U ovom radu razmatramo moguća tumačenja Vergilijeve Eneide iz filozofske perspektive, što uključuje homerski, stoički i epikurejski element, jer usporedba Homerovih epova i Eneide u oblikovanju književnog teksta i filozofičnosti pokazuju podudarnosti. Platonički utjecaj na Vergilija, posredstvom Cicerona i njegova eklektičkog filozofskog pristupa, stoji u učenju o vrlini. Stoga je bitno razdvojiti ideje navedenih filozofskih sustava u Vergilijevu epu te obrazložiti njegov modus izlaganja mitskom filozofskom metodom. Fabulu i uzročno-posljedične veze epa vodi Božja sudbina koja je stoički shvaćena, što znači da je cjelokupna fabularna konstrukcija podređena stvaranju podloge za osnutak Rima kao carstva kojem je Bog namijenio da vlada pravedno i dobro. Uz etičku sastavnicu veže se i ontološka, zato što filozofiju epikurejaca i stoika karakterizira podjela filozofije na etiku, logiku i filozofiju prirode. Enejin model karakterizacije nije stvoren prema stoičkom modelu mudraca, a ni prema epikurejskom, nego glavnu ulogu igra homerski faktor, jer Eneja ipak izražava emocije ljutnje i bijesa kao većina antičkih junaka poput Ahileja i Odiseja, koji, vođeni emotivnom boli i tugom zbog gubitka voljene osobe, postaju osvetnički nasilni. Razlog takvom pripovjednom motivu je idealiziranje emotivnih muškaraca u helenskom, a takvim utjecajem onda i u rimskom razdoblju. Dakle, ono što je bilo presudno u oblikovanju glavnog junaka te njegova odnosa prema božanskom je rimska kultura i njezini etičko-ontološki zahtjevi manifestirani religijski. Začetnik mitske filozofske metode strukturirane u epskom pjesništvu je Homer, čiji kasniji utjecaj uspostavlja princip oblikovanja epa. Radi se o metodi iznošenja ideologizirane etike, zbog čega i je kulturalna, a formira se estetiziranjem mitološkog.
在这部作品中，我们正在从哲学的角度考虑对维吉莉亚·埃奈德的可能解读，其中包含了流浪者、坚忍和享乐主义的元素，与荷马的《埃波斯》和《埃奈德》在文本形式和哲学表现上有相似之处。Platonički utjecaj na Vergilija、posredstvom Cicerona i njegova eklektičkog filozofskog pristupa、stoji učenju o vrlini。因此，区分维吉尔时代哲学体系的思想，解释其神话哲学的表达方式，具有重要意义。epa关系的奇妙和因果后果导致了对上帝命运的永久理解，这意味着整个捏造的结构受制于建立罗马作为一个帝国的要求，上帝意图将其治理正义和善良。伦理学课程还将本体论联系起来，因为伊壁鸠鲁派和斯多葛派的哲学将哲学划分为伦理学、逻辑学和自然哲学。埃涅亚的人物塑造模式既不是基于斯多葛智慧模式，也不是根据史诗，但游戏的主要角色是无家可归，因为埃涅亚表达了愤怒和愤怒的情绪，就像阿希勒和奥德赛这样的大多数古代英雄一样，他们因失去亲人而遭受情感痛苦和悲伤，正在通过复仇来复仇。之所以有这样一个合理的动机，是为了理想化海伦娜的情感男性，这也受到了罗马时期的影响。因此，在一个主要英雄的形式中至关重要的是，他与神圣文化及其伦理本体论要求的关系表现为宗教。史诗中神话哲学方法的主导者是荷马，他的后期影响构成了epa形成的原则。这是一种展现意识形态伦理的方法，这就是为什么它是文化的，它形成了一种神话美学。
{"title":"Mitsko kao filozofska metoda u Vergilijevoj Eneidi","authors":"F. Krajina, Zdravko Perić","doi":"10.29162/anafora.v6i1.4","DOIUrl":"https://doi.org/10.29162/anafora.v6i1.4","url":null,"abstract":"U ovom radu razmatramo moguća tumačenja Vergilijeve Eneide iz filozofske perspektive, što uključuje homerski, stoički i epikurejski element, jer usporedba Homerovih epova i Eneide u oblikovanju književnog teksta i filozofičnosti pokazuju podudarnosti. Platonički utjecaj na Vergilija, posredstvom Cicerona i njegova eklektičkog filozofskog pristupa, stoji u učenju o vrlini. Stoga je bitno razdvojiti ideje navedenih filozofskih sustava u Vergilijevu epu te obrazložiti njegov modus izlaganja mitskom filozofskom metodom. Fabulu i uzročno-posljedične veze epa vodi Božja sudbina koja je stoički shvaćena, što znači da je cjelokupna fabularna konstrukcija podređena stvaranju podloge za osnutak Rima kao carstva kojem je Bog namijenio da vlada pravedno i dobro. Uz etičku sastavnicu veže se i ontološka, zato što filozofiju epikurejaca i stoika karakterizira podjela filozofije na etiku, logiku i filozofiju prirode. Enejin model karakterizacije nije stvoren prema stoičkom modelu mudraca, a ni prema epikurejskom, nego glavnu ulogu igra homerski faktor, jer Eneja ipak izražava emocije ljutnje i bijesa kao većina antičkih junaka poput Ahileja i Odiseja, koji, vođeni emotivnom boli i tugom zbog gubitka voljene osobe, postaju osvetnički nasilni. Razlog takvom pripovjednom motivu je idealiziranje emotivnih muškaraca u helenskom, a takvim utjecajem onda i u rimskom razdoblju. Dakle, ono što je bilo presudno u oblikovanju glavnog junaka te njegova odnosa prema božanskom je rimska kultura i njezini etičko-ontološki zahtjevi manifestirani religijski. Začetnik mitske filozofske metode strukturirane u epskom pjesništvu je Homer, čiji kasniji utjecaj uspostavlja princip oblikovanja epa. Radi se o metodi iznošenja ideologizirane etike, zbog čega i je kulturalna, a formira se estetiziranjem mitološkog.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69708843","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}
Der Beitrag untersucht die literarische Figur des jungen Mädchens in Slawonien. An drei Beispielen (Victor von Reisners Das angenehme Erbe, Roda Rodas Die Streiche des Junkers Marius und Wilmea Vukelichs Spuren der Vergangenheit) werden die literarischen Eigenschaften von Mädchen gezeigt, um sie mit der Tradition der sogenannten Mädchenbücher auf dem deutschsprachigen Gebiet vergleichen zu können. Die Figurenanalyse stützt sich auf die von Christa Stocker vorgeschlagenen Elemente: explizite und implizite Beschreibung von Bewegung, Natürlichkeit, Auffälligkeit, mentalitätsgeschichtliche Implikationen und Personenbezeichnungen. Die vergleichende Analyse zeigt, dass sich nur Victor von Reisner in seiner Rollengestaltung innerhalb des Rahmens der von Mädchenbüchern vorgeschriebenen Normen bewegt. Roda Roda und Wilma von Vukelich verleihen ihren Mädchenfiguren ungewöhnliche Eigenschaften, die sich nicht in die Einteilung zwischen wohl erzogenem und unerzogenem Mädchen einfügen lassen. Obwohl sie Eigenschaften von wilden Mädchen, d. h. Mädchen, die sich untypisch benehmen, zeigen, werden sie in den analysierten Texten nicht als unerzogen eingeschätzt oder sanktioniert. Ganz im Gegenteil: Ihre Eigenschaften, die sie als wild erscheinen lassen, geben ihnen eine Besonderheit und Charaktertiefe, die sie als erwachsene Frauen beibehalten. In allen drei Texten prägen die Eigenschaften der Region den Charakter der literarischen Mädchenfigur.
是对斯拉沃尼亚一个少妇的文学形象的研究。其中有三个例子(维克托·赖纳的优良遗产，以及路德·玛丽亚和威廉·乌凯希的“过去的光辉”)揭示了女童的文学创作才能，可以和德语区所谓的“女生之书”相提并论。图案分析主要基于Christa Stocker提出的一些要素:明确并隐含地描述了运动、自然、异常、精神病学、心理学和个人名称。对照分析表明，只有维克托·米斯纳(Victor von wegner)在女性书规定的角色安排中流动了。乌凯利的Roda Roda和Wilma表现出不一样的特征，它们没有表现出任何矫揉造作的行为，也没有表现出任何矫揉造作的行为。虽然他们在那些蛮横的女孩里表现的都是不正常的女孩恰恰相反，让她们显得野蛮的特质令她们的特质特别和深邃，而这些特质在她们成年后仍然存在。这三部著作都描述了这个地区的特点
{"title":"Wilde Mädchen der Deutschsprachigen Literatur in Slawonien","authors":"Stephanie Jug","doi":"10.29162/ANAFORA.V6I1.7","DOIUrl":"https://doi.org/10.29162/ANAFORA.V6I1.7","url":null,"abstract":"Der Beitrag untersucht die literarische Figur des jungen Mädchens in Slawonien. An drei Beispielen (Victor von Reisners Das angenehme Erbe, Roda Rodas Die Streiche des Junkers Marius und Wilmea Vukelichs Spuren der Vergangenheit) werden die literarischen Eigenschaften von Mädchen gezeigt, um sie mit der Tradition der sogenannten Mädchenbücher auf dem deutschsprachigen Gebiet vergleichen zu können. Die Figurenanalyse stützt sich auf die von Christa Stocker vorgeschlagenen Elemente: explizite und implizite Beschreibung von Bewegung, Natürlichkeit, Auffälligkeit, mentalitätsgeschichtliche Implikationen und Personenbezeichnungen. Die vergleichende Analyse zeigt, dass sich nur Victor von Reisner in seiner Rollengestaltung innerhalb des Rahmens der von Mädchenbüchern vorgeschriebenen Normen bewegt. Roda Roda und Wilma von Vukelich verleihen ihren Mädchenfiguren ungewöhnliche Eigenschaften, die sich nicht in die Einteilung zwischen wohl erzogenem und unerzogenem Mädchen einfügen lassen. Obwohl sie Eigenschaften von wilden Mädchen, d. h. Mädchen, die sich untypisch benehmen, zeigen, werden sie in den analysierten Texten nicht als unerzogen eingeschätzt oder sanktioniert. Ganz im Gegenteil: Ihre Eigenschaften, die sie als wild erscheinen lassen, geben ihnen eine Besonderheit und Charaktertiefe, die sie als erwachsene Frauen beibehalten. In allen drei Texten prägen die Eigenschaften der Region den Charakter der literarischen Mädchenfigur.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69709106","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper aims to examine the sensationalism of Blackwood’s Magazine as evident in Poe’s tale “A Predicament” and how Poe disengages from the tradition of Blackwoods. On the one hand, Poe conflates Psyche Zenobia’s adventure into a Gothic Cathedral with the Blackwood’s sensationalistic experience, which treats vehement sensations as the prime condition for stimulating the mind’s engagement with a spiritual vision of a world beyond the material world. On the other, Poe’s tale disengages itself from the tradition of Blackwood’s Magazine: Zenobia loses her sensations altogether in the quest for final knowledge and there is no return to her real life. This paper will further look at the mutilated/deformed body in Poe’s “A Predicament” as a body in pain, or without pain, through which the mind engages its imagination. It will also discuss how Poe, through Zenobia’s gaze and speculation upon a sublime cathedral, installs an aesthetic appreciation that distances an imaginary space from reality and facilitates self-mesmerism through which Zenobia is grounded in the earthly world, both physically and spiritually.
{"title":"Body, Space, and Sensations in Edgar Allan Poe’s “A Predicament”","authors":"Justine T. Kao","doi":"10.29162/anafora.v6i2.2","DOIUrl":"https://doi.org/10.29162/anafora.v6i2.2","url":null,"abstract":"This paper aims to examine the sensationalism of Blackwood’s Magazine as evident in Poe’s tale “A Predicament” and how Poe disengages from the tradition of Blackwoods. On the one hand, Poe conflates Psyche Zenobia’s adventure into a Gothic Cathedral with the Blackwood’s sensationalistic experience, which treats vehement sensations as the prime condition for stimulating the mind’s engagement with a spiritual vision of a world beyond the material world. On the other, Poe’s tale disengages itself from the tradition of Blackwood’s Magazine: Zenobia loses her sensations altogether in the quest for final knowledge and there is no return to her real life. This paper will further look at the mutilated/deformed body in Poe’s “A Predicament” as a body in pain, or without pain, through which the mind engages its imagination. It will also discuss how Poe, through Zenobia’s gaze and speculation upon a sublime cathedral, installs an aesthetic appreciation that distances an imaginary space from reality and facilitates self-mesmerism through which Zenobia is grounded in the earthly world, both physically and spiritually.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":"38 6 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69709171","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 : 2019-01-01DOI: 10.29162/anafora.v6i1.10
A. Sirca
Nakon što je Heinrich Wölfflin uveo pojam baroka u povijest umjetnosti, taj se izraz brzo proširio na sva područja humanistike, nalazeći svoje mjesto i u znanosti o književnosti. Usporedno s takvim, u osnovi historijskim razumijevanjem, od Nietzscheova se doba razvijalo i transhistorijsko shvaćanje baroka kao dekadentnog stila koji se može javiti u svakoj epohi. U posljednjih nekoliko desetljeća književna teorija izrodila je i pojam „neobaroka“, kako bi razjasnila konstrukciju alternativnih povijesti modernosti, imunih na esencijalističku logiku suvremenog kapitalizma. U članku se, nadalje, oslanjam na „heterološku“ interpretaciju modernosti kakvu je razvio francuski teoretičar Michel de Certeau. On je u djelu La Fable mystique (1982) ustvrdio da u baroknoj mističkoj književnosti odlučujuća uloga ne pripada radikalnom prijelomu sa srednjim vijekom, već da je riječ o novom načinu uporabe (re-employment) postojećih diskursa, koji izbjegavaju svako zatvaranje u okvire institucije. Uvjet mogućnosti takvih diskurzivnih strategija je poseban odnos prema radikalnoj drugosti. Iz takvog odnosa ne nastaje stabilni kartezijanski subjektivitet, već subjekt koji biva za drugog/Drugoga. Pretpostavka da je mistična književnost simptom modernosti kao takve utire put uvidu u izvorni, „atopični“ prostor, koji nadilazi puke društvene i političke projekte emancipacije. Tu je riječ o svojevrsnom transcendentalnom razumijevanju modernosti kao uvjeta mogućnosti onog modela subjektivnosti, diskurzivnosti i prakse koji je svagda usmjeren ka jednoj heterološkoj etici.
Heinrich Wölfflin在艺术史上引入巴洛克概念后，这种表达迅速传播到人类的各个领域，找到了它的位置和文学知识。与此相反，在历史理解中，尼采的时代已经形成了一种跨历史的理解，认为树皮是一种颓废的风格，可以在每一集中报道。在过去的几十年里，“新巴罗克”的概念被发展起来，以阐明现代性的替代历史的构建，不受当代资本主义的本质主义逻辑的影响。在下一篇文章中，我依赖于法国理论家米歇尔·德·塞尔托对现代性的“异质”解释。他是《神秘寓言》（1982）的一部分。他断言，巴洛克神秘主义文学中的决策角色不属于中期的激进分歧，而是关于使用（再就业）现有讨论的新方式，以避免机构下的任何关闭。Uvjet mogućnosti takvih diskurzivnih strategija je poseban odnos prema radikalnoj drugosti。这样的关系不会产生稳定的笛卡尔实体，而是产生另一个/第二个实体。神秘文学是现代性的症状这一假设影响了对原始特应空间的看法，这种看法超越了社会和政治解放项目。它是关于自己对现代性的先验理解，作为主体性、歧视和实践模式的可能性的一个条件，这种模式始终专注于一种异质伦理。
{"title":"Barok kao kulturološki koncept","authors":"A. Sirca","doi":"10.29162/anafora.v6i1.10","DOIUrl":"https://doi.org/10.29162/anafora.v6i1.10","url":null,"abstract":"Nakon što je Heinrich Wölfflin uveo pojam baroka u povijest umjetnosti, taj se izraz brzo proširio na sva područja humanistike, nalazeći svoje mjesto i u znanosti o književnosti. Usporedno s takvim, u osnovi historijskim razumijevanjem, od Nietzscheova se doba razvijalo i transhistorijsko shvaćanje baroka kao dekadentnog stila koji se može javiti u svakoj epohi. U posljednjih nekoliko desetljeća književna teorija izrodila je i pojam „neobaroka“, kako bi razjasnila konstrukciju alternativnih povijesti modernosti, imunih na esencijalističku logiku suvremenog kapitalizma. U članku se, nadalje, oslanjam na „heterološku“ interpretaciju modernosti kakvu je razvio francuski teoretičar Michel de Certeau. On je u djelu La Fable mystique (1982) ustvrdio da u baroknoj mističkoj književnosti odlučujuća uloga ne pripada radikalnom prijelomu sa srednjim vijekom, već da je riječ o novom načinu uporabe (re-employment) postojećih diskursa, koji izbjegavaju svako zatvaranje u okvire institucije. Uvjet mogućnosti takvih diskurzivnih strategija je poseban odnos prema radikalnoj drugosti. Iz takvog odnosa ne nastaje stabilni kartezijanski subjektivitet, već subjekt koji biva za drugog/Drugoga. Pretpostavka da je mistična književnost simptom modernosti kao takve utire put uvidu u izvorni, „atopični“ prostor, koji nadilazi puke društvene i političke projekte emancipacije. Tu je riječ o svojevrsnom transcendentalnom razumijevanju modernosti kao uvjeta mogućnosti onog modela subjektivnosti, diskurzivnosti i prakse koji je svagda usmjeren ka jednoj heterološkoj etici.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":"61 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69709164","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 triadic name given in the baptism command of Matthew 28:19b has often been considered awkward in its context and perhaps anachronistic in light of later Christian Trinitarian doctrine. This article argues that Matthew 28:19b is rather a fitting climactic conclusion to a narrative-theological motif throughout Matthew’s Gospel where triadic or at least dyadic language is employed within revelatory contexts that affirm Jesus’ divine sonship and messianic mission: either in small apocalypses or within apocalyptic discourse. This argument finds its crux in the baptism of Jesus itself (3:13–17) which is presented as an apocalypse in which the heavenly fatherly voice reveals the identity of the Son and anoints him with his Spirit, with the stated goal of “fulfilling all righteousness.” The revelation is presented by Matthew so that it is directed to the public within the narrative and implicitly to the reader disciple. The baptism revelation is then closely associated both with the lengthy citation of Isaiah 42:1–4 in Matthew 12:18–21, another triadic text, and with the visionary transfiguration account (17:1–8). Other passages are analyzed in order to trace the pattern throughout the Gospel. In the resurrection narrative (28:1–20) it is demonstrated that the resurrected Jesus is portrayed as a now heavenly, yet still embodied, revealer who is worshipped such that the Great Commission passage (28:16–20) is presented as a divine revelation. Within this “ultimate apocalypse” the risen Jesus commands his followers to make disciples of the nations by teaching and baptizing in the triadic name. The baptism command, in light of the triadic motif throughout the Gospel has the rhetorical effect of inviting Matthew’s reader-listener disciples to identify with Jesus in his own triadic baptism such that they too have an affirmed filial relationship with God and receive the anointing of the Holy Spirit to continue and extend Jesus’ messianic mission into the world under his universal authority and with his promised presence.
{"title":"The narrative-theological function of Matthew's baptism command (Matthew 28:19b)","authors":"Gregory S. Thellman","doi":"10.29162/ANAFORA.V6I1.2","DOIUrl":"https://doi.org/10.29162/ANAFORA.V6I1.2","url":null,"abstract":"The triadic name given in the baptism command of Matthew 28:19b has often been considered awkward in its context and perhaps anachronistic in light of later Christian Trinitarian doctrine. This article argues that Matthew 28:19b is rather a fitting climactic conclusion to a narrative-theological motif throughout Matthew’s Gospel where triadic or at least dyadic language is employed within revelatory contexts that affirm Jesus’ divine sonship and messianic mission: either in small apocalypses or within apocalyptic discourse. This argument finds its crux in the baptism of Jesus itself (3:13–17) which is presented as an apocalypse in which the heavenly fatherly voice reveals the identity of the Son and anoints him with his Spirit, with the stated goal of “fulfilling all righteousness.” The revelation is presented by Matthew so that it is directed to the public within the narrative and implicitly to the reader disciple. The baptism revelation is then closely associated both with the lengthy citation of Isaiah 42:1–4 in Matthew 12:18–21, another triadic text, and with the visionary transfiguration account (17:1–8). Other passages are analyzed in order to trace the pattern throughout the Gospel. In the resurrection narrative (28:1–20) it is demonstrated that the resurrected Jesus is portrayed as a now heavenly, yet still embodied, revealer who is worshipped such that the Great Commission passage (28:16–20) is presented as a divine revelation. Within this “ultimate apocalypse” the risen Jesus commands his followers to make disciples of the nations by teaching and baptizing in the triadic name. The baptism command, in light of the triadic motif throughout the Gospel has the rhetorical effect of inviting Matthew’s reader-listener disciples to identify with Jesus in his own triadic baptism such that they too have an affirmed filial relationship with God and receive the anointing of the Holy Spirit to continue and extend Jesus’ messianic mission into the world under his universal authority and with his promised presence.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69709275","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 paper explores the liberating power of Bhabha’s concept of hybridity in Manju Kapur’s novel The Immigrant. By concentrating on Nina’s immigration to Canada, the novel addresses her early affliction due to the cultural clash between the East and West, tradition and modernity, her assimilation problems, as well as her gradual assimilation, her in-betweenness, transformation in her roles and identity, and survival in the host world. She opens a space in-between the home and host culture, mediates between them, and becomes the citizen of two worlds; she thus enters the third space, i.e. she stands in-between two cultures prioritizing neither the home nor the host culture but the middle ground and emerges as a hybrid who occupies the in-between space and develops a double vision. Using Homi Bhabha’s insights, this study seeks to demonstrate that being positioned in the third space, i.e. moving beyond the polarities and challenging the fixedness of identity and experiencing in-betweenness – being neither one nor the other, might pave the way for her liberation. The paper is to show that Nina is neither one nor the other, i.e. neither a traditional nor a modern woman but both, simultaneously transcending and reconciling the tradition and modernity.
{"title":"From tradition to modernity","authors":"Ali Salami, F. Pirayesh","doi":"10.29162/anafora.v6i2.3","DOIUrl":"https://doi.org/10.29162/anafora.v6i2.3","url":null,"abstract":"The paper explores the liberating power of Bhabha’s concept of hybridity in Manju Kapur’s novel The Immigrant. By concentrating on Nina’s immigration to Canada, the novel addresses her early affliction due to the cultural clash between the East and West, tradition and modernity, her assimilation problems, as well as her gradual assimilation, her in-betweenness, transformation in her roles and identity, and survival in the host world. She opens a space in-between the home and host culture, mediates between them, and becomes the citizen of two worlds; she thus enters the third space, i.e. she stands in-between two cultures prioritizing neither the home nor the host culture but the middle ground and emerges as a hybrid who occupies the in-between space and develops a double vision. Using Homi Bhabha’s insights, this study seeks to demonstrate that being positioned in the third space, i.e. moving beyond the polarities and challenging the fixedness of identity and experiencing in-betweenness – being neither one nor the other, might pave the way for her liberation. The paper is to show that Nina is neither one nor the other, i.e. neither a traditional nor a modern woman but both, simultaneously transcending and reconciling the tradition and modernity.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69709251","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article advocates for an interpretation of biblical stories that takes into account their nature and the way in which they are told. The argument begins with observing the predicament of the biblical interpreter in using contemporary historical and/or literary methods to interpret an ancient text expected to convey a theological message. It then offers a close reading of the Ark Narrative (1 Sam 4:1b–7:1) which exemplifies how theological conclusions can be drawn on the basis of the story alone once its literary structure and dramatic development are identified.
{"title":"Who can stand before a holy God? Literary artistry and theological imagination in the Ark Narrative","authors":"Marcel V. Măcelaru","doi":"10.29162/ANAFORA.V6I1.6","DOIUrl":"https://doi.org/10.29162/ANAFORA.V6I1.6","url":null,"abstract":"This article advocates for an interpretation of biblical stories that takes into account their nature and the way in which they are told. The argument begins with observing the predicament of the biblical interpreter in using contemporary historical and/or literary methods to interpret an ancient text expected to convey a theological message. It then offers a close reading of the Ark Narrative (1 Sam 4:1b–7:1) which exemplifies how theological conclusions can be drawn on the basis of the story alone once its literary structure and dramatic development are identified.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69708976","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 : 2018-12-31DOI: 10.29162/anafora.v5i2.11
Zdravko Perić
{"title":"Zašto nam je nejednakost važna?","authors":"Zdravko Perić","doi":"10.29162/anafora.v5i2.11","DOIUrl":"https://doi.org/10.29162/anafora.v5i2.11","url":null,"abstract":"","PeriodicalId":40415,"journal":{"name":"Anafora","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47241676","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}
Tema ovog rada je Ecov roman Otok prethodnoga dana koji u sebi, na vrlo specifičan način, tematizira dvije krize moderne (manirizam i postmodernu). Prva je vidljiva kroz razvoj same fabule romana – radnja je smještena u vrijeme prve velike naučne revolucije, a druga je vidljiva kroz književne postupke koji su rezultat obilježja postmodernog romana. Na taj način, Ecov hibridni roman, putem različitih tehnika i postupaka (autoreferencijalnost, ironija, tekstualne igre, mogući svjetovi) dekonstruira sliku moderne (jedinstveno shvaćanje historije, cjelovitosti svijeta, subjekta usredsređenog u sebe) na dva nivoa – sadržajnom (17. stoljeće) i formalnom (20. stoljeće).
{"title":"Moderna i njeni manirizmi – Otok prethodnoga dana Umberta Eca","authors":"Edin Pobrić","doi":"10.29162/anafora.v5i2.4","DOIUrl":"https://doi.org/10.29162/anafora.v5i2.4","url":null,"abstract":"Tema ovog rada je Ecov roman Otok prethodnoga dana koji u sebi, na vrlo specifičan način, tematizira dvije krize moderne (manirizam i postmodernu). Prva je vidljiva kroz razvoj same fabule romana – radnja je smještena u vrijeme prve velike naučne revolucije, a druga je vidljiva kroz književne postupke koji su rezultat obilježja postmodernog romana. Na taj način, Ecov hibridni roman, putem različitih tehnika i postupaka (autoreferencijalnost, ironija, tekstualne igre, mogući svjetovi) dekonstruira sliku moderne (jedinstveno shvaćanje historije, cjelovitosti svijeta, subjekta usredsređenog u sebe) na dva nivoa – sadržajnom (17. stoljeće) i formalnom (20. stoljeće).","PeriodicalId":40415,"journal":{"name":"Anafora","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42151270","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：