This article is devoted to the study of the perception of the pre-reform era by the upper class in the second half of the 19th century, after several years thereof, then decades after the abolition of serfdom. Initial assessments of the peasant reform carried out among the nobility were quite contradictory. They ranged from total rejection and denial to approval of government policies. But all in all, the abolition of serfdom was a turning point in history. The post-reform period of "impoverishment" of the Russian nobility is associated with a rethinking of the place and role of the upper class in society and the state. Not all landowners managed to adapt to the conditions of the post-reform village, they left for the capital, abroad. The diminution of privileges and the loss of the exclusive status of the upper class fueled the mood of nostalgia. The article uses the concept of nostalgia, developed by Svetlana Boym, which provides for the identification of two types of nostalgia: restorative and reflective. Restorative nostalgia manifested itself not only in the collective consciousness of the upper class but became one of the motivations of the conservative policy of Alexander III. Reflective nostalgia was expressed in the growing interest in the study of the culture of noble manors, determined the identity of the upper estate. Overall, it can be argued that nostalgia has become not only an important feature of the collective consciousness of the nobility, but influenced state policy, shaped the image of the future based on the lost past.
{"title":"Memory and nostalgia: pre-reform Russia in the minds of the Russian nobility of the second half of the 19th century","authors":"N. Seliverstova","doi":"10.31178/ubr.10.1.5","DOIUrl":"https://doi.org/10.31178/ubr.10.1.5","url":null,"abstract":"This article is devoted to the study of the perception of the pre-reform era by the upper class in the second half of the 19th century, after several years thereof, then decades after the abolition of serfdom. Initial assessments of the peasant reform carried out among the nobility were quite contradictory. They ranged from total rejection and denial to approval of government policies. But all in all, the abolition of serfdom was a turning point in history. The post-reform period of \"impoverishment\" of the Russian nobility is associated with a rethinking of the place and role of the upper class in society and the state. Not all landowners managed to adapt to the conditions of the post-reform village, they left for the capital, abroad. The diminution of privileges and the loss of the exclusive status of the upper class fueled the mood of nostalgia. The article uses the concept of nostalgia, developed by Svetlana Boym, which provides for the identification of two types of nostalgia: restorative and reflective. Restorative nostalgia manifested itself not only in the collective consciousness of the upper class but became one of the motivations of the conservative policy of Alexander III. Reflective nostalgia was expressed in the growing interest in the study of the culture of noble manors, determined the identity of the upper estate. Overall, it can be argued that nostalgia has become not only an important feature of the collective consciousness of the nobility, but influenced state policy, shaped the image of the future based on the lost past.","PeriodicalId":306553,"journal":{"name":"University of Bucharest Review. Literary and Cultural Studies Series","volume":"81 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126234084","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Frantz Fanon’s writings on decolonization have constantly been read as a call for violence against oppressive colonial rulings. The choice that the subjugated individual must make between remaining a victim or using the colonial violence against those who originally initiated it represents one of Fanon’s main arguments in The Wretched of the Earth. Drawing on Kendrick Lamar’s music album DAMN. (2017), this article aims to show how the rapper rewrites the decolonization process in a poetic way, using metaphors, hyperboles and allegories. The interactions between white and Black individuals that Lamar examines in his songs provide an answer to Fanon’s urge to choose. Moving beyond the Fanonian binary thinking (Black/white, colonizer/colonized), DAMN. provides an insight on how whiteness and Blackness co-inhabit a space full of violent encounters. While presenting an X-ray image of the present-day United States of America, Lamar does not offer an answer on the questions on racism, but he delivers a vivid picture of the outcomes of personal choices, collective failures and perpetual violence.
{"title":"Revising the Black decolonialization process: Kendrick Lamar’s DAMN. and the poetics of violence","authors":"D. Grosu","doi":"10.31178/ubr.10.1.3","DOIUrl":"https://doi.org/10.31178/ubr.10.1.3","url":null,"abstract":"Frantz Fanon’s writings on decolonization have constantly been read as a call for violence against oppressive colonial rulings. The choice that the subjugated individual must make between remaining a victim or using the colonial violence against those who originally initiated it represents one of Fanon’s main arguments in The Wretched of the Earth. Drawing on Kendrick Lamar’s music album DAMN. (2017), this article aims to show how the rapper rewrites the decolonization process in a poetic way, using metaphors, hyperboles and allegories. The interactions between white and Black individuals that Lamar examines in his songs provide an answer to Fanon’s urge to choose. Moving beyond the Fanonian binary thinking (Black/white, colonizer/colonized), DAMN. provides an insight on how whiteness and Blackness co-inhabit a space full of violent encounters. While presenting an X-ray image of the present-day United States of America, Lamar does not offer an answer on the questions on racism, but he delivers a vivid picture of the outcomes of personal choices, collective failures and perpetual violence.","PeriodicalId":306553,"journal":{"name":"University of Bucharest Review. Literary and Cultural Studies Series","volume":"118 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129715059","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines how the memory of one of the largest sociopolitical crises in the history of Russia (called the Time of Troubles) modified over 400 years. This process is considered as an example of rethinking the traumatic experience of the past and forming a national-patriotic myth on its basis. Several stages of the evolution of the memory of the Time of Troubles are issued: the XVII century – when the interpretation of these events was mainly religious; the XVIII century – when heroic and patriotic ideas about the time of troubles were formed in accordance with the ideals of classicism; the XIX century – the time of the development of the monarchical myth of the Romanov dynasty coming to power; the XX century – when the peasant war and the struggle against foreign intervention became the main dominant in the understanding of events; Modern Russia and the annual celebration of the National Unity Day – a public holiday established in 2005 in memory of the liberation of Moscow in 1612, the main idea of which is the unification of all peoples on the territory of the Russian Federation. It is noted that for centuries in the cultural memory of Russian society, two layers of ideas about the Time of Troubles coexisted. One of them – negative – was the memory of social upheavals and civil war, the other – positive – the memory of victory and overcoming the Troubles, evoking a sense of national pride and hopes for the future.
{"title":"From the Time of Troubles to the Unity Day: Memory, Forgetting and Re-imaging the Past in Russian History","authors":"V. Tkachenko","doi":"10.31178/ubr.10.1.7","DOIUrl":"https://doi.org/10.31178/ubr.10.1.7","url":null,"abstract":"This article examines how the memory of one of the largest sociopolitical crises in the history of Russia (called the Time of Troubles) modified over 400 years. This process is considered as an example of rethinking the traumatic experience of the past and forming a national-patriotic myth on its basis. Several stages of the evolution of the memory of the Time of Troubles are issued: the XVII century – when the interpretation of these events was mainly religious; the XVIII century – when heroic and patriotic ideas about the time of troubles were formed in accordance with the ideals of classicism; the XIX century – the time of the development of the monarchical myth of the Romanov dynasty coming to power; the XX century – when the peasant war and the struggle against foreign intervention became the main dominant in the understanding of events; Modern Russia and the annual celebration of the National Unity Day – a public holiday established in 2005 in memory of the liberation of Moscow in 1612, the main idea of which is the unification of all peoples on the territory of the Russian Federation. It is noted that for centuries in the cultural memory of Russian society, two layers of ideas about the Time of Troubles coexisted. One of them – negative – was the memory of social upheavals and civil war, the other – positive – the memory of victory and overcoming the Troubles, evoking a sense of national pride and hopes for the future.","PeriodicalId":306553,"journal":{"name":"University of Bucharest Review. Literary and Cultural Studies Series","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130251452","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study uses the relational content analysis method and theories of intertextuality, intersectionality, and womanism to explore the continuity of womanist ethos in select novels of the African-American novelist Alice Walker. It attempts to explore Walker’s use of womanism as an intertextual trope in The Third Life of Grange Copeland (1970), Meridian (1976), The Color Purple (1982), The Temple of My Familiar (1989) and Possessing the Secret of Joy (1992); Walker’s portrayal of Celie-Shug as a perfect womanist couple in Color Purple and their reappearance in Temple as mother trees; foremothers as role models in Third Life and Temple; Walker’s telling and retelling of Tashi’s life-long suffering from female genital mutilation (FGM) in Color Purple, Temple, and Possessing – the subject of this paper.
{"title":"Continuity of Womanist Ethos: Intertextuality in Select Novels of Alice Walker","authors":"Jesmin Ruhina","doi":"10.31178/ubr.10.1.4","DOIUrl":"https://doi.org/10.31178/ubr.10.1.4","url":null,"abstract":"This study uses the relational content analysis method and theories of intertextuality, intersectionality, and womanism to explore the continuity of womanist ethos in select novels of the African-American novelist Alice Walker. It attempts to explore Walker’s use of womanism as an intertextual trope in The Third Life of Grange Copeland (1970), Meridian (1976), The Color Purple (1982), The Temple of My Familiar (1989) and Possessing the Secret of Joy (1992); Walker’s portrayal of Celie-Shug as a perfect womanist couple in Color Purple and their reappearance in Temple as mother trees; foremothers as role models in Third Life and Temple; Walker’s telling and retelling of Tashi’s life-long suffering from female genital mutilation (FGM) in Color Purple, Temple, and Possessing – the subject of this paper.","PeriodicalId":306553,"journal":{"name":"University of Bucharest Review. Literary and Cultural Studies Series","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114397841","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Evelyn Waugh’s experiences as captain in the Second World War represented the raw material for several novels, such as Put out More Flags (1942), Men at Arms (1952) and Brideshead Revisited (1945). These novels depict, on the one hand, the experiences of once immature bright young people who are now confronting the war reality, and, on the other, they satirize the military bureaucracy and portray the nostalgia for the conservative age of Catholic English nobility, which disappeared during the war. It could be assumed that these three novels might have been well received in Franco’s Spain as the Catholic theme as well as Waugh’s right-wing conservative beliefs could have influenced the censors’ approval or disapproval. Thus, the present paper will analyse the reception in Spain of Put out More Flags, Men at Arms and Brideshead Revisited considering the reports enclosed in the censorship files guarded at AGA (General Archive of the Administration) in Alcalá de Henares, Madrid. These documents reveal that Waugh’s novels were not easily approved by the Spanish censors during the Francoist dictatorship.
{"title":"Evelyn Waugh’s War Novels in Francoist Spain","authors":"Cristina Zimbroianu","doi":"10.31178/ubr.10.1.6","DOIUrl":"https://doi.org/10.31178/ubr.10.1.6","url":null,"abstract":"Evelyn Waugh’s experiences as captain in the Second World War represented the raw material for several novels, such as Put out More Flags (1942), Men at Arms (1952) and Brideshead Revisited (1945). These novels depict, on the one hand, the experiences of once immature bright young people who are now confronting the war reality, and, on the other, they satirize the military bureaucracy and portray the nostalgia for the conservative age of Catholic English nobility, which disappeared during the war. It could be assumed that these three novels might have been well received in Franco’s Spain as the Catholic theme as well as Waugh’s right-wing conservative beliefs could have influenced the censors’ approval or disapproval. Thus, the present paper will analyse the reception in Spain of Put out More Flags, Men at Arms and Brideshead Revisited considering the reports enclosed in the censorship files guarded at AGA (General Archive of the Administration) in Alcalá de Henares, Madrid. These documents reveal that Waugh’s novels were not easily approved by the Spanish censors during the Francoist dictatorship.","PeriodicalId":306553,"journal":{"name":"University of Bucharest Review. Literary and Cultural Studies Series","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126166791","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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.
{"title":"A ‘Palimpestuous’ Reading of Lisa Strøme’s The Strawberry Girl","authors":"D. Bădulescu","doi":"10.31178/ubr.10.1.8","DOIUrl":"https://doi.org/10.31178/ubr.10.1.8","url":null,"abstract":"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.","PeriodicalId":306553,"journal":{"name":"University of Bucharest Review. Literary and Cultural Studies Series","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121820056","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The present paper intends to re-read the popular neoclassical poem “The Choice”, written by (the now forgotten) John Pomfret at the dawn of the eighteenth century, and to demonstrate how it both fulfils and subverts several requirements of its genre. The paper contends that eighteenth-century pastoral poetry often served the purpose of recommending, rather than condemning the “vulgar” concerns of public and city life. The poetry of “retirement”, popular in an age of growing commerce, industry and Empire, was meant to assuage the guilt of enterprising spirits and give a gentlemanly varnish to an England hungry for consumption and expansion. While Pomfret’s poem certainly plays its part in such a narrative and comforts the anxieties of a business-oriented society, it also undermines the illusion of its “gentility”, an aspect which will be exposed in a deconstructive close-reading of the text, employing Derrida’s concept of aporia. The paper will also look at the poem from a socio-cultural perspective, relying on the ideas of eighteenth-century scholars such as Ian Watt, John Sitter, Ros Ballaster, Paula R. Backscheider and others.
{"title":"John Pomfret’s “The Choice”, or (Re)Inventing Empire","authors":"F. Năstase","doi":"10.31178/ubr.11.1.6","DOIUrl":"https://doi.org/10.31178/ubr.11.1.6","url":null,"abstract":"The present paper intends to re-read the popular neoclassical poem “The Choice”, written by (the now forgotten) John Pomfret at the dawn of the eighteenth century, and to demonstrate how it both fulfils and subverts several requirements of its genre. The paper contends that eighteenth-century pastoral poetry often served the purpose of recommending, rather than condemning the “vulgar” concerns of public and city life. The poetry of “retirement”, popular in an age of growing commerce, industry and Empire, was meant to assuage the guilt of enterprising spirits and give a gentlemanly varnish to an England hungry for consumption and expansion. While Pomfret’s poem certainly plays its part in such a narrative and comforts the anxieties of a business-oriented society, it also undermines the illusion of its “gentility”, an aspect which will be exposed in a deconstructive close-reading of the text, employing Derrida’s concept of aporia. The paper will also look at the poem from a socio-cultural perspective, relying on the ideas of eighteenth-century scholars such as Ian Watt, John Sitter, Ros Ballaster, Paula R. Backscheider and others.","PeriodicalId":306553,"journal":{"name":"University of Bucharest Review. Literary and Cultural Studies Series","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128335549","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this paper, I intend to present the way in which the Biblical stories and medieval legends are re-written in the episode of the Miraculous Ship in La Queste del Saint Graal, and to identify several characteristics of this vessel, considered ideal for the questers’ preparation for the ecstatic life in the presence of the Grail. The multi-layered symbolism of this miraculous self-moving ship is constantly enriched with new connotations, and from being a sacred place that offers the successful knights the opportunity to meditate on their spiritual life before reaching Sarras and the Holy Grail, it may also be regarded as a connector between the Old-Testament legends, Christian traditions and Arthurian lore. In addition, the focus of the story shifts from Arthurian adventures to the creation of a story of origin and Galahad is presented not only as the quintessential Arthurian knight, but also the rightful heir of mythical ancestors. More importantly, analysing the way in which some medieval texts are recycled in this fragment, the reader is astonished to find a very progressive re-writing of the well-known literary tradition, as it reveals a very appreciative portrayal of women’s agency and a tolerant attitude towards Jews (represented by Solomon). Both these aspects differ not only from the biblical perspective or dogmatic theories, but also from other 13th-century legends. Moreover, this inclusive approach to non-Christians is unique in the economy of La Queste.
在本文中，我打算介绍圣经故事和中世纪传说在La Queste del Saint Graal的神奇船的情节中被重写的方式，并确定这艘船的几个特征，被认为是在圣杯面前为追求者准备欣喜若狂的生活的理想选择。这艘神奇的自动移动船的多层象征意义不断被赋予新的内涵，它是一个神圣的地方，为成功的骑士提供了在到达萨拉斯和圣杯之前沉思他们精神生活的机会，它也可以被视为旧约传说、基督教传统和亚瑟王传说之间的纽带。此外，故事的焦点从亚瑟王的冒险转向了一个起源故事的创造，加拉哈德不仅是典型的亚瑟王骑士，而且是神话祖先的合法继承人。更重要的是，分析一些中世纪文本在这个片段中被循环使用的方式，读者会惊讶地发现，这是对众所周知的文学传统的一种非常进步的重写，因为它揭示了对女性代理的非常欣赏的描绘，以及对犹太人(以所罗门为代表)的宽容态度。这两个方面不仅与圣经的观点或教条式的理论不同，而且与其他13世纪的传说也不同。此外，这种对非基督徒的包容方式在拉奎斯特的经济中是独一无二的。
{"title":"Re-writing Old Testament legends in La Queste del Saint Graal","authors":"Monica Ruset-Oancă","doi":"10.31178/ubr.10.2.8","DOIUrl":"https://doi.org/10.31178/ubr.10.2.8","url":null,"abstract":"In this paper, I intend to present the way in which the Biblical stories and medieval legends are re-written in the episode of the Miraculous Ship in La Queste del Saint Graal, and to identify several characteristics of this vessel, considered ideal for the questers’ preparation for the ecstatic life in the presence of the Grail. The multi-layered symbolism of this miraculous self-moving ship is constantly enriched with new connotations, and from being a sacred place that offers the successful knights the opportunity to meditate on their spiritual life before reaching Sarras and the Holy Grail, it may also be regarded as a connector between the Old-Testament legends, Christian traditions and Arthurian lore. In addition, the focus of the story shifts from Arthurian adventures to the creation of a story of origin and Galahad is presented not only as the quintessential Arthurian knight, but also the rightful heir of mythical ancestors. More importantly, analysing the way in which some medieval texts are recycled in this fragment, the reader is astonished to find a very progressive re-writing of the well-known literary tradition, as it reveals a very appreciative portrayal of women’s agency and a tolerant attitude towards Jews (represented by Solomon). Both these aspects differ not only from the biblical perspective or dogmatic theories, but also from other 13th-century legends. Moreover, this inclusive approach to non-Christians is unique in the economy of La Queste.","PeriodicalId":306553,"journal":{"name":"University of Bucharest Review. Literary and Cultural Studies Series","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133823395","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
: The article is aimed at the study of Ukrainian quasi-historical novels of the early 21st century, characterized by the renunciation of “objectivity” of the narrative and emphasized the role of imagination. These are the pieces by Bakalets and Yarish (“From the Seventh Bottom”), Vynnychuk (“The Pharmacist”, “Lutetia”), and by Yatsenko (“Nechui. Nemov. Nebach”). The study reveals the features and functions of fantastic characters in the abovementioned novels. These fictional images of modern Ukrainian quasihistorical literary discourse are characterized by infernality, grotesque anthropomorphism, destruction of traditional antinomy “otherworldly– earthly/human”, philosophical and ironic coloring. Interpreting the fantasy in quasi-historical novels is expedient in the context of the global problem of perception of historical past by people of the 21st Century, with an emphasis on significant changes in public consciousness motivating writers to “Re-write/Reimagine the past”. The spread of this phenomenon reveals public distrust of the authorities, offering “correct” answers to the questions about past events, protest against permanent manipulation of historical facts (the tendency of growing consciousness and intellectualization of society).
{"title":"Supernatural Characters in the Quasi-Historical Discourse of Modern Ukrainian Literature: Specificity and Functions","authors":"O. Nikolova, Kateryna Vasylyna","doi":"10.31178/ubr.11.2.4","DOIUrl":"https://doi.org/10.31178/ubr.11.2.4","url":null,"abstract":": The article is aimed at the study of Ukrainian quasi-historical novels of the early 21st century, characterized by the renunciation of “objectivity” of the narrative and emphasized the role of imagination. These are the pieces by Bakalets and Yarish (“From the Seventh Bottom”), Vynnychuk (“The Pharmacist”, “Lutetia”), and by Yatsenko (“Nechui. Nemov. Nebach”). The study reveals the features and functions of fantastic characters in the abovementioned novels. These fictional images of modern Ukrainian quasihistorical literary discourse are characterized by infernality, grotesque anthropomorphism, destruction of traditional antinomy “otherworldly– earthly/human”, philosophical and ironic coloring. Interpreting the fantasy in quasi-historical novels is expedient in the context of the global problem of perception of historical past by people of the 21st Century, with an emphasis on significant changes in public consciousness motivating writers to “Re-write/Reimagine the past”. The spread of this phenomenon reveals public distrust of the authorities, offering “correct” answers to the questions about past events, protest against permanent manipulation of historical facts (the tendency of growing consciousness and intellectualization of society).","PeriodicalId":306553,"journal":{"name":"University of Bucharest Review. Literary and Cultural Studies Series","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115775375","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Jacques Derrida’s spectre, as defined in Spectres of Marx (1993) is a figure that vacillates between presence and absence. It is something that both defines and disrupts the present by its absence and subsequent return. Indeed, it acts as a container of memory. What Martha and Bruce Lincoln define as secondary haunting is aimed at “broader forms of repair”, such as creation of social consciousness about historical events and ensuring the “remembrance of atrocities” committed or traumas suffered. This type of secondary haunting is to be found in the works of Albanian nationalist writer Ismail Kadare. Not only does he make use of spectral figures like that of Sultan Murad I in Three Elegies for Kosovo (1998) but he also uses symbols such as the three-arched bridge in The Palace of Dreams (1981). Indeed, in The General of the Dead Army (1963), Kadare presses into action an entire army of dead soldiers. These spectres serve to keep alive the memories of atrocities and suffering, as well as those of ethnic origin among future generations. Additionally, the spectre of the Ottoman Empire, often as an allegory for Communism, also haunts the fictional world of Kadare’s characters. Indeed, through these spectres Kadare is attempting to establish the European origins of his native Albania, while placing the burden of Balkan suffering on its Eastern oppressors.
{"title":"Spectres of Memory in the Works of Ismail Kadare","authors":"S. Mukherjee, Roy Madhumita","doi":"10.31178/ubr.11.1.3","DOIUrl":"https://doi.org/10.31178/ubr.11.1.3","url":null,"abstract":"Jacques Derrida’s spectre, as defined in Spectres of Marx (1993) is a figure that vacillates between presence and absence. It is something that both defines and disrupts the present by its absence and subsequent return. Indeed, it acts as a container of memory. What Martha and Bruce Lincoln define as secondary haunting is aimed at “broader forms of repair”, such as creation of social consciousness about historical events and ensuring the “remembrance of atrocities” committed or traumas suffered. This type of secondary haunting is to be found in the works of Albanian nationalist writer Ismail Kadare. Not only does he make use of spectral figures like that of Sultan Murad I in Three Elegies for Kosovo (1998) but he also uses symbols such as the three-arched bridge in The Palace of Dreams (1981). Indeed, in The General of the Dead Army (1963), Kadare presses into action an entire army of dead soldiers. These spectres serve to keep alive the memories of atrocities and suffering, as well as those of ethnic origin among future generations. Additionally, the spectre of the Ottoman Empire, often as an allegory for Communism, also haunts the fictional world of Kadare’s characters. Indeed, through these spectres Kadare is attempting to establish the European origins of his native Albania, while placing the burden of Balkan suffering on its Eastern oppressors.","PeriodicalId":306553,"journal":{"name":"University of Bucharest Review. Literary and Cultural Studies Series","volume":"108 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115834683","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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