: In the Russian empire of the 19th century, every important event in the life of the ruling dynasty became newsbreak for various periodicals. On October 17, 1888, all the carriages of the imperial train were wrecked at Borki (Kharkiv province and eparchy). There were 23 victims and 35 badly wounded in the disaster, but the emperor Alexander III, his wife and children escaped without serious injury. In the view of the state religion, this miraculous salvation was considered to be a divine blessing and was consequently immortalized in an hermitage near Borki, by charitable institutions, etc. The study of these practices can help amplify the lore about the politics of remembering and representations of memory about the sovereign. The case of the Kharkiv region, where the crash took place is scantily investigated. This work deals with the materials about the Romanovs’ survival, published in both official and unofficial parts of the main Orthodox magazine of the Kharkiv eparchy during 1889–1915. The author studies the contexts of all mentionings about the disaster and concludes that these publications were connected mainly with annual commemorative events near Borki, but they were not the essential part of each October issue.
{"title":"Remembrance of the Borki Train Disaster in the Eparchial Part of “Faith and Reason”","authors":"A. Kizlova","doi":"10.31178/ubr.10.2.4","DOIUrl":"https://doi.org/10.31178/ubr.10.2.4","url":null,"abstract":": In the Russian empire of the 19th century, every important event in the life of the ruling dynasty became newsbreak for various periodicals. On October 17, 1888, all the carriages of the imperial train were wrecked at Borki (Kharkiv province and eparchy). There were 23 victims and 35 badly wounded in the disaster, but the emperor Alexander III, his wife and children escaped without serious injury. In the view of the state religion, this miraculous salvation was considered to be a divine blessing and was consequently immortalized in an hermitage near Borki, by charitable institutions, etc. The study of these practices can help amplify the lore about the politics of remembering and representations of memory about the sovereign. The case of the Kharkiv region, where the crash took place is scantily investigated. This work deals with the materials about the Romanovs’ survival, published in both official and unofficial parts of the main Orthodox magazine of the Kharkiv eparchy during 1889–1915. The author studies the contexts of all mentionings about the disaster and concludes that these publications were connected mainly with annual commemorative events near Borki, but they were not the essential part of each October issue.","PeriodicalId":306553,"journal":{"name":"University of Bucharest Review. Literary and Cultural Studies Series","volume":"120 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":"123484117","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}
Private Ken Lukowiak was a member of the Second Battalion Parachute Regiment (2 PARA) of the British Army deployed to the Falkland Islands for the 1982 British-Argentine conflict. The veteran’s creative drive motivated him into writing down his memories, and writing helped him overcome his war traumas. This paper seeks to explore Lukowiak’s memoir as a work offering an alternative retelling of the Falklands War, based on a deep emotional framework, in contrast to the narrative of heroism favoured by mass media. His personal account emphasizes the psychological distress and detachment of a soldier in opposition to the supposedly exemplary and outstanding behaviour of troops as often portrayed in mainstream journalism during and after the armed conflict.
{"title":"Revisiting the Past, Narrating War Memories: Retelling the Falklands War in A Soldier’s Song","authors":"A. Bellot","doi":"10.31178/ubr.11.1.1","DOIUrl":"https://doi.org/10.31178/ubr.11.1.1","url":null,"abstract":"Private Ken Lukowiak was a member of the Second Battalion Parachute Regiment (2 PARA) of the British Army deployed to the Falkland Islands for the 1982 British-Argentine conflict. The veteran’s creative drive motivated him into writing down his memories, and writing helped him overcome his war traumas. This paper seeks to explore Lukowiak’s memoir as a work offering an alternative retelling of the Falklands War, based on a deep emotional framework, in contrast to the narrative of heroism favoured by mass media. His personal account emphasizes the psychological distress and detachment of a soldier in opposition to the supposedly exemplary and outstanding behaviour of troops as often portrayed in mainstream journalism during and after the armed conflict.","PeriodicalId":306553,"journal":{"name":"University of Bucharest Review. Literary and Cultural Studies Series","volume":"1 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":"129117954","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 any work of art, from literary to visual, theatrical and cinematographic, the presence of shadow, most of times associated with the presence of light, emerges as a particularly motivated sign. The very act of placing a shadow in a specific context makes the shadow subject to the same area of interpretation as the rest of the artwork. Within each artistic field, there are lots of meanings associated to shadow: from philosophical, theological and psychological to symbolic and metaphorical. According to the artistic medium it belongs to, the metaphor of shadow is usually engaged in creating and modifying the atmosphere, in visualising images, in diminishing or increasing the dramatic intensity and mainly in accumulating meaning. The present study intends to explore the transposition of the metaphor of shadow from its allegorical roots, as in Plato’s allegory of the cave, into new artistic environments such as literary and cinematographic. Be it employed in the service of an idea, as in Shakespeare’s Hamlet or used for creating a visual and cinematic effect as in Zeffirelli’s homonymous film, the metaphor of shadow adapted its means of expression in order to extend the area of significances.
{"title":"Re-thinking the Metaphor of Shadow: From Plato to Shakespeare and Zeffirrelli","authors":"Carmen Dominte","doi":"10.31178/ubr.10.2.6","DOIUrl":"https://doi.org/10.31178/ubr.10.2.6","url":null,"abstract":"In any work of art, from literary to visual, theatrical and cinematographic, the presence of shadow, most of times associated with the presence of light, emerges as a particularly motivated sign. The very act of placing a shadow in a specific context makes the shadow subject to the same area of interpretation as the rest of the artwork. Within each artistic field, there are lots of meanings associated to shadow: from philosophical, theological and psychological to symbolic and metaphorical. According to the artistic medium it belongs to, the metaphor of shadow is usually engaged in creating and modifying the atmosphere, in visualising images, in diminishing or increasing the dramatic intensity and mainly in accumulating meaning. The present study intends to explore the transposition of the metaphor of shadow from its allegorical roots, as in Plato’s allegory of the cave, into new artistic environments such as literary and cinematographic. Be it employed in the service of an idea, as in Shakespeare’s Hamlet or used for creating a visual and cinematic effect as in Zeffirelli’s homonymous film, the metaphor of shadow adapted its means of expression in order to extend the area of significances.","PeriodicalId":306553,"journal":{"name":"University of Bucharest Review. Literary and Cultural Studies Series","volume":"52 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":"121470230","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 attitude to biographical works has changed significantly under the influence of postmodernism: the refusal to perceive the author as a single authoritative source of meaning has led to the perception of biographical fiction as a fiction biography, creating in the context of the ideology a biography of the biographer himself. The aim of the proposed study is to find out how gender and ideology form the strategies for presenting the Ukrainian woman writer as a character of a biographical novel. The proposed article will deal with 4 works of different periods: “The Silent Deity” by V.Domontovych (1930), “At Dawn” by Y. Tys (1961), “Maria” by O. Ivanenko (1983), “Like a Magnet” by I. Rozdobudko (2013). At the heart of all of them is the life of the first Ukrainian writer Marco Vovchok (Maria Vilinska), but quite different women are represented in these works. The biographical works under consideration demonstrate more attention to the events of the writer’s life than to what she wanted to say in her work. The interpretation of Marco Vovchok’s stories is dominated by their political (social) significance and they are presented as a basis for talking about the life of the woman (with the exception of Rozdobudko’s story).
{"title":"Re-Writing a Woman’s Biography: Marco Vovchok as a Character of Literary Work","authors":"S. Zhygun","doi":"10.31178/ubr.10.2.5","DOIUrl":"https://doi.org/10.31178/ubr.10.2.5","url":null,"abstract":"The attitude to biographical works has changed significantly under the influence of postmodernism: the refusal to perceive the author as a single authoritative source of meaning has led to the perception of biographical fiction as a fiction biography, creating in the context of the ideology a biography of the biographer himself. The aim of the proposed study is to find out how gender and ideology form the strategies for presenting the Ukrainian woman writer as a character of a biographical novel. The proposed article will deal with 4 works of different periods: “The Silent Deity” by V.Domontovych (1930), “At Dawn” by Y. Tys (1961), “Maria” by O. Ivanenko (1983), “Like a Magnet” by I. Rozdobudko (2013). At the heart of all of them is the life of the first Ukrainian writer Marco Vovchok (Maria Vilinska), but quite different women are represented in these works. The biographical works under consideration demonstrate more attention to the events of the writer’s life than to what she wanted to say in her work. The interpretation of Marco Vovchok’s stories is dominated by their political (social) significance and they are presented as a basis for talking about the life of the woman (with the exception of Rozdobudko’s story).","PeriodicalId":306553,"journal":{"name":"University of Bucharest Review. Literary and Cultural Studies Series","volume":"53 9","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120919991","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}
My papers investigates two of the latter volumes by Romanian author Monica Pillat, Invitație la vis (An Invitation to Dream, 2014), and Croitorul de cărți (The Book Tailor, 2019), in which the literary experience elevates and transcends life itself, as a form of rewriting/healing the past and, maybe, of projecting one’s dreams into the future. It relies on criticism of two stories from the respective volumes, which investigates the sites of memory, such as the family mansion, which is the central piece around which the fantasy world woven by the author gravitates. Since Monica Pillat descends from a whole line of literary masters, her gift for writing is in fact a form of recuperating and also compensating for the family past, in which especially her father (Dinu Pillat) was very much afflicted by political persecution during Communist times. In my paper, I will dwell upon the less factual connection between life and literature – that of a mutual mirroring and influencing – in the attempt to prove that the experience of writing can make up for the losses encountered in reality. In this sense, being a literary author may offer one the chance of re-inventing one’s self (or imaginatively amending the life of your loved ones) and – for Monica Pillat – it certainly offers the greatest reward of all: a continual dwelling inside the family lineage, in the company of the kindred spirits that have guided and protected her since she was born.
我的论文研究了罗马尼亚作家莫妮卡·皮拉特(Monica Pillat)的后两卷，Invitație la vis(《梦的邀请》，2014年)和Croitorul de cărți(《裁缝》，2019年)，其中文学体验提升并超越了生活本身，作为一种重写/治愈过去的形式，也许是将一个人的梦想投射到未来。它依赖于对各自卷中的两个故事的评论，这些故事调查了记忆的地点，比如家族豪宅，这是作者编织的幻想世界的中心部分。由于莫妮卡·皮拉特是文学大师的后代，她的写作天赋实际上是一种恢复和补偿家庭过去的形式，尤其是她的父亲(迪努·皮拉特饰)在共产主义时期受到政治迫害的折磨。在我的论文中，我将详述生活和文学之间不那么真实的联系——一种相互镜像和影响——试图证明写作经验可以弥补现实中遇到的损失。从这个意义上说，成为一名文学作家可能会给一个人提供重塑自我的机会(或者富有想象力地修改你所爱的人的生活)，而且——对莫妮卡·皮拉来说——它当然提供了最大的回报:持续地居住在家族血统中，在自她出生以来一直指导和保护她的志趣相随的人的陪伴下。
{"title":"Products of Counterfactual Imagination:The Healing Life of Literature","authors":"A. Bulz","doi":"10.31178/ubr.11.2.3","DOIUrl":"https://doi.org/10.31178/ubr.11.2.3","url":null,"abstract":"My papers investigates two of the latter volumes by Romanian author Monica Pillat, Invitație la vis (An Invitation to Dream, 2014), and Croitorul de cărți (The Book Tailor, 2019), in which the literary experience elevates and transcends life itself, as a form of rewriting/healing the past and, maybe, of projecting one’s dreams into the future. It relies on criticism of two stories from the respective volumes, which investigates the sites of memory, such as the family mansion, which is the central piece around which the fantasy world woven by the author gravitates. Since Monica Pillat descends from a whole line of literary masters, her gift for writing is in fact a form of recuperating and also compensating for the family past, in which especially her father (Dinu Pillat) was very much afflicted by political persecution during Communist times. In my paper, I will dwell upon the less factual connection between life and literature – that of a mutual mirroring and influencing – in the attempt to prove that the experience of writing can make up for the losses encountered in reality. In this sense, being a literary author may offer one the chance of re-inventing one’s self (or imaginatively amending the life of your loved ones) and – for Monica Pillat – it certainly offers the greatest reward of all: a continual dwelling inside the family lineage, in the company of the kindred spirits that have guided and protected her since she was born.","PeriodicalId":306553,"journal":{"name":"University of Bucharest Review. Literary and Cultural Studies Series","volume":"114 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":"121047608","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}
However controversial a topic, Marxist thought still remains the most complex tool for the critique of Capitalism. Derrida calls Marxism “hauntological”, always reappearing as a spectre of the past, always quasipresent, but also as a potential lost future. After the dismantling of the Soviet Union and the Eastern Bloc, the relevance of The Communist Manifesto seemed to have slowly waned, in a world that adopted the tenets of Neoliberalism partly as a defense against authoritarian regimes, and partly as a mean to converge toward the countries at the forefront of the global system, that had already accrued a massive lead in economic and social development. The Covid-19 virus has shocked the world to its core, but it remains to be seen whether it has brought about a paradigm shift or it has merely accentuated some of the past problems, while also triggering a kind of forced nostalgia for the apparent normality of a system that was already ridden with issues. Mark Fisher points out that “it’s easier to imagine the end of the world than the end of capitalism” (Fisher 1), thus indicating the need for criticism and measures against a neoliberal monopoly on thought itself. As for Žižek’s The Relevance of the Communist Manifesto, it remains to be analyzed whether it can revive the interest in the original text, as to begin compounding a viable alternative for a postpandemic global system that does not yet seem to fully grasp that it is running out of time.
无论这个话题多么有争议，马克思主义思想仍然是批判资本主义最复杂的工具。德里达称马克思主义为“幽灵论”，总是作为过去的幽灵再现，总是准现在，但也作为潜在的失去的未来。在苏联和东欧集团解体后，《共产党宣言》的重要性似乎在慢慢减弱，因为在这个世界上，新自由主义的信条一部分是作为对专制政权的防御，一部分是作为向全球体系前沿国家靠拢的一种手段，这些国家已经在经济和社会发展方面积累了巨大的领先优势。新冠病毒彻底震惊了世界，但它是带来了范式转变，还是仅仅加剧了过去的一些问题，同时也引发了一种对已经充满问题的系统表面正常的强制性怀旧，还有待观察。Mark Fisher指出，“想象世界的终结比想象资本主义的终结更容易”(Fisher 1)，这表明需要对新自由主义对思想本身的垄断进行批评和采取措施。至于Žižek的《共产党宣言的相关性》(The Relevance of The Communist Manifesto)，还有待分析它是否能恢复人们对原文的兴趣，以便开始为一个似乎还没有完全认识到自己时间不多的大流行后全球体系合成一个可行的替代方案。
{"title":"“What Ghosts are Haunting us Today?” Slavoj Žižek’s The Relevance of the Communist Manifesto in Post-Pandemic Capitalist Realism. The Revolutionary Subject and Work","authors":"Vlad-Eugen Neagu","doi":"10.31178/ubr.11.1.7","DOIUrl":"https://doi.org/10.31178/ubr.11.1.7","url":null,"abstract":"However controversial a topic, Marxist thought still remains the most complex tool for the critique of Capitalism. Derrida calls Marxism “hauntological”, always reappearing as a spectre of the past, always quasipresent, but also as a potential lost future. After the dismantling of the Soviet Union and the Eastern Bloc, the relevance of The Communist Manifesto seemed to have slowly waned, in a world that adopted the tenets of Neoliberalism partly as a defense against authoritarian regimes, and partly as a mean to converge toward the countries at the forefront of the global system, that had already accrued a massive lead in economic and social development. The Covid-19 virus has shocked the world to its core, but it remains to be seen whether it has brought about a paradigm shift or it has merely accentuated some of the past problems, while also triggering a kind of forced nostalgia for the apparent normality of a system that was already ridden with issues. Mark Fisher points out that “it’s easier to imagine the end of the world than the end of capitalism” (Fisher 1), thus indicating the need for criticism and measures against a neoliberal monopoly on thought itself. As for Žižek’s The Relevance of the Communist Manifesto, it remains to be analyzed whether it can revive the interest in the original text, as to begin compounding a viable alternative for a postpandemic global system that does not yet seem to fully grasp that it is running out of time.","PeriodicalId":306553,"journal":{"name":"University of Bucharest Review. Literary and Cultural Studies Series","volume":"254 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":"134242691","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}
Serban Oliver Tataru and Alfred Guzzetti are filmmakers that investigate on camera the role of memory in the construction of family history. They interview family members, gather old home movies and family photographs, and dig for public archival footage, in an effort to assume their position within a personal historical continuum, and to affirm their agency within their familial community. In their creative affirmation of generational subjectivity, they push against accepted familial narratives, and use the camera as a surgical tool that troubles lingering wounds beyond the surface of old images. In Anatomy of a Departure (2012), Romanian-German filmmaker Serban Oliver Tataru interviews his parents about their decision to emigrate from Ceausescu’s Romania while he was a teenager, scrutinizing on camera the conditions and consequence of a life-changing decision. While the dynamic of filming one’s own family is reminiscent of home movie tropes, and the tension built around sharing delicate memories reveals an intimacy usually intended to remain private, the film proposes a multilayered performance of the authorial self. As the film reveals a self-portrait set against the familial portrait (Marianne Hirsch), an inherent performative element acts as the necessary mediator between private and public, between ethic, aesthetic and politic. Negotiating between a restorative and a reflective nostalgia (Svetlana Boym), Tataru proposes a live performance of homecoming.
Serban Oliver Tataru和Alfred Guzzetti是两位电影人，他们通过镜头调查记忆在构建家族史中的作用。他们采访家庭成员，收集旧的家庭电影和家庭照片，挖掘公共档案录像，努力在个人历史连续体中确立自己的位置，并确认他们在家庭社区中的作用。在他们对代际主体性的创造性肯定中，他们反对公认的家庭叙事，并将相机作为外科手术工具，在旧图像的表面之外困扰挥之不去的伤口。在2012年的《启程剖析》(Anatomy of a Departure)中，罗马尼亚裔德国电影制作人Serban Oliver Tataru采访了他的父母，讲述了他们在他十几岁时决定从齐奥塞斯库统治下的罗马尼亚移民的故事，并在镜头前仔细审视了这个改变一生的决定的条件和后果。虽然拍摄自己家庭的动态让人想起家庭电影的比喻，而围绕分享微妙记忆而建立的紧张关系揭示了一种通常旨在保持隐私的亲密关系，但这部电影提出了作者自我的多层次表现。由于影片揭示了一幅与家族肖像(玛丽安·赫希饰)相对立的自画像，一种内在的表演元素充当了私人与公共、伦理、审美与政治之间的必要中介。在恢复性和反思性怀旧之间进行协商(Svetlana Boym)， Tataru提出了一场回家的现场表演。
{"title":"Public Performance of Private Interviews: Reinserting the Self into the Family Narrative","authors":"Alina Predescu","doi":"10.31178/ubr.11.1.4","DOIUrl":"https://doi.org/10.31178/ubr.11.1.4","url":null,"abstract":"Serban Oliver Tataru and Alfred Guzzetti are filmmakers that investigate on camera the role of memory in the construction of family history. They interview family members, gather old home movies and family photographs, and dig for public archival footage, in an effort to assume their position within a personal historical continuum, and to affirm their agency within their familial community. In their creative affirmation of generational subjectivity, they push against accepted familial narratives, and use the camera as a surgical tool that troubles lingering wounds beyond the surface of old images. In Anatomy of a Departure (2012), Romanian-German filmmaker Serban Oliver Tataru interviews his parents about their decision to emigrate from Ceausescu’s Romania while he was a teenager, scrutinizing on camera the conditions and consequence of a life-changing decision. While the dynamic of filming one’s own family is reminiscent of home movie tropes, and the tension built around sharing delicate memories reveals an intimacy usually intended to remain private, the film proposes a multilayered performance of the authorial self. As the film reveals a self-portrait set against the familial portrait (Marianne Hirsch), an inherent performative element acts as the necessary mediator between private and public, between ethic, aesthetic and politic. Negotiating between a restorative and a reflective nostalgia (Svetlana Boym), Tataru proposes a live performance of homecoming.","PeriodicalId":306553,"journal":{"name":"University of Bucharest Review. Literary and Cultural Studies Series","volume":"82 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":"133818651","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 deals with the literary modes of constructing temporality in D. H. Lawrence’s Etruscan Places (1932), a travel book written in 1927 and published posthumously. Typically for the first decades of the twentieth century, the work reflects the writer’s anxieties about war force, scientific discoveries and cultural exhaustion in a series of interrelated essays on the remnants of ancient Etruria and the powerful memory of Etruscan civilization. In this article, Etruscan Places is read like a subjective re-creation of a lost civilization; it is interpreted as the writing of an imaginary philosophy attributed to an ancient people and modelled on Lawrence’s personal engagement with the renewal of life potentialities. Patterning his book on the past-present opposition, the author recuperates the Etruscan past within the mythical framework of modernist coherence. The repeated movements between the lost Etruscan world and the writer’s mostly disappointing contemporary age reveal the possibility of establishing continuities not only on an anthropological plane, but also on a philosophical-aesthetic one. The Etruscans’ narrative of death brings to light an art of living; the historical perspective blends with existential and artistic considerations. Lawrence’s exploratory technique is based on similitudes and antitheses, being literarily rendered by a cross-cultural discourse that combines the factual with the fictional, and the epic with the lyric. The British author’s style puts forward repetition as a modernist rhetorical achievement that indirectly questions the validity of literary tradition. Furthermore, the explicit intertextuality of the book completes the writer’s modernist perspective, authenticating the cultural substance of the temporal links that Lawrence seeks to uncover.
{"title":"D. H. Lawrence’s Etruscan Places. A Modernist Revaluation of Temporality","authors":"Camelia Anghel","doi":"10.31178/ubr.10.2.3","DOIUrl":"https://doi.org/10.31178/ubr.10.2.3","url":null,"abstract":"The article deals with the literary modes of constructing temporality in D. H. Lawrence’s Etruscan Places (1932), a travel book written in 1927 and published posthumously. Typically for the first decades of the twentieth century, the work reflects the writer’s anxieties about war force, scientific discoveries and cultural exhaustion in a series of interrelated essays on the remnants of ancient Etruria and the powerful memory of Etruscan civilization. In this article, Etruscan Places is read like a subjective re-creation of a lost civilization; it is interpreted as the writing of an imaginary philosophy attributed to an ancient people and modelled on Lawrence’s personal engagement with the renewal of life potentialities. Patterning his book on the past-present opposition, the author recuperates the Etruscan past within the mythical framework of modernist coherence. The repeated movements between the lost Etruscan world and the writer’s mostly disappointing contemporary age reveal the possibility of establishing continuities not only on an anthropological plane, but also on a philosophical-aesthetic one. The Etruscans’ narrative of death brings to light an art of living; the historical perspective blends with existential and artistic considerations. Lawrence’s exploratory technique is based on similitudes and antitheses, being literarily rendered by a cross-cultural discourse that combines the factual with the fictional, and the epic with the lyric. The British author’s style puts forward repetition as a modernist rhetorical achievement that indirectly questions the validity of literary tradition. Furthermore, the explicit intertextuality of the book completes the writer’s modernist perspective, authenticating the cultural substance of the temporal links that Lawrence seeks to uncover.","PeriodicalId":306553,"journal":{"name":"University of Bucharest Review. Literary and Cultural Studies Series","volume":"18 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":"127896943","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}
Alice Zeniter’s 2017 novel The Art of Losing, translated recently by Frank Wynne from French to English, explores how buried histories resurface and haunt generations to come, despite national efforts to ignore, if not minimalize, the enduring impacts of colonialism, independence struggles and exile. Set in contemporary France in the wake of the 2015 terrorist attacks, and loosely inspired by Zeniter’s own family history, the book follows Naïma, a young woman of Algerian decent who grapples with a largely unknown and misconstrued harki heritage. Drawing on Marianne Hirsch’s concept of postmemory, this article investigates intergenerational transmission of memory, trauma, and silence around themes such as war, exile and integration.
爱丽丝·泽尼特(Alice Zeniter) 2017年出版的小说《失去的艺术》(The Art of lost)最近由弗兰克·韦恩(Frank Wynne)从法文翻译成英文，探讨了被埋葬的历史是如何重新浮现并困扰着后代的，尽管各国都在努力忽视(如果不是最小化的话)殖民主义、独立斗争和流亡的持久影响。这本书以2015年恐怖袭击之后的当代法国为背景，并受到泽尼特自己家族史的启发，讲述了一位阿尔及利亚裔年轻女子Naïma的故事，她努力应对一种基本上不为人知、被误解的哈奇传统。借鉴玛丽安·赫希(Marianne Hirsch)的后记忆概念，本文探讨了围绕战争、流放和融合等主题的记忆、创伤和沉默的代际传递。
{"title":"Between Transmission and Silence: Recovering Harki Memories in The Art of Losing","authors":"Joanna Ducey","doi":"10.31178/ubr.11.1.2","DOIUrl":"https://doi.org/10.31178/ubr.11.1.2","url":null,"abstract":"Alice Zeniter’s 2017 novel The Art of Losing, translated recently by Frank Wynne from French to English, explores how buried histories resurface and haunt generations to come, despite national efforts to ignore, if not minimalize, the enduring impacts of colonialism, independence struggles and exile. Set in contemporary France in the wake of the 2015 terrorist attacks, and loosely inspired by Zeniter’s own family history, the book follows Naïma, a young woman of Algerian decent who grapples with a largely unknown and misconstrued harki heritage. Drawing on Marianne Hirsch’s concept of postmemory, this article investigates intergenerational transmission of memory, trauma, and silence around themes such as war, exile and integration.","PeriodicalId":306553,"journal":{"name":"University of Bucharest Review. Literary and Cultural Studies Series","volume":"21 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":"122808927","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}
: Myths provide a fertile ground for adaptation and appropriation. The preoccupation of writers with the stories and characters from the margins leads to interesting variations of age-old stories. As a consequence, the familiar stories are re-worked and transformed as an act of subversion. The embedded mythical framework in the revised text enriches its meaning infinitely. This paper is an attempt to understand Atwood’s text as trying to fill in some gaps in Homer’s Odyssey. As a feminist writer, Atwood re-visits the canonical text from a new perspective. She attempts “not to pass on a tradition but break its hold over us” (Rich). The re-writing of grand narratives becomes a strategy whereby a shift in power becomes possible. Atwood’s text is subtitled ‘The Story of Penelope and Odysseus’ making the shift quite clear. The narrative voice alternates between Penelope’s disembodied spirit from the underworld and the chorus of her twelve, faithful maids. The Penelopiad, in this way, becomes a polyphonic text where the different voices blend and clash and no final, authoritative meaning is possible. The re-working, thus, becomes an act of liberation.
{"title":"Re-writing Myth: An Analysis of Margaret Atwood’s The Penelopiad","authors":"Namrata Nistandra","doi":"10.31178/ubr.11.2.5","DOIUrl":"https://doi.org/10.31178/ubr.11.2.5","url":null,"abstract":": Myths provide a fertile ground for adaptation and appropriation. The preoccupation of writers with the stories and characters from the margins leads to interesting variations of age-old stories. As a consequence, the familiar stories are re-worked and transformed as an act of subversion. The embedded mythical framework in the revised text enriches its meaning infinitely. This paper is an attempt to understand Atwood’s text as trying to fill in some gaps in Homer’s Odyssey. As a feminist writer, Atwood re-visits the canonical text from a new perspective. She attempts “not to pass on a tradition but break its hold over us” (Rich). The re-writing of grand narratives becomes a strategy whereby a shift in power becomes possible. Atwood’s text is subtitled ‘The Story of Penelope and Odysseus’ making the shift quite clear. The narrative voice alternates between Penelope’s disembodied spirit from the underworld and the chorus of her twelve, faithful maids. The Penelopiad, in this way, becomes a polyphonic text where the different voices blend and clash and no final, authoritative meaning is possible. The re-working, thus, becomes an act of liberation.","PeriodicalId":306553,"journal":{"name":"University of Bucharest Review. Literary and Cultural Studies Series","volume":"1 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":"128878367","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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