37. http://dx.doi.org/10.1525/ncl.2010.65.1.1.
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Marlene L. Daut, "'Sons of White Fathers': Mulatto Vengeance and the Haitian Revolution in Victor Sééjour's 'The Mulatto'"(pp. 1––37) Although many literary critics have traced the genealogy of the tragic mulatto/a to nineteenth-century U.S. letters, in this essay I argue that the theme of tragedy and the mixed-race character predates the mid-nineteenth-century work of Lydia Maria Child and William Wells Brown and cannot be considered a solely U.S. American concept. The image can also be traced to early-nineteenth-century French colonial literature, where the trope surfaced in conjunction with the image of the Haitian Revolution as a bloody race war. Through a reading of the Louisiana-born Victor Sééjour's representation of the Haitian Revolution, "Le Mulââtre" or "The Mulatto," originally composed in French and first published in Paris in 1837, this essay considers the implications of the conflation of the literary history of the tragic mulatto/a with the literary history of the Haitian Revolution in one of the first short stories written by an American author of African descent.
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Borisova, L. M. "Zaytsev, B. (2018). Reflections of the Eternal. Unknown short stories, essays, reminiscences and interviews. Ed. by A. Lyubomudrov. St. Petersburg: Rostok. (In Russ.)." Voprosy literatury, no. 2 (June 17, 2021): 288–93. http://dx.doi.org/10.31425/0042-8795-2021-2-288-293.
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The review is concerned with a collection of hitherto unknown prose by B. Zaytsev that uncovers new aspects of his oeuvre. The collection covers literary variants of famous essays, hitherto unpublished short stories from before the October Revolution, and travelogues showing the writer's attitude to the spiritual and creative culture of the West. The reviewer points out the problem of the interaction between Russian literature and its European counterparts (particularly French literature) and defines the criteria (the Christian ideal and ‘common human compassion') used by Zaytsev for its assessment. Mentioned are the authors especially favoured by Zaytsev (F. Mauriac, A. Maurois, and G. Duhamel). Also noted is the writer's polemic with Western authors. The collection offers a treasure trove for scholarly reflections on literature and religion, as well as on Russian emigre literature versus Soviet and Western literatures.
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Veneziano, Edy, Marie-Thérèse Le Normand, Marie-Helène Plumet, and Juliette Elie-Deschamps. "Promoting narrative skills in 5- to 8-year-old French-speaking children: The effects of a short conversational intervention." First Language 40, no. 3 (February 12, 2020): 225–50. http://dx.doi.org/10.1177/0142723720901614.
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Previous studies of narrative development based on wordless picture stories indicate that before 7–8 years most children provide descriptive narratives with little inferential content such as explanations and attribution of mental states to the story characters. These components find greater expression in studies where children participated in conversations focused on the causes of the events. In the present study, 84 French-speaking children, from kindergarten to second grade, narrated the Stone story (a wordless five-picture story whose plot is based on a misunderstanding between two characters) before and after a short conversational intervention (SCI) focused on the causes of the events, as well as one week later when they also narrated a new story. Thirty additional children served as the Control group: instead of the SCI they played a Memory game with a set of cards containing the pictures of the Stone story. Children in the SCI group increased the inferential content of the narrative produced after the SCI, thus confirming with a larger sample findings obtained in previous studies. Moreover, results provide new evidence that the immediate improvements in inferential content were still present after a week’s delay and could also be applied to a new story. All narratives produced after the SCI were also longer and contained more markers of causality. The effect was stronger in first and second graders than in kindergarten children. By contrast, no significant improvements were found in the children of the Control group on any of the measures. Such results highlight the effectiveness of the SCI in promoting children’s narrative skills, its usefulness in their assessment, and have important implications for a better understanding of narrative development.
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Horváth, János. "Rippl-Rónai múzsái, híres kertjei, elveszett festményei és egy rejtélyes hamisítási ügy." Kaposvári Rippl-Rónai Múzeum Közleményei, no. 4 (2016): 387–406. http://dx.doi.org/10.26080/krrmkozl.2016.4.387.
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The author published different short studies and stories about József Rippl-Rónai’s biography and his works. An obscure document was also published about the origin of his house which known in Kaposvár as Róma villa. It is the first time to compile Lazarine’s biography, French-born wife of the painter in which her tapestry of artistic activities was reviewed. Due to the modern style innovations, „Fifty draw-ings” titled and published by Rippl-Rónai in 1913 was also reported. In these studies, the English Fenella Lowell ap-peared as a model, who inspired nude women oil-paintings of Rippl-Rónai. An unknown letter from Rippl-Rónai’s daughter, the German-born Amélie Feigl was documented. An Rippl-Rónai’s counterfeiting pastel was storied which was hap-pened at the end of the artist’s life (1927) during his illness.
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Oliveira, Anna Olga Prudente de, and Eliana Bueno-Ribeiro. "Os contos de Charles Perrault em tradução." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 71, no. 1 (January 15, 2018): 169–80. http://dx.doi.org/10.5007/2175-8026.2018v71n1p169.
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Translated and adapted to the Brazilian reader public from the end of the nineteenth century to the present day, the tales Sleeping Beauty in the Forest, Little Red Riding Hood, Blue Beard, The Boots Cat, The Fairies, Cinderella, Riquet of the Topete and The Little Thumb have recently won a new Brazilian edition that presents a complete translation of the work that became the canon of children's literature: Histories or Tales from the Time Past with Morals (Histoires or Contes du temps passé avec des Moralités) by Charles Perrault. In this interview with the translator, he seeks to know his work, his understanding of the work and the process of translation, and his proposals and strategies, especially in relation to these short stories, elaborated by the French writer of the XVII century with a characteristic that distinguishes them from others fairy tales: morality in verse at the end of the story told in prose.
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Veneziano, Edy. "Talking About the Non-Literal: Internal States and Explanations in Child-Constructed Narratives." Psychology of Language and Communication 21, no. 1 (October 26, 2017): 133–51. http://dx.doi.org/10.1515/plc-2017-0007.
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Abstract Non-literal language most often permeates interesting and informative narratives. These are the non-perceptible, inferential aspects of a story, such as the explanation of events, the attribution of internal, particularly mental, states to the characters of the story, or the evaluation of events by the participants and/or the narrator. The main aim of this paper is to examine whether non-literal uses can be promoted in 7-year-old French-speaking children’s narratives through the use of a short conversational intervention (SCI) which focuses the children’s attention on the causes of events. The results show that, after the SCI, the expression of non-literal aspects, even higher-order ones, may make their appearance or significantly increase in children’s stories. The reasons for the effectiveness of the SCI in the promotion of non-literal uses of language and narrative skills in general, as well as the importance of using the SCI as an evaluative instrument, are discussed.
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JOSHI, PRITI. "Mutiny Echoes: India, Britons, and Charles Dickens's A Tale of Two Cities." Nineteenth-Century Literature 62, no. 1 (June 1, 2007): 48–87. http://dx.doi.org/10.1525/ncl.2007.62.1.48.
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This essay asks what, if any, import the Indian ““Mutiny”” of 1857 had on A Tale of Two Cities (1859), Charles Dickens�s fictionalized account of the French Revolution. Begun shortly after the Indian uprising started, Dickens�s historical novel appears studiously to avoid any mention of events on the Indian subcontinent, even though these events preoccupied and enraged the author. Few scholars have attended to the question of A Tale of Two Cities and the ““Mutiny,”” but when they have, scholars have looked for analogies between India and Dickens�s account of the French Revolution. In this essay, by contrast, I examine A Tale of Two Cities in a larger context——of Britons' response to the Uprising, of Dickens's short stories and essays in Household Words in the years before the ““Mutiny”” and immediately after, of Dickens's disenchantment with aspects of British culture, and of his need to articulate a national identity grounded in action. I argue that the events in India were the match that ignited Dickens's already established midcentury interests in national identity, nobility, and masculine heroism. I do not wish to suggest that A Tale of Two Cities is an Indian ““Mutiny”” novel, but rather that it is a novel about the ““Making of Britons,”” an important endeavor for an author who was intensely dissatisfied with the Britain that he saw around him.
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Grassi, Evelin. "Memorie Sadriddin Ajnī (Italian translation by Evelin Grassi)." Oriente Moderno 93, no. 1 (2013): 212–38. http://dx.doi.org/10.1163/22138617-12340010.
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Abstract This is the first Italian translation of some selections from the Ëddoštho* “Reminiscences” of Sadriddin Ajnī (Bukhara 1878—Dushanbe 1954), the author commonly regarded as the leading representative of modern Tajik literature. Ajnī’s Reminiscences, divided into four parts and published between 1948 and 1954, are a collection of lively short-stories where the author described his childhood spent in two villages near Bukhara, as well as his youth and schooldays at the madrasa in the last two decades of the 19th and the beginning of the 20th century. Parts I and II were more often translated into many languages, both in the Republics of the former Soviet Union and in other countries. Translations in Russian (parts I-IV), German and French (parts I-II) have appeared in the 1950s. In English, separate chapters from the work have been published in academic journals from the 1950s onward; the most recent English translation (part I) is The sands of Oxus. Boyhood reminiscences of Sadriddin Aini, tr. by J.R. Perry and R. Lehr (Costa Mesa, Mazda Publishers, 1998).
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Marinčič, Katarina. "A wardrobe suitable for a virtuous pauper." Journal for Foreign Languages 11, no. 1 (December 30, 2019): 315–25. http://dx.doi.org/10.4312/vestnik.11.315-325.
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The subject of this paper is not the influence of Pierre de Marivaux's La Vie de Marianne upon Samuel Richardson's Pamela (a question that has been widely discussed since the 18th century). In spite of some obvious similarities, La Vie de Marianne and Pamela are two profoundly dissimilar novels. Pamela is a tale with a happy ending and a clear moral message. La vie de Marianne is an unfinished tale and, as such, morally ambiguous by its very nature. However, at crucial moments of their stories, confronted with the first attempts upon their virtue, both heroines react in accordance with their sense of propriety in clothing as well as with an acute fashion sense. In both novels, the seducer tries to lure his victim with clothes. Upon receiving the gift, both girls display a naive and joyful gratitude. Their dilemma begins when the gift of clothing turns out to be a gift of lingerie. The self-indulgent French heroine, after a short reflection, decides to keep the clothes. Pamela turns out to be a much more modern young woman. She returns the gift and – in a seemingly paradoxical way – puts herself in need of a new set of clothes.
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Chekalov, Kirill A. "“Don Luis had never been up in an aeroplane” (Maurice Marie Émile Leblanc before 1905)." Vestnik of Kostroma State University 27, no. 1 (March 31, 2021): 110–16. http://dx.doi.org/10.34216/1998-0817-2021-27-1-110-116.
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Some of the works of Maurice Leblanc are considered in the article, who is one of the creators of the French classic detective, written between 1890 and 1905 (before the publication of the first novel about the adventures of "gentleman-cambrioleur" by Arsène Lupin). The influence of Henri René Albert Guy de Maupassant and Gustave Flaubert is combined with an appeal to Breton legends and erotic motives popular in the “Belle Époque”. The image of a bicycle, a car and the cult of speed associated with them, anticipating the plot dynamics of Lupinian in these works is analysed. On the example of Leblanc's short stories, published in a number of newspapers in the mid-1890s to early 1900s, the gradual maturation of criminal narrative in his work is shown. Among the problems raised in the article – Leblanc's reaction to the ideas of anarchism and the potential influence on the image of Arsène Lupin of the personality of the famous anarchist Marius Jacob as well as the influence of the work of Ernest William Hornung (the creator of the character of A. J. Raffles, the "Amateur Cracksman").
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Figuera, Renee. "Critical cultural translation." Translating Creolization 2, no. 2 (December 23, 2016): 195–219. http://dx.doi.org/10.1075/ttmc.2.2.02fig.
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This case study uses tools from Critical Discourse Analysis and Translation Studies to explain the translation of Creole aesthetics in thirty-two written folktales of Trinidad, after World War I. The serial publication of these local folktales within the Trinidad Weekly Guardian and the Argos newspapers coincided with a period of cultural transformation in Trinidad, when local newspapers became the caretakers of a national literature in print. The researcher uses translation as a metaphor to critically analyze the process and function of intercultural transfer between oral and written folktale cultures, while showing how intercultural translation was effected in the folktale, at this time. In the final analysis, the study traces the forward reach of translating creolization beyond the period of WWI, into a period that is better known for the foregrounding of the Creole under class, in the short stories of Beacon and Trinidad of 1929 to 1930. It is a significant study because it identifies many translation shifts in Creole culture towards establishing the conventions of the modern short story of the 1930’s. In particular, the re-writing of oral tales enabled a discursive shift in focus in favor of the ordinary class, race-relations in society, the melding of folk mythologies for didactic purposes, and a language shift from the folktale’s French-Creole language base to an English-oriented literate culture. In this way, it perpetuated a neo-colonial agenda of translating creolization as the discursive recolonization of Creole folktale culture with exocentric conventions.
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Gehrmann, Susanne. "Remembering colonial violence: Inter/textual strategies of Congolese authors." Tydskrif vir Letterkunde 46, no. 1 (November 8, 2017): 11–27. http://dx.doi.org/10.17159/2309-9070/tvl.v.46i1.3461.
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This article explores the Congolese remembering of the experienced colonial violence through the medium of literature. Although criticism of colonialism is not a favourite topic of Congolese writers, there exists an important corpus of texts, especially when the literary production of Congo Kinshasa and Congo Brazzaville with their politically distinct though sometimes similar experiences is taken into account. Three main strategies of writing about the topic can be distinguished: a documentary mode, an allegorical mode and a fragmented mode, which often appear in combination. Intertextuality with the colonial archive as well as oral African narrations is a recurrent feature of these texts. The short stories of Lomami Tchibamba, of the first generation of Congolese authors writing in French, are analysed as examples for a dominantly allegorical narration. Mythical creatures taken from the context of oral literature become symbols for the process of alterity and power relations during colonialism, while the construction of a heroic figure of African resistance provides a counter-narrative to colonial texts of conquest. Thomas Mpoyi-Buatu’s novel La reproduction (1986) provides an example of fragmented writing that reflects the traumatic experience of violence in both Congolese memory of colonialism and Congolese suffering of the present violent dictatorial regime. The body of the protagonist and narrator becomes the literal site of remembering.
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Патрин, Вячеслав. "The Term «Prayer» in «Apophthegmata Patrum». Conceptual Overview." Библия и христианская древность, no. 3(3) (October 15, 2019): 175–95. http://dx.doi.org/10.31802/2658-4476-2019-3-3-175-195.
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«Apophthegmata Patrum» - сборник коротких рассказов и изречений великих подвижников, главных образом египетских монахов, которые жили в IV V вв. Знакомство с этим первоисточником монашеской жизни позволяет погрузиться не только в атмосферу раннего монашества, но также в язык, на котором стал выражаться аскетический опыт. В статье представлен общий обзор молитвенной терминологии монахов «Апофтегм» в сравнении с современной европейской терминологией, более конкретно русской и французской, так как это исследование вначале велось нами на французском языке. В дальнейших статьях мы более подробно рассмотрим терминологию, касающуюся отдельных видов молитв (молитв просьб, молитв благословений и т.д.) «Apophthegmata Patrum» is a collection of short stories and sayings of great christian ascetics, mainly Egyptian monks, who lived in the 4th-5th centuries. Studying this original source of monastic life allows us to get familiar with the life of first Christian monks and with the language in which their experience began to be expressed. This article is a part of our research dedicated to the practice of the prayer of Egyptian monks which presents a general overview of the prayer terminology in the «Apophthegmata Patrum» in comparison with modern European terminology, more specifically Russian and French. In our future articles we will analyze in detail the prayer terminology relating to certain types of prayers (prayer of request, prayer of blessing, etc.)
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Metzger, Laurent. "Continuity and Change in the Itinerary of the Malay Novelist, Shahnon Ahmad." Journal of Southeast Asian Studies 22, no. 1 (March 1991): 63–74. http://dx.doi.org/10.1017/s0022463400005464.
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Among the numerous Malay writers of our time Shahnon Ahmad stands as one of the most famous. Several points can be mentioned in that respect. First, he has published fourteen novels in twenty-five years apart from dozens of short stories. One of his novels, Ranjau Sepanjang Jalan (translated into English under the title “No harvest but a thorn”) is a household name in Malaysia as it has been for years a textbook for secondary school children. He has been awarded numerous literary distinctions such as Hadiah Sastera for his novel Srengenge (the sun) in 1973, Hadiah Pejuang Sastera (Prize for Literary Fighters) in 1976 and, finally in 1982, he was awarded the most prestigious literary award in Malaysia, i.e. Anugerah Sasterawan Negara which is the Writer Laureate Award and he was among the very first Malaysians to receive it. His most famous novel, Ranjau Sepanjang Jalan has been translated into several languages such as English, French, Dutch, Russian, Japanese and Danish. Dozens of articles have been written about him not only by Malaysian critics but also by foreigners. Finally several theses have been written on Shahnon Ahmad. So it appears that this writer is probably the most talked about author in Malaysia at present.
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Karpukhina, T. P. "Genre-and-Style Characteristics of Anna Gavalda’s Novella "Petites Pratiques Germanopratines" ("Peculiarities of Saint-Germain Boulevard")." Bulletin of Kemerovo State University 22, no. 3 (October 29, 2020): 821–30. http://dx.doi.org/10.21603/2078-8975-2020-22-3-821-830.
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The present research featured short stories by Anna Gavalda, a contemporary French writer. The research objective was to define the genre and style of Petites Pratiques Germanopratines (Peculiarities of Saint-Germain Boulevard) published in Gavalada’s collection of novellas entitled Je Voudrais Que Quelqu’un M’attende Quelque Part (I wish somebody were waiting for me somewhere). The novella demonstrated features common to this type of narration: small volume; few characters; focus on their everyday private life and a singular event that changes it; dramatic nature of the plot development; peripeteia and a manifestly expressed culminating point resulting in a denouement that defeats the reader’s expectancy; prosaically neutral style of narration achieved by the use of neutral and literary-colloquial lexical units, etc. Alongside the typical features, the research revealed some specific characteristics that manifested themselves in the novella under analysis: first-person narrative; elements of psychology introduced into narration, e.g. inner monologues of the protagonist or her inner dialogue with a prospective interlocutor; limited time-and-space composition; cinematic type of dynamic narrative; motifs of road and accidental encounter; antithesis underlying the basic themes embedded in the plot structure; abundance of precedent and toponymic names and artistic details; diversity of linguistic means used to organize the narration and describe the inner world of the protagonist.
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Патрин, Вячеслав. "The Term «Prayer» in «Apophthegmata Patrum». Conceptual Overview." Библия и христианская древность, no. 3(3) (October 15, 2019): 175–95. http://dx.doi.org/10.31802/2658-4476-2019-3-3-175-195.
Full textAbstract:
«Apophthegmata Patrum» - сборник коротких рассказов и изречений великих подвижников, главных образом египетских монахов, которые жили в IV V вв. Знакомство с этим первоисточником монашеской жизни позволяет погрузиться не только в атмосферу раннего монашества, но также в язык, на котором стал выражаться аскетический опыт. В статье представлен общий обзор молитвенной терминологии монахов «Апофтегм» в сравнении с современной европейской терминологией, более конкретно русской и французской, так как это исследование вначале велось нами на французском языке. В дальнейших статьях мы более подробно рассмотрим терминологию, касающуюся отдельных видов молитв (молитв просьб, молитв благословений и т.д.) «Apophthegmata Patrum» is a collection of short stories and sayings of great christian ascetics, mainly Egyptian monks, who lived in the 4th-5th centuries. Studying this original source of monastic life allows us to get familiar with the life of first Christian monks and with the language in which their experience began to be expressed. This article is a part of our research dedicated to the practice of the prayer of Egyptian monks which presents a general overview of the prayer terminology in the «Apophthegmata Patrum» in comparison with modern European terminology, more specifically Russian and French. In our future articles we will analyze in detail the prayer terminology relating to certain types of prayers (prayer of request, prayer of blessing, etc.)
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Waite, Genevieve. "L’homoérotisme en autotraduction : Le cas de Sud / South de Julien Green." Dalhousie French Studies, no. 117 (March 29, 2021): 111–25. http://dx.doi.org/10.7202/1076096ar.
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As a translingual American writer, Julien Green (1900-1998) wrote a wide variety of novels, plays, short stories, and essays, as well as one of the longest recorded journals of the twentieth century. Among his bilingual texts Green published an important homoerotic play, Sud (1953), which he later translated into English as South (1959) in collaboration with his sister, Anne Green. Although the homoerotic nature of the characters of Green’s novels has been examined in certain critical texts, the evolution of this homoeroticism in Green’s self-translated play, Sud / South, has not yet been studied in detail. This article will, therefore, show how Green radically transformed the drama of homosexual love from his first play, Sud (1953), in his self-translation, South (1959), and the effects of these linguistic changes on the reader. More specifically, this critical analysis will demonstrate how Green used a translative approach of the moins-dit in order to conceal a substantial portion of his original French play’s central intrigue. Because of multiple omissions, revisions, and additions in self-translation, Ian Wiczewski’s love for the young Erik Mac Clure, as well as Édouard Broderick’s homosexual orientation, are less visible in South than in Sud. Consequently, Sud and South appear as two very disparate versions of the same text.
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Yarmak, Veronika. "Peculiarities of Past Tense Grammatical Expression in Short Prosaic Forms of the Serbian Literary Discourse of the 20th–21st centuries." Actual issues of Ukrainian linguistics: theory and practice, no. 39 (2019): 58–73. http://dx.doi.org/10.17721/apultp.2019.39.58-73.
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The article deals with semantic and emotional load of Serbian verb's analytical and synthetic forms as explicit means of past tense expression in stylized epistolary fragments of short prose forms of Serbian classical literary discourse of different epochs. The author consistently considers stylized epistolary passages from tales by eminent Serbian writers: L. Lazarević, Y. Vselinović, І. Sekulić, М. Кapora, noting the key role of perfects, aorists, imperfects, pluperfects in chronotopes of short stories with a relatively clear configuration (when a retrospection of linear event sequence is present) and rather vague boundaries (in cases when letters are peculiar to time dialogue between writer and reader). Particular attention is paid to investigation of functions of preterit verb forms in stylized letters drawn towards reporting people about actual events. The author's attention is also focused on the mechanisms of creating the so-called intimization effect and the role of various Serbian past tense verb forms in this process. The letters as a literary device and an integral part of the author's communicative strategy are examined not only in the context of merely grammatical parameters of temporal strata but also from the point of view of deictic and narrative use of past tense grammemes. Serbian epistolary literary discourse provides rich illustrative material for specifying the issue of deictic and narrative parameters' relevance in respect of usage of tense forms or grammemes selected for analysis. The research proves that correlation of the mentioned parameters in Serbian language context is highly interesting, however, rather complicated and controversial. The comparison of Serbian and French literary texts shows that the temporal picture of the latter is almost diametrically opposite, meaning full functionality of aorist and imperfect and limited use of analytical perfect, which is used in the reproduction of direct speech, mainly in dialogues.
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Kononchuk, Oksana. "The artistic word and the “Language Issue” based on the M. A. Jamalzadeh writings." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 23 (2020): 43–50. http://dx.doi.org/10.34079/2226-3055-2020-13-23-43-50.
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The paper is dedicated to the research of the specifics of the reflection of the “language issue” in the writings of M. A. Jamalzadeh – the founder of the modern short story in the Persian literature and to the influence and role of the artistic word in addressing this issue. In spite of the fact that there was one official national language in Iran and that it was the Persian language there was a great gap between the strata of the Iranian society and a huge misunderstanding between those strata because of the language differences of the Persian language spoken by them. The representatives of the Iranian clergy, the majority of poets, writers and scientists used plenty of Arabic words, phrases, quotes, whole sentences in their “Persian”. On the other hand, the Europeanized intellectuals used plenty of words borrowed from Western European languages, mainly from the French language. Both of these versions of the “Persian” were not understandable for common people, neither was the Persian literature, especially prose, created in Iran since XVI–XVII centuries till the very beginning of the XX century. Those were the issues to be addressed and the prominent intellectuals of Iran took the responsibility to deal with them. In 1921 young but much talented writer Mohammad Ali Jamalzadeh published his first book – the collection of short stories “Yeki Bud Va Yeki Nabud” (“Once Upon a Time”) and wrote a detailed preface to it in which he expressed his thoughts and ideas on the issue of the Persian language and the Persian literature. He invited the Iranian writers to write their works using new European literary genres, to use clear and understandable Persian and to enrich language of their writings by using elements of live folk speech. This preface became a manifesto of the new generation of the Iranian writers and intellectuals and played a great role in the formation of new Persian prose and in the solution of the problem of the national language of Iran. The stories of the collection “Yeki Bud Va Yeki Nabud” were the artistic illustrations of the ideas of its author proclaimed in the preface. In the brightest way the ideas of Jamalzadeh were embodied in the short story “Farsi Shekar Ast” (“The Persian is Sugar”) which is recognized to be the first Persian short story written in accordance with the rules of this genre in the modern European literature. In this short story M. A. Jamalzadeh managed using artistic methods and means to show much of beauty, richness and diversity of the Persian language and at the same time to show the problem of misunderstanding between the strata of the Iranian society, to show the huge cognitive dissonance between clergy and intellectuals on one hand and those who they were responsible for on the other. The next generation of the Iranian writers followed M. A. Jamalzadeh and in the next years the situation with the Persian language and literature in Iran has much changed.
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Blanch, Juan M. Lope. "Las Osservationi de Giovanni Miranda." Historiographia Linguistica 24, no. 1-2 (January 1, 1997): 29–40. http://dx.doi.org/10.1075/hl.24.1-2.04bla.
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Summary Giovanni Miranda’s Osservationi della Lingua Castigliana (Venice, 1566) was the best pedagogical grammar of Spanish of its time; and since it served as a model to French, English, and German grammarians it was important well beyond Italy. Because it was essentially a practical teaching work, one finds in it few theoretical pronouncements. Theory, however, is not totally absent from his book, as becomes obvious in the discussion of the concept of ‘sentence’ or of the ‘parts of speech’, but as a whole the work deals with questions that were thought to be essential to the learner of a language, mostly morphology and certain peculiarities of Castilian grammar and usage. The work is divided into four parts: I, the article, the noun, the adjective, and the pronoun; II, the verb, whose conjugation is dealt with exhaustively; III, the non-inflectional parts of speech in Spanish; and IV, spelling and pronunciation. Throughout the work the author discusses related semantic, lexical, and phraseological subjects, and uses proverbs, anecdotes, and very short stories to illustrate colloquial usage of Spanish. Miranda’s Osservationi were influenced by Giovanni Mario Alessandri d’Urbino’s Paragone della Lingua Toscana et Castigliana (Naples, 1560). Miranda the format of the Paragone, but greatiy expands on it. The Osservationi della Lingua Castigliana can be said to be the first effective pedagogical grammar of Spanish written for speakers of other languages.
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Facchi, Francesca. "Per una metodologia del protogiallo italiano: Problemi e proposte." Forum Italicum: A Journal of Italian Studies 53, no. 2 (March 16, 2019): 511–31. http://dx.doi.org/10.1177/0014585819831667.
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In the first systematic study about the Italian detective novel (1979), Loris Rambelli dates the beginnings of the genre to 1929, the publication year of the first of publisher Mondadori's ‘Yellow Books’ (Libri Gialli), the series of yellow-covered books which made the ‘giallo’ synonymous with a crime novel. Nonetheless, texts dealing with mysteries, criminals, police, trials and detection enthralled Italian readers from the 1850s on, complying with the modern dynamics of mass phenomena, contributing to the modern conception of the genre, and playing a crucial role in the culture and society of a recently unified Italy. Not conforming to a recognizable genre-structure, the pre-1929 period has been defined the “prehistory of Italian crime fiction” or protogiallo and has become a topic of academic interest only in recent years. The newness of the scholarship explains the methodological difficulties researchers have to face, such as the classification problem – it is very complex to establish common critical criteria for analyzing diverse materials such as feuilletons, novels, short stories and famous trials journals – and the objective delay in the development of the genre in Italy, especially compared to the British, American and French cases. Building on the recent line of investigation, this paper examines such critical issues in order to identify a methodological approach and a theoretical framework useful to study the prehistory of Italian crime fiction.
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Sloistova, Maria S. "TYPOLOGY AND STRATEGIES OF CREATIVE RECEPTION: A CASE STUDY OF ENGLISH POSTMODERNIST POETRY AND PROSE." Вестник Пермского университета. Российская и зарубежная филология 12, no. 2 (2020): 110–19. http://dx.doi.org/10.17072/2073-6681-2020-2-110-119.
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The paper focuses on complex research and description of creative reception theory and typology. There are provided definitions of such terms as reception, creative reception, creative reception strategies, and others. The author builds the typology of creative reception on the basis of works by E. V. Abramovskikh, S. Ye. Trunin, M. V. Zagidullina, V. I. Tyupa, and M. Naumann. This typology includes two types (or levels) of creative reception, defined as classic and postmodernist. Each of the types is characterized by a number of strategies, i. e. ways of representing an artistically received text in one’s own work. The classic type strategies (formal, authentic, neutral and antithetical) focus primarily on plot transformation. As for the postmodernist level, the author singles out two strategies: congenial and play. The theory and typology of creative reception is substantiated with some examples of reminiscences and allusions to English and world poetry. The examples under analysis are taken from the following prose works by the outstanding English postmodernist writer John Robert Fowles (1926–2005): the novel The French Lieutenant’s Woman (1969), the collection of long short stories The Ebony Tower (1974), the philosophic book The Aristos (1964), and also the lyric collection Selected Poems, published posthumously in 2012. The collection has not been translated into Russian yet. Therefore, the poem under analysis (Islanders) has been translated into Russian by the author of the present paper. The paper also deals with indirect Biblical reception which is found in the allusion to the ivory tower. The allusion gave the title The Ebony Tower both to Fowles’ long short story and collection as a whole. The author of the paper draws a conclusion about the dominant creative reception strategies in the literary works under analysis and also about the possible use of the presented creative reception typology in analyzing works by other writers.
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Veneziano, Edy. "Conversationally and Monologically-Produced Narratives: A Complex Story of Horizontal Décalages." Psychology of Language and Communication 23, no. 1 (January 1, 2019): 85–104. http://dx.doi.org/10.2478/plc-2019-0005.
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Abstract Theory-of- mind-related abilities present a long development characterized by both vertical and horizontal décalages. A vertical type of décalage can be seen in children’s abilities to take into account, on a practical level, others’ intentional and mental states and use internal state terms to talk about them before they are able to succeed, at the dominant representational level of functioning, in false belief tasks. Several horizontal décalages can also be observed. It is only after success in FB tasks that children can talk about the mental states of characters in fictional stories. Moreover, ToM-related and other inferential elements are expressed earlier and more frequently in conversationally-constructed than in monologically-produced narratives. This paper examines in particular this type of horizontal décalage by comparing the types of explanations produced by eighty 6- and 7-year-old French-speaking children during a short conversational intervention (SCI) focused on the causes of the story events to those expressed in monological narratives, about the same wordless picture story, produced immediately after or before the SCI. The results confirm that children expressed more ToM-related and other inferential elements during the SCI than in the two monologically-produced narratives. However, the comparison between explanations produced during the SCI and in the immediately following monological narrative also reveals complex relations among understanding, knowing and expressing this knowledge. The reasons and the significance of the horizontal décalages found in the study are discussed.
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Reynolds, Kendra. "Fairy Tale Futures: Critical Reflections." Dzieciństwo. Literatura i Kultura 2, no. 1 (August 3, 2020): 217–28. http://dx.doi.org/10.32798/dlk.417.
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This article provides critical reflections on Stijn Praet and Anna Kérchy’s edited collection, The Fairy Tale Vanguard: Literary Self-Consciousness in a Marvelous Genre (2019). Vanguard can be defined as “the foremost part of an advancing army or naval force,” with established and emerging critics marching in defence of the fairy tale against the genre’s complicated reception throughout the ages. The form’s self-consciousness and intertextual complexity is foregrounded, with fairy tale experiments ranging from those of 17th-century French female conteuses, to modernist short stories and contemporary films, which all combine into a celebration of the genre’s sophistication and continued relevance. The book engages with the generic complexity of the fairy tale, defying any kind of neat categorisation. ‘Fairy tale’ often functions as a ‘catch-all’ term for different fairy tale narratives, but this study paves the way for reflections on new subgenres such as the ‘anti-tale’. Finally, it is suggested that Rikki Ducornet’s idea of the ‘deep magic’ of fairy tales opens us up to a possibility, to an embrace of the unknown and all of its potentiality, providing us with an imaginative space within which to envision a new and better reality. This is foregrounded as a central tenant to The Fairy Tale Vanguard’s privileging of experimentation, which highlights that the fairy tale harnesses a deeply political potential in challenging current oppressions. Perhaps it is not us, fairy tale scholars, who are marching to the aid of the fairy tale then, rather it is the tales fighting for us in an unjust world.
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Beidler, Philip D. "South Pacific and American Remembering; or, “Josh, We're Going to Buy This Son of a Bitch!”." Journal of American Studies 27, no. 2 (August 1993): 207–22. http://dx.doi.org/10.1017/s0021875800031534.
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For many post-1945 Americans, the title South Pacific does not describe a text so much as a process of remembering. For the cultural historian, it offers an account of production. It is the relationship of these that will be my subject. The pattern of the former will largely depend, of course, on the rememberer – something of a book perhaps, a play, a movie, a song, another song. The latter, albeit complicated, is traceable. It has a literary provenance in a 1947 collection of fictional narratives by James A. Michener entitled Tales of the South Pacific, variously described as short stories or a novel, but always noted as winner of the Pulitzer Prize. In translation to Rodgers and Hammerstein's 1949 Broadway classic, it adds another Pulitzer and a paperback fortune for the original honoree: to one of the most celebrated runs in the golden era of the American musical. It parlays that success into one of the first widely popular 33⅓ RPM long-playing records, memorialized in its dramatic connection by a cover photograph of Mary Martin and Ezio Pinza in the lead roles of U.S. Navy nurse Nellie Forbush and French planter Emile DeBecque. It then reappears as a 1958 movie musical spectacular, leading to another joyride of the Michener narrative on the best-seller lists, and to yet another best-selling LP, now in stereo, with the cover photo of the lovers, here Mitzi Gaynor and Rozzano Brazzi, resituated against a Hollywood backdrop of wide-screen tropical splendors. Along the way, it proliferates into endless road productions and revivals; television showings and VCR rentals; re-recordings and new recordings on LP, tape, and compact disk.
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Denisova, E. A. "The Originality of the Comic in the Prose of Venedict Marth." Studies in Theory of Literary Plot and Narratology 15, no. 2 (2020): 407–16. http://dx.doi.org/10.25205/2410-7883-2020-2-407-416.
Full textAbstract:
Venedikt Mart is the pseudonym of the poet and writer Venedikt Nikolaevich Matveev (1895–1937). He was born and lived in Vladivostok until 1920, where he published his poems in local newspapers and magazines, published his first collections in the printing house of his father, who was a writer and local historian Nikolai Amursky (Nikolai Petrovich Matveev), (1865–1941). Venedict Mart became famous for his futuristic poems and translations of Japa- nese and Chinese poetry. The collection “At the Love Crossroads of Fads” (1922) is a clear mockery of precision culture. The reference to the long-gone culture of past centuries is comical in that V. Marth’s pretentiousness of vocabulary and immoderate hyperbolism of short stories is stronger than in any French novel created by a writer-precision. The heroes’ love explanations take an unexpected turn, in which romantic stories are resolved in a comic manner. In June 1917, in St. Petersburg on Krestovsky Island, V. Mart wrote the book “Emerald Worms”. In one of the main refrains of the text: “You smile and Your smile will remain here on Earth – in March to enchant the autumn people...”, the author’s self-irony is noticeable, since in the book “You” means “Genius of the Cosmos” who reaches Immortality – this means that his works live forever. In the phrase “You stay in March,” the author cleverly uses the fact that his pseudonym coincides with the name of the month. This game with the reader is a characteristic feature of the entire work of the writer. In V. Mart’s prose of the late 1920s – early 1930s, an educational orientation and adherence to the “state order” are visible. The 1932 story “Dere – a Water Wedding” combines several artistic directions. Some fragments of the text are stylized like a fairy tale story. V. Mart confronts this artistic direction with the literature of fact, thereby creating a comic effect through which the author expresses the catastrophic nature of the process of loss of self-identification of a small people under the influence of the “new way of life”. In the collection “At the Love Crossroads of Fads” creates a comic effect through sheer mockery of precision culture. Here V. Mart uses fabulous motives, which he will extensively use in his prose. In the book “Emerald Worms” absurdity and the author’s self-irony are the main methods of the comic. Since the end of the 1920s, being under the supervision of the police and squeezed by the censorship framework from the explicit forms of the comic, V. Mart turns to hidden irony, which is read more at the stylistic level, for example, a deliberate combination of literary genres far from each other in one work.
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Przybos, Julia. "Polish Decadence: Leopold Staff's Igrzysko in the European Context." Nordlit 15, no. 2 (March 26, 2012): 79. http://dx.doi.org/10.7557/13.2045.
Full textAbstract:
Decadent authors writing about the past share a common artistic practice: revisionist creativity. I argue in my Zoom sur les décadents that this particular type of creativity uses as its main device recombination of legends, myths, and historical events. Historical, cultural or religious figures are reexamined and shown in a new unexpected light. I show in my book how Villiers de Isle-Adam conflates two crucial battles of the Ancient world: Marathon (490 BC) and Thermopiles (480 BC) in ashort story called "Impatience de la foule." The final result of Villiers's telescoping of separate historical events is a seamless narrative. In Hugues Rebell's "Une Saison à Baia," Saint Paul attempts to convert Roman patricians who mock his incoherent speeches. In "La Gloire de Judas," Bernard Lazare departs from the Gospels and tells the tragic story of Judas whose betrayal made the salvation of the human race possible. In Lazare's short story, Judas is a self-effacing figure who doesn't act on his own but on Jesus Christ's specific order, who sworns him into secrecy.Common in French decadent fiction, religious revisionism was largely tolerated in the secular Third Republic. Whereas censorship was quick to punish naturalist authors writing about debauched clergy in contemporary France (e.g. Louis Deprez and Henry Fèvre's Autour d'un clocher) decadent authors reinventing ancient religious stories and retelling the life of catholic saints enjoyed a relative freedom ofexpression.It is my hypothesis that taken out of its secular context, religious revisionism of the kind practiced by French decadents may be seen as shocking transgression in a fiercely catholic country like Poland. In the country that lost its independence in 1794 and was ever since seeking to regain it, Catholic Church was perceived as an essential ally in the struggle against main occupying powers: Orthodox Russia, and Protestant Prussia. In the course of the 19th century Catholicism and patriotism had been effectively fused in Polish national conscience. In this charged political context a Polish author revisiting Church dogma or tradition was at risk of being perceived not only as a religious outcast but also as a traitor to the cause of Polish independence.To test my hypothesis I propose to examine Igrzysko (Game), a forgotten play by Leopold Staff. Admired today chiefly as a poet, the young Staff wrote Igrzysko in Poland after a long sojourn in Paris where he had lived among the international crowd of fin de siècle writers and artists. The play was first produced in Lemberg in 1909 and after a few performances vanished forever from Polish theatrical repertoire.Leopold Staff's play is set in ancient Rome and depicts tribulations of an actor who, while impersonating a Christian awaiting crucifixion, converts to Christianity. In his play, Staff revives the legend of Saint Genesius, an actor in Arles who died a martyr's death in 286 under Diocletian. In Spain, Saint Genesius's legend inspired Lope de Vega who wrote Acting is Believing (Lo fingido verdadero, 1607). In France, it was the source for Jean Rotrou's Saint Genest (1646). All told, the legend of Genesius is a popular theme for artists who wish to explore the distinction between art and life. An important addition to this old tradition, Staff's play contains, however, a decadent and potentially scandalous twist. Unlike in Acting is Believing and Saint Genest, the protagonist's conversion is very short lived in Igrzysko. Fearing pain, Staff's character commits suicide and is, therefore, condemned for eternity. In my paper, I will discuss the significance of Staff's religious transgression in the context of the turn of the century arch-catholic and patriotic Poland.