Abstract The paper discusses the idea of origin, and the cinematic representation as a means of expression for specific cultural identity. Deriving its theoretical background from the understanding of cultural memory by Assman (1995, via Warburg, 1924 - 1929), and the concept of cultural identity as hybrid (Hall, 1998) the paper argues that the films Jánošík (1921), and Smoke Signals (1998) are examples of sovereign cinematic representations of respective cultural identities (Slovak, and Native American), and both construct cultural identity as hybrid, standing in between, or embracing multiple discourses. Through the depiction of their characters, and opening scenes the article examines the complexity of the film representations as they compromise or subvert existing stereotypes.
{"title":"Smoked Signals and Janosik. Braided Lives of Heroic Outlaws in Cinema. On the Notions of Origin and Identity. Smoke Signals (1998) and Jánošík (1921)","authors":"A. Smiešková","doi":"10.2478/aa-2023-0006","DOIUrl":"https://doi.org/10.2478/aa-2023-0006","url":null,"abstract":"Abstract The paper discusses the idea of origin, and the cinematic representation as a means of expression for specific cultural identity. Deriving its theoretical background from the understanding of cultural memory by Assman (1995, via Warburg, 1924 - 1929), and the concept of cultural identity as hybrid (Hall, 1998) the paper argues that the films Jánošík (1921), and Smoke Signals (1998) are examples of sovereign cinematic representations of respective cultural identities (Slovak, and Native American), and both construct cultural identity as hybrid, standing in between, or embracing multiple discourses. Through the depiction of their characters, and opening scenes the article examines the complexity of the film representations as they compromise or subvert existing stereotypes.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"15 1","pages":"100 - 114"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46120158","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}
Abstract Given how rapidly the still-ongoing COVID-19 pandemic has receded from the public consciousness since 2021, the time is ripe to revisit how Samuel Beckett’s Waiting for Godot and Carlos Fuentes’s Aura inform our present historical moment, particularly since both texts are concerned with the large-scale disappearance, erasure and repression of the mass-dead by statist economic interests in the wake of national traumas – post-Vichy France and post-Famine Ireland in the case of Beckett, and the French Intervention and the Spanish Conquest in the case of Mexico. Yet these two seminal works are not only concerned with how statist interests erase their dead, but how these same dead continue to haunt, influence and impact these same nations despite – or even because of – their erasure. As we are once again recognizing in our own “post”-pandemic moment, just because the dead have been erased, that by no means signifies they are silent.
{"title":"The Ghosts of the Disappeared: On Re-Reading Waiting for Godot and Aura “Post”-Pandemic","authors":"Jacob L. Bender","doi":"10.2478/aa-2023-0005","DOIUrl":"https://doi.org/10.2478/aa-2023-0005","url":null,"abstract":"Abstract Given how rapidly the still-ongoing COVID-19 pandemic has receded from the public consciousness since 2021, the time is ripe to revisit how Samuel Beckett’s Waiting for Godot and Carlos Fuentes’s Aura inform our present historical moment, particularly since both texts are concerned with the large-scale disappearance, erasure and repression of the mass-dead by statist economic interests in the wake of national traumas – post-Vichy France and post-Famine Ireland in the case of Beckett, and the French Intervention and the Spanish Conquest in the case of Mexico. Yet these two seminal works are not only concerned with how statist interests erase their dead, but how these same dead continue to haunt, influence and impact these same nations despite – or even because of – their erasure. As we are once again recognizing in our own “post”-pandemic moment, just because the dead have been erased, that by no means signifies they are silent.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"15 1","pages":"79 - 99"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46986058","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}
Abstract This article examines Tariq Ali’s novels The Stone Woman (2000) and A Sultan in Palermo (2005) to critique the question of identity discourse by drawing inspiration from various cultures rooted in a distinctively Islamic landscape and culture. Muslim identity, like any other, is separately constructed and determined by language, religion, sect, and various other roles. It examines the creation of Muslim identity and strives to comprehend the segregation they have demonstrated in the postcolonial context. This identity discourse emerged in colonial discursive practices that positioned Muslims as “Other” under colonial rule. This paper draws upon theoretical concepts of postcolonial theory to challenge the stereotypical representation of Islam often circulated in Eurocentric discourses. We do this by focusing on Tariq Ali’s ways of constructing Muslim identities through fictional representations. Through this discussion, we critique stereotypical tropes evident in Eurocentric discourses, which too often conflate professions of Muslim identity with religious fundamentalism.
{"title":"Who Am I?: Re-envisioning the question of Muslim identity in Tariq Ali’s The Stone Woman and A Sultan in Palermo","authors":"Zakir Hussain, B. Mishra","doi":"10.2478/aa-2022-0010","DOIUrl":"https://doi.org/10.2478/aa-2022-0010","url":null,"abstract":"Abstract This article examines Tariq Ali’s novels The Stone Woman (2000) and A Sultan in Palermo (2005) to critique the question of identity discourse by drawing inspiration from various cultures rooted in a distinctively Islamic landscape and culture. Muslim identity, like any other, is separately constructed and determined by language, religion, sect, and various other roles. It examines the creation of Muslim identity and strives to comprehend the segregation they have demonstrated in the postcolonial context. This identity discourse emerged in colonial discursive practices that positioned Muslims as “Other” under colonial rule. This paper draws upon theoretical concepts of postcolonial theory to challenge the stereotypical representation of Islam often circulated in Eurocentric discourses. We do this by focusing on Tariq Ali’s ways of constructing Muslim identities through fictional representations. Through this discussion, we critique stereotypical tropes evident in Eurocentric discourses, which too often conflate professions of Muslim identity with religious fundamentalism.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"14 1","pages":"37 - 51"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44696575","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}
Abstract The paper presents the contemporary phenomenon of synthetic textual media that write poetry. It describes the several stages of preparation, conceptualization and building of a neural network that generates poetry. The neural network introduced in this article, called Liza Gennart, is the author of the book Výsledky vzniku (‘Outcomes of Origin’, 2020) and of several other projects, among them an interactive multimedia installation. The author of this article uses a practice-led research method to write about her own collaborative project that was conducted in collaboration with the programmer Ľubomír Panák.
{"title":"The creation process of a synthetic textual medium","authors":"Zuzana Husárová","doi":"10.2478/aa-2022-0012","DOIUrl":"https://doi.org/10.2478/aa-2022-0012","url":null,"abstract":"Abstract The paper presents the contemporary phenomenon of synthetic textual media that write poetry. It describes the several stages of preparation, conceptualization and building of a neural network that generates poetry. The neural network introduced in this article, called Liza Gennart, is the author of the book Výsledky vzniku (‘Outcomes of Origin’, 2020) and of several other projects, among them an interactive multimedia installation. The author of this article uses a practice-led research method to write about her own collaborative project that was conducted in collaboration with the programmer Ľubomír Panák.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"14 1","pages":"69 - 78"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45280706","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}
Abstract Canadian children’s literature has a relatively short history, which is not surprising because Canadian literature itself is a recent and problematic category, struggling for a definition and identity of its own. The lack of national homogeneity is reflected in both CanLit and its counterpart for children, and rather than being a weakness, the multitude of voices that inhabit the Canadian territory has become its essence and strength. Lately, we have noticed a growing interest and market demand for picture books by Indigenous voices. Melanie Florence is one such voice, and she honours her past by bringing to the fore the inescapable dark weight of collective tragedies such as the residential school system and the disappearance and murder of Aboriginal women and girls, a hidden national crisis. In this article, we aim at getting to know and help readers discover Missing Nimâmâ and Stolen Words by this new picture book writer, who is speaking up and voicing First Nations’ concerns, bringing back memories, but also forging a space for dialogue and negotiation, a space where text and illustration are combined and provide a harmonious whole. In this space, difference and binarisms do not result in dualism, but in highly synergistic relationships.
{"title":"Forging a space for dialogue and negotiation in modern picture books by Melanie Florence","authors":"S. Amante","doi":"10.2478/aa-2022-0009","DOIUrl":"https://doi.org/10.2478/aa-2022-0009","url":null,"abstract":"Abstract Canadian children’s literature has a relatively short history, which is not surprising because Canadian literature itself is a recent and problematic category, struggling for a definition and identity of its own. The lack of national homogeneity is reflected in both CanLit and its counterpart for children, and rather than being a weakness, the multitude of voices that inhabit the Canadian territory has become its essence and strength. Lately, we have noticed a growing interest and market demand for picture books by Indigenous voices. Melanie Florence is one such voice, and she honours her past by bringing to the fore the inescapable dark weight of collective tragedies such as the residential school system and the disappearance and murder of Aboriginal women and girls, a hidden national crisis. In this article, we aim at getting to know and help readers discover Missing Nimâmâ and Stolen Words by this new picture book writer, who is speaking up and voicing First Nations’ concerns, bringing back memories, but also forging a space for dialogue and negotiation, a space where text and illustration are combined and provide a harmonious whole. In this space, difference and binarisms do not result in dualism, but in highly synergistic relationships.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"14 1","pages":"22 - 36"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47271088","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}
Abstract Taking an interpersonal pragmatics approach, this paper aims to view literary text as social discourse where conversational exchanges convey more than the content of talk. Applying the method of interpersonal pragmatic analysis, centred around the notions of implicatures and the concept of face in pragmatics, the social status of speakers is revealed via expressing their personal desires, preferences and professional ambitions. Combining the models of pragmatic stylistics analysis and the conception of interpersonal rhetoric (Leech, 1983) enables effective exploration of the interplay between characters, their efforts to comply with the cooperative and politeness principles, following particular communicative goals in conversations, making inferences and understanding implicatures. Focusing on the above-stated aims of research, the historical thriller The Interpretation of Murder by Jed Rubenfeld (2006) was chosen as the subject of analysis. In this novel, psychoanalysis and interpretation of a patient’s/victim’s responses, the unique application of professional expertise in psychoanalysis, palpable rivalry between scholars, as well as a desire for international recognition provide rich material for analysis. The presented research contributes new insights into the scholarly debate on interpersonal pragmatics, showing that approaching literary discourse analysis via a pragmatic stylistics approach is relevant and beneficial.
{"title":"Analysing analytical minds. An interpersonal pragmatics approach to literary discourse","authors":"Gabriela Miššíková","doi":"10.2478/aa-2022-0011","DOIUrl":"https://doi.org/10.2478/aa-2022-0011","url":null,"abstract":"Abstract Taking an interpersonal pragmatics approach, this paper aims to view literary text as social discourse where conversational exchanges convey more than the content of talk. Applying the method of interpersonal pragmatic analysis, centred around the notions of implicatures and the concept of face in pragmatics, the social status of speakers is revealed via expressing their personal desires, preferences and professional ambitions. Combining the models of pragmatic stylistics analysis and the conception of interpersonal rhetoric (Leech, 1983) enables effective exploration of the interplay between characters, their efforts to comply with the cooperative and politeness principles, following particular communicative goals in conversations, making inferences and understanding implicatures. Focusing on the above-stated aims of research, the historical thriller The Interpretation of Murder by Jed Rubenfeld (2006) was chosen as the subject of analysis. In this novel, psychoanalysis and interpretation of a patient’s/victim’s responses, the unique application of professional expertise in psychoanalysis, palpable rivalry between scholars, as well as a desire for international recognition provide rich material for analysis. The presented research contributes new insights into the scholarly debate on interpersonal pragmatics, showing that approaching literary discourse analysis via a pragmatic stylistics approach is relevant and beneficial.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"14 1","pages":"52 - 68"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47569569","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}
Abstract Aphra Behn, a Restoration playwright of unprecedented success, lived by her pen and therefore was obliged to conform to the other literary production of that time (written mostly by men): comedies featuring libertines, coarse morals, debauchery and fortune-hunting protagonists. Behn wrote in this manner, yet adding a satirical spin to her work, by presenting the character of Angellica Bianca, a prostitute (actually a very ladylike companion to older wealthy men). Paradoxically, Angellica is presented as the most upright and generous person among the cast; lamentably, she believes in oaths, of which Wilmore, the double-dealing eponymous rover of the play, cures her mercilessly and swiftly, as soon as he meets a virgin, who comes with a large fortune attached. By this, Behn introduces a dark undercurrent to an ostensibly comic play. This paper pays homage to the elaborate ways Aphra Behn employed to present a prostitute as the most intriguing character of the play.
{"title":"A prostitute as the unsung heroine in Aphra Behn’s The Rover","authors":"E. Jelínková","doi":"10.2478/aa-2022-0008","DOIUrl":"https://doi.org/10.2478/aa-2022-0008","url":null,"abstract":"Abstract Aphra Behn, a Restoration playwright of unprecedented success, lived by her pen and therefore was obliged to conform to the other literary production of that time (written mostly by men): comedies featuring libertines, coarse morals, debauchery and fortune-hunting protagonists. Behn wrote in this manner, yet adding a satirical spin to her work, by presenting the character of Angellica Bianca, a prostitute (actually a very ladylike companion to older wealthy men). Paradoxically, Angellica is presented as the most upright and generous person among the cast; lamentably, she believes in oaths, of which Wilmore, the double-dealing eponymous rover of the play, cures her mercilessly and swiftly, as soon as he meets a virgin, who comes with a large fortune attached. By this, Behn introduces a dark undercurrent to an ostensibly comic play. This paper pays homage to the elaborate ways Aphra Behn employed to present a prostitute as the most intriguing character of the play.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"14 1","pages":"12 - 21"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48510042","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}
Abstract On the basis of a discursive reflection on postmodern approaches, the author of the study discusses the nature of the relationship between (artistic) text and reality, as well as the basic categories related to this issue. He formulates a (hypo)thesis about the homologous relationship between text and reality, which, however, according to the author, has an intertextual essence unlike traditional mimetic solutions.
{"title":"Some comments on the relationship between text and reality","authors":"Ľubomír Plesník","doi":"10.2478/aa-2022-0007","DOIUrl":"https://doi.org/10.2478/aa-2022-0007","url":null,"abstract":"Abstract On the basis of a discursive reflection on postmodern approaches, the author of the study discusses the nature of the relationship between (artistic) text and reality, as well as the basic categories related to this issue. He formulates a (hypo)thesis about the homologous relationship between text and reality, which, however, according to the author, has an intertextual essence unlike traditional mimetic solutions.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"14 1","pages":"1 - 11"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41343267","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}
Abstract The article discusses humour as a form of communication and social interaction, which is not only based on sociocultural similarities, tolerance and solidarity among in-group members but also hostility or aggression towards out-group members. As humour is formed on binary oppositions, the female gender is often used as a popular “target” in humour discourse. It also represents “otherness” regarding the opposite gender and communicates social codes based on physical appearance, behaviour, or specific roles in society. Gender-stereotyping, which is used to categorize and understand the “outside” world better, is one of the most common and simplest approaches in humour discourse. The main aim of our research is to discuss the role of women and the way female identity, as a social construct, is defined and presented in humour discourse through stereotypes. More precisely, this article examines the evolution of women’s representation in the situation comedies with regards to their stereotypical portrayals and traditional social roles.
{"title":"Representation of female identity in humour","authors":"Lenka Gogová","doi":"10.2478/aa-2022-0004","DOIUrl":"https://doi.org/10.2478/aa-2022-0004","url":null,"abstract":"Abstract The article discusses humour as a form of communication and social interaction, which is not only based on sociocultural similarities, tolerance and solidarity among in-group members but also hostility or aggression towards out-group members. As humour is formed on binary oppositions, the female gender is often used as a popular “target” in humour discourse. It also represents “otherness” regarding the opposite gender and communicates social codes based on physical appearance, behaviour, or specific roles in society. Gender-stereotyping, which is used to categorize and understand the “outside” world better, is one of the most common and simplest approaches in humour discourse. The main aim of our research is to discuss the role of women and the way female identity, as a social construct, is defined and presented in humour discourse through stereotypes. More precisely, this article examines the evolution of women’s representation in the situation comedies with regards to their stereotypical portrayals and traditional social roles.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"14 1","pages":"36 - 49"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45516370","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}
Abstract Nathaniel Hawthorne’s The Scarlet Letter can be read within the framework of postcolonial theory, with colonialism equating patriarchy. The anti-colonial reading of the novel is permitted through Hester’s struggle with what seem to be prevalent regulations regarding gender, culture and religion. The only way for females to be liberated from this patriarchy is by rejecting it. Hawthorne, in this novel, suggests that being a woman is in itself fighting back. Thus, it is only through womanhood that the female character is able to arrive at a reconciliation with themselves and with their consciences.
{"title":"Hester’s resistance against the patriarchal society: A postcolonial reading of The Scarlet Letter","authors":"Majed Alenezi","doi":"10.2478/aa-2022-0001","DOIUrl":"https://doi.org/10.2478/aa-2022-0001","url":null,"abstract":"Abstract Nathaniel Hawthorne’s The Scarlet Letter can be read within the framework of postcolonial theory, with colonialism equating patriarchy. The anti-colonial reading of the novel is permitted through Hester’s struggle with what seem to be prevalent regulations regarding gender, culture and religion. The only way for females to be liberated from this patriarchy is by rejecting it. Hawthorne, in this novel, suggests that being a woman is in itself fighting back. Thus, it is only through womanhood that the female character is able to arrive at a reconciliation with themselves and with their consciences.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"14 1","pages":"1 - 9"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45140168","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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