Pub Date : 2023-12-20DOI: 10.32589/2411-3883.20.2023.293528
Maria Borzova
Stephen King often manipulates with time by referring to time anomalies, disrupting the timeline of his works, and incorporating time loops along with parallel worlds. In his works, time is an unpredictable phenomenon, and the disruption of its established order results in a sense of helplessness and loss of control as well as creates an atmosphere of horror. In the author’s novel of 1977, “The Shining” horrifying events from the past of the Overlook Hotel intertwine with contemporary events, generating terrifying visions in the characters’ consciousness. In his other novel, “Pet Sematary” (1983), the character opens a gate to another time and space dimension, where death returns to life. The car named Christine from the eponymous novel (1983) also becomes an embodiment of sinister temporal power, forcing its characters to delve into a horrifying past while casting a growing shadow on their present. “It” (1986) depicts a monstrous entity, Pennywise, which exists beyond the influence of time itself. Pennywise appears in the town’s history at different time intervals, causing genuine terror among the residents. Therefore, the concept of temporality is a significant narrative driver in the writer’s horror stories.Drawing inspiration from the works of Howard Phillips Lovecraft, a British scholar, Benjamin Noys has introduced a concept of the so-called “horror temporis”. King’s interest in the contemporary paradigms of time and their interpretations in literary texts is a crucial commonality between his works and those of Lovecraft. This is particularly evident in King’s novel, “Lisey’s Story” (2006). The main character of the story encounters the existence of certain “holes” in our world through which another world is hidden, and this awareness not only induces a sense of losing sanity but also an ongoing sensation of falling through a hole in time.Typical of King, the narrative is led by an omniscient narrator who represents Lisey’s life events by reproducing the flow of the protagonist’s consciousness. Gradually, the author delves not only into Lisey Landon’s memories but also into her subconscious — dreams, visions, and associations. This paper thus appropriates Noys’s concept of “horror temporis” in the reading of Stephen King’s novel, “Lisey’s Story” (2006).Firstly, the analysis focuses on the issues of temporality in the novel, including the elements of its formal organisation, such as fractality. Secondly, the article deals with the intertextual aspect related to the issue of time. The theoretical framework in this study was borrowed from the classical studies in the field, including those by the English novelist David Herbert Lawrence, the French philosopher Henri Bergson, and the Argentine writer Jorge Luis Borges. It suggests that King’s use of numerous temporal techniques enhances the effect of the so-called “fantastic uncertainty”.The fantastic uncertainty implies that the fantastic elements in the narrative are closely linked to the sub
{"title":"HORROR TEMPORIS: FANTASTIC UNCERTAINTY OF TIME","authors":"Maria Borzova","doi":"10.32589/2411-3883.20.2023.293528","DOIUrl":"https://doi.org/10.32589/2411-3883.20.2023.293528","url":null,"abstract":"Stephen King often manipulates with time by referring to time anomalies, disrupting the timeline of his works, and incorporating time loops along with parallel worlds. In his works, time is an unpredictable phenomenon, and the disruption of its established order results in a sense of helplessness and loss of control as well as creates an atmosphere of horror. \u0000In the author’s novel of 1977, “The Shining” horrifying events from the past of the Overlook Hotel intertwine with contemporary events, generating terrifying visions in the characters’ consciousness. In his other novel, “Pet Sematary” (1983), the character opens a gate to another time and space dimension, where death returns to life. The car named Christine from the eponymous novel (1983) also becomes an embodiment of sinister temporal power, forcing its characters to delve into a horrifying past while casting a growing shadow on their present. “It” (1986) depicts a monstrous entity, Pennywise, which exists beyond the influence of time itself. Pennywise appears in the town’s history at different time intervals, causing genuine terror among the residents. Therefore, the concept of temporality is a significant narrative driver in the writer’s horror stories.Drawing inspiration from the works of Howard Phillips Lovecraft, a British scholar, Benjamin Noys has introduced a concept of the so-called “horror temporis”. King’s interest in the contemporary paradigms of time and their interpretations in literary texts is a crucial commonality between his works and those of Lovecraft. This is particularly evident in King’s novel, “Lisey’s Story” (2006). The main character of the story encounters the existence of certain “holes” in our world through which another world is hidden, and this awareness not only induces a sense of losing sanity but also an ongoing sensation of falling through a hole in time.Typical of King, the narrative is led by an omniscient narrator who represents Lisey’s life events by reproducing the flow of the protagonist’s consciousness. Gradually, the author delves not only into Lisey Landon’s memories but also into her subconscious — dreams, visions, and associations. This paper thus appropriates Noys’s concept of “horror temporis” in the reading of Stephen King’s novel, “Lisey’s Story” (2006).Firstly, the analysis focuses on the issues of temporality in the novel, including the elements of its formal organisation, such as fractality. Secondly, the article deals with the intertextual aspect related to the issue of time. The theoretical framework in this study was borrowed from the classical studies in the field, including those by the English novelist David Herbert Lawrence, the French philosopher Henri Bergson, and the Argentine writer Jorge Luis Borges. It suggests that King’s use of numerous temporal techniques enhances the effect of the so-called “fantastic uncertainty”.The fantastic uncertainty implies that the fantastic elements in the narrative are closely linked to the sub","PeriodicalId":336212,"journal":{"name":"CONTEMPORARY LITERARY STUDIES","volume":"30 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138957292","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}
Pub Date : 2023-03-15DOI: 10.32589/2411-3883.19.2022.274081
M. Shymchyshyn
The study takes into the consideration the existing dynamic relationship between metamodernism and the Russia-Ukraine war. The article aims to draw the parallels between metamodern structure of feeling and the harsh reality of war in Ukraine. The author has summarized the conceptual foundations of metamodernism and its paradigmatic benchmarks such as historicity, affect, and depth. It has been argued that these markers of metamodernism, conceptualized by Timotheus Vermeulen and Robin van den Akker, have intensified in the context of the Russia-Ukraine war. In particular, the past and the narrative of a nation problematized by the postmodern thinkers are re-activated within the Russia-Ukraine war. They are necessary to tie the past with our present and our future as well as to join disconnected presents. Metamodern historicity compensates historical amnesia of postmodernism and gives grounds to imagine a historical moment. Affect as a metamodern intensity through which we articulate the emotional reactions and responses has gained new currency during the Russia-Ukrainian war. Thousands of Ukrainian refugees are receiving help and support from the governments of different countries and people across the world. This situation exemplifies a desire of metamodern subjectivity for a meaningful personal emotional experience and interconnectedness. It has been concluded that metamodern logic has been forged during the Russia-Ukraine war and metamodern touchstones (historicity, affect, and depth) are contextualized in the reality of the 21st-century barbaric bloodshed. Moreover, the Russia-Ukraine war has disclosed that the intellectual life under the postmodern negation of grand narratives, truth, tradition, center, and other categories led us to intellectual and practical dead ends. The clash of civilizations that we experience today confirms the end of postmodern skepticism and irony, fragmentation, and playfulness. The postmodern logic blocked out our ability to respond to the tragedies and deaths brought by the war. We need a metamodern return to emotionality and sincerity to heal the traumas of war.
{"title":"THE RUSSIA-UKRAINE WAR AND METAMODERN STRUCTURE OF FEELING","authors":"M. Shymchyshyn","doi":"10.32589/2411-3883.19.2022.274081","DOIUrl":"https://doi.org/10.32589/2411-3883.19.2022.274081","url":null,"abstract":"The study takes into the consideration the existing dynamic relationship between metamodernism and the Russia-Ukraine war. The article aims to draw the parallels between metamodern structure of feeling and the harsh reality of war in Ukraine. The author has summarized the conceptual foundations of metamodernism and its paradigmatic benchmarks such as historicity, affect, and depth. It has been argued that these markers of metamodernism, conceptualized by Timotheus Vermeulen and Robin van den Akker, have intensified in the context of the Russia-Ukraine war. In particular, the past and the narrative of a nation problematized by the postmodern thinkers are re-activated within the Russia-Ukraine war. They are necessary to tie the past with our present and our future as well as to join disconnected presents. Metamodern historicity compensates historical amnesia of postmodernism and gives grounds to imagine a historical moment. Affect as a metamodern intensity through which we articulate the emotional reactions and responses has gained new currency during the Russia-Ukrainian war. Thousands of Ukrainian refugees are receiving help and support from the governments of different countries and people across the world. This situation exemplifies a desire of metamodern subjectivity for a meaningful personal emotional experience and interconnectedness. It has been concluded that metamodern logic has been forged during the Russia-Ukraine war and metamodern touchstones (historicity, affect, and depth) are contextualized in the reality of the 21st-century barbaric bloodshed. Moreover, the Russia-Ukraine war has disclosed that the intellectual life under the postmodern negation of grand narratives, truth, tradition, center, and other categories led us to intellectual and practical dead ends. The clash of civilizations that we experience today confirms the end of postmodern skepticism and irony, fragmentation, and playfulness. The postmodern logic blocked out our ability to respond to the tragedies and deaths brought by the war. We need a metamodern return to emotionality and sincerity to heal the traumas of war.","PeriodicalId":336212,"journal":{"name":"CONTEMPORARY LITERARY STUDIES","volume":"245 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122509889","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}
Pub Date : 2023-03-15DOI: 10.32589/2411-3883.19.2022.274084
Z. Yankovska
Ukrainian emigration is an extremely multifaceted phenomenon, therefore approaches to its study and research can be very different. The article deals with the reflection of emigration in Ukrainian literature and journalism as the most psychological and emotional source of information, which always pays attention to the problems of the time and in its own way looks for ways to solve them. Starting from the end of the 19th century, that is, from the first stage of emigration, the beginnings of Ukrainians’ departure abroad were different. Mainly, each stage is characterized as «labor» or «political» (sometimes these two directions were synthesized), but always leaving from the native land caused deep experiences and emotions associated with the unknown, a different way of life, a break with the family, closest people in general. In the scholarly works, the penultimate «worker» stage, or as it is also generally called the «іtalian» stage of emigration, has been insufficiently described. Not studied is the last stage, which is connected with today’s war on the territory of Ukraine, which is still continuing. But the artistic thinking of the people, associated with the emotional perception of events in extreme conditions, manifests itself faster. And we already have new works. Perhaps they cannot yet compete with the works of V. Stefanyk, Y. Sverstyuk, U. Samchuk and other writers who have already become classics, but these works are actual and there is a need for them. There are still not enough scientific works in which the issue of emigration is considered in the literature.
{"title":"PSYCHOLOGICAL AND EMOTIONAL ASPECTS OF REPRESENTATION OF EMIGRATION IN UKRAINIAN FICTION","authors":"Z. Yankovska","doi":"10.32589/2411-3883.19.2022.274084","DOIUrl":"https://doi.org/10.32589/2411-3883.19.2022.274084","url":null,"abstract":"Ukrainian emigration is an extremely multifaceted phenomenon, therefore approaches to its study and research can be very different. The article deals with the reflection of emigration in Ukrainian literature and journalism as the most psychological and emotional source of information, which always pays attention to the problems of the time and in its own way looks for ways to solve them. Starting from the end of the 19th century, that is, from the first stage of emigration, the beginnings of Ukrainians’ departure abroad were different. Mainly, each stage is characterized as «labor» or «political» (sometimes these two directions were synthesized), but always leaving from the native land caused deep experiences and emotions associated with the unknown, a different way of life, a break with the family, closest people in general. In the scholarly works, the penultimate «worker» stage, or as it is also generally called the «іtalian» stage of emigration, has been insufficiently described. Not studied is the last stage, which is connected with today’s war on the territory of Ukraine, which is still continuing. But the artistic thinking of the people, associated with the emotional perception of events in extreme conditions, manifests itself faster. And we already have new works. Perhaps they cannot yet compete with the works of V. Stefanyk, Y. Sverstyuk, U. Samchuk and other writers who have already become classics, but these works are actual and there is a need for them. There are still not enough scientific works in which the issue of emigration is considered in the literature.","PeriodicalId":336212,"journal":{"name":"CONTEMPORARY LITERARY STUDIES","volume":"192 ","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133321699","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}
Pub Date : 2023-03-15DOI: 10.32589/2411-3883.19.2022.274082
Olena Yurchuk
Modern literary criticism pays much attention to the theme of photography in fiction. R. Barth and his followers emphasize the active interpenetration of the two arts, which results in a play with imprint, blur, and image. Photography turns out to be a point of reference for reconstructing the past. The photographic image claims to be an archival document necessary for reconstructing the past, and the photograph claims to be completely objective, though limited by a subjective position. In the plot of A Perez Revert’s novel «The Battler» the camera, as well as photography itself, occupies a special place. After all, it is the camera that helps the photographer to recreate the chosen object of reality, to turn a moment into time frozen in history. For a photojournalist, a camera is not just a device for creating photo frames, but a component of his life, a mechanism that works in harmony with his body. The camera forms the inner world of the photographer, projecting the reality around him. During the Croatian war of the early 1990’s, it allowed the combatant to see what he saw through the prism of his own emotions and beliefs and recreate it in a specific photograph. A photograph is not only a documentary fact, but also a work of art, because it is a unique combination of dozens of random factors that together affect the perception of the photographer, coincide in one moment, are focused by the lens and reflected in it. This text is part of a discourse about the changing status of the document and the role of the photographer in assessing events, his ethical position, and recording presence. The one who publicly manifests his individuality and creative potential to make his voice heard, or to demonstrate images and attribute to himself a certain autonomy in relation to the world and its institutions, sooner or later becomes an artist.
{"title":"PHOTOGRAPHY AS A FORM OF STATEMENT AND MEANS OF FIXING PRESENCE IN A. PEREZ REVERTE’S BATALIST","authors":"Olena Yurchuk","doi":"10.32589/2411-3883.19.2022.274082","DOIUrl":"https://doi.org/10.32589/2411-3883.19.2022.274082","url":null,"abstract":"Modern literary criticism pays much attention to the theme of photography in fiction. R. Barth and his followers emphasize the active interpenetration of the two arts, which results in a play with imprint, blur, and image. Photography turns out to be a point of reference for reconstructing the past. The photographic image claims to be an archival document necessary for reconstructing the past, and the photograph claims to be completely objective, though limited by a subjective position. In the plot of A Perez Revert’s novel «The Battler» the camera, as well as photography itself, occupies a special place. After all, it is the camera that helps the photographer to recreate the chosen object of reality, to turn a moment into time frozen in history. For a photojournalist, a camera is not just a device for creating photo frames, but a component of his life, a mechanism that works in harmony with his body. The camera forms the inner world of the photographer, projecting the reality around him. During the Croatian war of the early 1990’s, it allowed the combatant to see what he saw through the prism of his own emotions and beliefs and recreate it in a specific photograph. A photograph is not only a documentary fact, but also a work of art, because it is a unique combination of dozens of random factors that together affect the perception of the photographer, coincide in one moment, are focused by the lens and reflected in it. This text is part of a discourse about the changing status of the document and the role of the photographer in assessing events, his ethical position, and recording presence. The one who publicly manifests his individuality and creative potential to make his voice heard, or to demonstrate images and attribute to himself a certain autonomy in relation to the world and its institutions, sooner or later becomes an artist.","PeriodicalId":336212,"journal":{"name":"CONTEMPORARY LITERARY STUDIES","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114618730","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}
Pub Date : 2023-03-15DOI: 10.32589/2411-3883.19.2022.274088
Lilia Kornilieva
The article centers on the image of wartime Ukraine in media discourses of Great Britain and the USA. The publications, broadcasts and messages concerning Ukraine reveal not only the factual events or phenomena, pertaining to the people of Ukraine or their culture, but also cultural matrices and beliefs that determine how representatives of different countries understand and interpret the world. Media-driven discourses analysed in the article include various outlets that people often choose on the every-day basis: newspapers, magazines, radio, television, and the Internet.
{"title":"IMAGE OF WARTIME UKRAINE IN THE BRITISH AND AMERICAN MEDIA DISCOURSES","authors":"Lilia Kornilieva","doi":"10.32589/2411-3883.19.2022.274088","DOIUrl":"https://doi.org/10.32589/2411-3883.19.2022.274088","url":null,"abstract":"The article centers on the image of wartime Ukraine in media discourses of Great Britain and the USA. The publications, broadcasts and messages concerning Ukraine reveal not only the factual events or phenomena, pertaining to the people of Ukraine or their culture, but also cultural matrices and beliefs that determine how representatives of different countries understand and interpret the world. Media-driven discourses analysed in the article include various outlets that people often choose on the every-day basis: newspapers, magazines, radio, television, and the Internet.","PeriodicalId":336212,"journal":{"name":"CONTEMPORARY LITERARY STUDIES","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124425169","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}
Pub Date : 2023-03-15DOI: 10.32589/2411-3883.19.2022.274000
N. Vysotska
Literature is one of the most effective ways for representing traumatic memory since it accomplishes this task by means of imagery. In American literary studies, the extensive research of the Holocaust literature tended to deploy the prevalent model focusing on the tragic fate of European Jewry through the prism of the victims’ psychology. The survivors of the unspeakable experience are striving to express (or repress) it from the perspective of their new American reality. Based on fiction and drama of the late 20th — early 21st centuries, the paper seeks to present an alternative mode of addressing the Holocaust trauma as second-hand experience of the characters who happen to be not direct victims, but rather «bystanders», nevertheless affected by PTSD. It seems expedient to apply certain premises laid out by the theorists of trauma (C. Caruth, D. La Capra, G. Hartman and others) to writings by Michael Chabon, Paul Auster, and Arthur Miller dealing with mediated («muted») Holocaust experience. This version also has at its core correlation between the factual and the fictional, the role of memory and imagination, temporal, spatial, and psychological distancing from the blood-curdling events. At the same time, special emphasis is laid on symbolic connotations bringing America within the ambit of reflections on the nature of ubiquitous evil. Veering towards traditional forms of narrative, the authors also make use of the potential inherent in fragmented story-telling. The texts highlight the strategies of working through the trauma including proactive initiatives, accepting the Other in oneself, transforming traumatic memory into other forms, such as cohesive narrative and/or fragmentary catalogue.
文学是表现创伤记忆最有效的方式之一，因为它通过意象完成了这一任务。在美国文学研究中，对大屠杀文学的广泛研究往往采用流行的模式，通过受害者的心理棱镜关注欧洲犹太人的悲惨命运。这段难以言说的经历的幸存者正努力从他们新的美国现实的角度来表达(或压抑)这段经历。本文以20世纪末至21世纪初的小说和戏剧为基础，试图提出一种替代模式，将大屠杀创伤作为人物的二手经验来解决，这些人物碰巧不是直接受害者，而是“旁观者”，尽管受到创伤后应激障碍的影响。将创伤理论家(C. Caruth, D. La Capra, G. Hartman等人)提出的某些前提应用于Michael Chabon, Paul Auster和Arthur Miller处理调解(“沉默”)大屠杀经验的著作似乎是权谋。这个版本的核心是事实和虚构之间的联系，记忆和想象的作用，时间，空间和心理上与令人毛骨悚然的事件保持距离。同时，特别强调象征内涵，将美国带入反思无处不在的邪恶本质的范围内。在转向传统叙事形式的同时，作者也利用了碎片化叙事的内在潜力。这些文本强调了克服创伤的策略，包括积极主动，接受自己的他者，将创伤记忆转化为其他形式，如有凝聚力的叙述和/或碎片目录。
{"title":"LASTING ECHO OF THE HOLOCAUST: MEDIATED TRAUMA IN LATE 20TH — EARLY 21ST CENTURY AMERICAN FICTION AND DRAMA","authors":"N. Vysotska","doi":"10.32589/2411-3883.19.2022.274000","DOIUrl":"https://doi.org/10.32589/2411-3883.19.2022.274000","url":null,"abstract":"Literature is one of the most effective ways for representing traumatic memory since it accomplishes this task by means of imagery. In American literary studies, the extensive research of the Holocaust literature tended to deploy the prevalent model focusing on the tragic fate of European Jewry through the prism of the victims’ psychology. The survivors of the unspeakable experience are striving to express (or repress) it from the perspective of their new American reality. Based on fiction and drama of the late 20th — early 21st centuries, the paper seeks to present an alternative mode of addressing the Holocaust trauma as second-hand experience of the characters who happen to be not direct victims, but rather «bystanders», nevertheless affected by PTSD. It seems expedient to apply certain premises laid out by the theorists of trauma (C. Caruth, D. La Capra, G. Hartman and others) to writings by Michael Chabon, Paul Auster, and Arthur Miller dealing with mediated («muted») Holocaust experience. This version also has at its core correlation between the factual and the fictional, the role of memory and imagination, temporal, spatial, and psychological distancing from the blood-curdling events. At the same time, special emphasis is laid on symbolic connotations bringing America within the ambit of reflections on the nature of ubiquitous evil. Veering towards traditional forms of narrative, the authors also make use of the potential inherent in fragmented story-telling. The texts highlight the strategies of working through the trauma including proactive initiatives, accepting the Other in oneself, transforming traumatic memory into other forms, such as cohesive narrative and/or fragmentary catalogue.","PeriodicalId":336212,"journal":{"name":"CONTEMPORARY LITERARY STUDIES","volume":"234 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115752174","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}
Pub Date : 2023-03-15DOI: 10.32589/2411-3883.19.2022.274043
Oleksandra Lytovska
The Peloponnesian war and the crisis of the police system of the end of the 5th – beginning of the 4th century BC became the historical context and stage chronotope for Aristophanes’ comedies. The article explores the peculiarities of the formation of modern «Lysistrata» receptions, in particular in cinematography and journalism. The premises of the «Lysistrata’s phenomenon» emergence and their interconnections with the reinterpretation of the ancient heritage are examined. In the 21st century «Lysistrata» serves as the source for the formation of the new mythologems. In the first years of New Millennium the plot of the Aristophanes’ comedy was considered as purely comic, fantastic, or even absurd. We consider the year 2003rd and the global culture initiative «Lysistrata project» to be the starting point for the «Lysistrata’s phenomenon». After «Lysistrata project» and, especially, events in Liberia global media cultivated neo-mythological concept of Lysistrata as the embodiment of political sex-strikes. Such simplification led to changes in artistic reception of the play, which could be traced in the theatre adaptation of the first decade of the 21st century. Spike Lee’s «Chi-raq» brought back complexity and multiple dimensions of Aristophanes’ play – juxtaposition of modern Chicago and ancient Athens opened plenty of senses and allows new optics for modern classic’s reception and for classical text itself. The Old Greek comedy «Lysistrata» became the optimal artistic focal point for the comprehension of the problems of war, peace, political order, race, and gender conflicts. The «Lysistrata’s phenomenon» demands further discussion based on multidisciplinary approach.
{"title":"«LYSISTRATA’S PHENOMENON»: NEW SENSES OF THE ANCIENT PLOT IN THE CONTEXT OF SOCIO–POLITICAL CRISES OF THE 21ST CENTURY","authors":"Oleksandra Lytovska","doi":"10.32589/2411-3883.19.2022.274043","DOIUrl":"https://doi.org/10.32589/2411-3883.19.2022.274043","url":null,"abstract":"The Peloponnesian war and the crisis of the police system of the end of the 5th – beginning of the 4th century BC became the historical context and stage chronotope for Aristophanes’ comedies. The article explores the peculiarities of the formation of modern «Lysistrata» receptions, in particular in cinematography and journalism. The premises of the «Lysistrata’s phenomenon» emergence and their interconnections with the reinterpretation of the ancient heritage are examined. In the 21st century «Lysistrata» serves as the source for the formation of the new mythologems. In the first years of New Millennium the plot of the Aristophanes’ comedy was considered as purely comic, fantastic, or even absurd. We consider the year 2003rd and the global culture initiative «Lysistrata project» to be the starting point for the «Lysistrata’s phenomenon». After «Lysistrata project» and, especially, events in Liberia global media cultivated neo-mythological concept of Lysistrata as the embodiment of political sex-strikes. Such simplification led to changes in artistic reception of the play, which could be traced in the theatre adaptation of the first decade of the 21st century. Spike Lee’s «Chi-raq» brought back complexity and multiple dimensions of Aristophanes’ play – juxtaposition of modern Chicago and ancient Athens opened plenty of senses and allows new optics for modern classic’s reception and for classical text itself. The Old Greek comedy «Lysistrata» became the optimal artistic focal point for the comprehension of the problems of war, peace, political order, race, and gender conflicts. The «Lysistrata’s phenomenon» demands further discussion based on multidisciplinary approach.","PeriodicalId":336212,"journal":{"name":"CONTEMPORARY LITERARY STUDIES","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132738378","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}
Pub Date : 2023-03-15DOI: 10.32589/2411-3883.19.2022.274015
O. Kobchinska
The article offers an analysis of the Holocaust theme in the novel by a contemporary French writer Tatiana de Rosnay, whose writings incorporate patterns of mass literature as related to relevant concepts of modern culture. The novel Sarah’s Key (2007), the first literary text in English later translated in French, reveals a dark episode in the life of French society within the Nazi occupation in 1940-s, namely one of the biggest crimes committed by Nazis against Jewish people — the raid of Vel’ d’Iv (July 1942) that was witnessed and partially supported by a number of population in Paris. The paper provides an analysis of the events described in the novel as a significant sample of writings on Holocaust in the corpus of the modern French literature in the lights of trauma studies and the concept of transgenerational memory and based on historical approach, as well as comparative and narrative methodology. In particular, the circumstances and consequences of the raid are viewed from historical and cultural aspects, the comparative aspect is incorporated through the analysis of the concept of memory in the novel by de Rosnay and in Patrick Modiano’s writings, whereas fondamental metaphors and symbols in the novel are classified and interpreted in their relation to the theory of ‘lieux de mémoire’ by Pierre Nora. Such a complex approach in the research is to reveal several distinct interpretative levels of the Holocaust theme in the novel; it also helps to reinforce the writer’s dialogue with her predecessors and contemporaries in modern European literature against the background of the current war in Ukraine.
本文分析了法国当代作家塔蒂亚娜·德·罗斯内小说中的大屠杀主题，她的作品将大众文学的模式与现代文化的相关概念结合起来。小说《萨拉的钥匙》(2007)是第一部后来被翻译成法语的英文文学作品，它揭示了1940年代纳粹占领期间法国社会生活中的一段黑暗插曲，即纳粹对犹太人犯下的最大罪行之一——1942年7月对Vel ' d ' iv的袭击，巴黎的许多人目睹并部分支持了这次袭击。本文在创伤研究和跨代记忆概念的基础上，以历史方法、比较方法和叙事方法为基础，对小说中描述的事件作为现代法国文学语料库中关于大屠杀的重要作品样本进行了分析。特别是，从历史和文化的角度来看待这次袭击的情况和后果，通过对德·罗斯内小说和帕特里克·莫迪亚诺作品中记忆概念的分析，将比较的角度纳入其中，而小说中的基本隐喻和象征则被分类并解释为与皮埃尔·诺拉的“中尉”理论的关系。这种复杂的研究方法揭示了小说中大屠杀主题的几个不同的解释层次;它也有助于加强作家与她的前辈和同时代的现代欧洲文学在当前乌克兰战争的背景下的对话。
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Pub Date : 2023-03-15DOI: 10.32589/2411-3883.19.2022.274045
Y. Pavlenko
The article presents a study of the motif of freedom in poetry, which was published in the magazine «Ukrainian Khata» in the intertextual field with Skovoroda’s poetry. The motif of freedom sounded loudest in Ukrainian poetry on the pages of turning points in history. Now Ukraine is experiencing the exact time. hundred years ago, at the beginning of the 20th century. Ukraine had a chance to defend its national freedom.This was reflected in the works of Ukrainian poets, which were published in the magazine «Ukrainian Khata» (1909-1914). The motif of freedom did not sound in every poem of every poet that was published on the pages of «Ukrainian Khata». The article highlights the names of those who emphasized the motif of freedom in their poems. The life and work of Skovoroda is a metatext of Ukrainian poetry of the beginning of the 20th century:Maksym Rylskyi, Pavlo Tychyna, Oleksandr Neprytskyi-Hranovskyi, M. Dontsiv, O. Nedolia, Yakiv Mamontov, Sydir Tverdokhlib, Mykola Voronnyi, Oleksandr Oles, Khrystyna Alchevska, Hryhorii Chuprynka, Mykola Filianskyi. In their poetry on the pages of the «Ukrainian Khata» magazine, motifs and metaphors explain the lyrical heroes’ desire to be free, to reject patterns, to discover inner boundless freedom in unity with nature. This brings the poets of the magazine «Ukrainian Khata» closer to Skovoroda. So The Garden of Divine Songs of Hryhory Skovoroda is a pretext for their poetry. With the help of thematic criticism, the leading themes of the poems of the authors of the beginning of the 20th century were determined: addressing the theme of free Ukraine in the historical past (M. Dontsiv, O. Nedolia, Alchevska), depicting the state of the Ukrainian spirit of freedom in the present (Mykola Voronnyi, Oleksandr Neprytskyi-Hranovskyi, Hryhorii Chuprynka, Sydir Tverdokhlib, Yakiv Mamontov), deep feelings for the fate of the people (Mykola Filianskyi), a desperate desire to achieve national freedom (Maksym Rylskyi). These themes in the poetic texts of «Ukrainian Khata» allow us to consider the named poets as heirs of Hryhoriy Savovych.
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Pub Date : 2023-03-15DOI: 10.32589/2411-3883.19.2022.274042
Nataliya Krynytska
Continuing the study of Philip Dick’s alternate historical novel «The Man in the High Castle» (1962) and Frank Spotnitz’s eponymous television series (2015–2019), the author focuses on the domestication of Nazi ideology, on «the banality of evil» in the series. The authors of the show strive for such an effect for the sake of immersing the viewer in complex historical processes, to demonstrate that following a dangerous ideology can happen to almost anyone. The series features, in particular, the East Coast of the United States, primarily New York in the 1960s, under the rule of the Nazis. The article compares the models of the world in the novel and the series and emphasizes that certain features of ambivalent American society provide its immunity against Nazi ideology, while others, under certain conditions, enable compromise with Nazism.In the TV series, among the main characters are the Smith family: John Smith, Reichsmarschall and later Reichsführer of North America, his wife Helen, and their children (son Thomas, daughters Amy, and Jennifer). All of them are absent in Dick’s novel, but the introduction of these characters is the success of the series and helps its authors raise the painful topic of collaboration with the Nazis and even the full acceptance of their inhumane ideas by ordinary Americans (moreover, by any people). A former Captain of the US Army, Smith makes a difficult choice after the surrender of his country to save himself and his family from starvation and repression. John agrees to work for the Nazis, then he betrays his best friend, a Jew, later Smith brutally investigates the Resistance, learns to survive under the Nazis, and participates in their power intrigues. Like a true predator, Smith becomes part of the inhumane System, but throughout the series, the audience feels that John’s soul does not yet fully belong to this regime.In our reality, John Smith also exists: he is also a former US military man, but later John becomes a successful sales clerk, a decent citizen, a true gentleman, and an ideal family man. Traveling to our world, Smith sees what he could be like in a country without the Nazis. At the end of the series, before committing suicide, Reichsführer Smith says that he has become the worst copy of himself of all possible, but his last actions show that he can only get out of the game, but not stop the System, which he has been building for many years.The author concludes that John’s life reveals the initial contradiction and splitting of the components of the American Dream: materialism and idealism, individualism and national interests, success and ways to achieve it. On the one hand, Smith as a Nazi is a successful person, a great family man, and almost a superman. On the other hand, John Smith betrays the American Dream in terms of the ideals of democracy and freedom. The end of his life coincides with the beginning of the end of Nazi America.
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