Pub Date : 2023-11-01DOI: 10.5325/intelitestud.25.4.0437
Srijani Nag, Sayan Chattopadhyay
This article is on the narrativization of mental illness regarding Gayathri Ramprasad’s memoir Shadows in the Sun (2014). Ramprasad’s rendition of her depression becomes an act of defiance because the production of discourse by a madwoman is a relatively new phenomenon. Ramprasad not only produces discourse but also intends it to be healing for people with depression. This is because Ramprasad herself benefitted from first-hand narratives of depression. Whether the putative healing effect of storytelling can be reckoned originating from romanticizing depression by making it look desirable is the research question addressed in this article.
本文就盖斯里-兰普拉萨德（Gayathri Ramprasad）的回忆录《阳光下的阴影》（Shadows in the Sun，2014 年）对精神疾病的叙事化进行探讨。兰普拉萨德对自己抑郁症的描述是一种反抗行为，因为由一个疯女人来创造话语是一种相对较新的现象。兰普拉萨德不仅创造了话语，还希望它能治愈抑郁症患者。这是因为兰普拉萨德本人就受益于抑郁症的第一手叙述。讲故事的所谓治疗效果是否可以归因于将抑郁症浪漫化，使其看起来令人向往，这是本文要探讨的研究问题。
{"title":"Discourse and Madness in Shadows in the Sun","authors":"Srijani Nag, Sayan Chattopadhyay","doi":"10.5325/intelitestud.25.4.0437","DOIUrl":"https://doi.org/10.5325/intelitestud.25.4.0437","url":null,"abstract":"This article is on the narrativization of mental illness regarding Gayathri Ramprasad’s memoir Shadows in the Sun (2014). Ramprasad’s rendition of her depression becomes an act of defiance because the production of discourse by a madwoman is a relatively new phenomenon. Ramprasad not only produces discourse but also intends it to be healing for people with depression. This is because Ramprasad herself benefitted from first-hand narratives of depression. Whether the putative healing effect of storytelling can be reckoned originating from romanticizing depression by making it look desirable is the research question addressed in this article.","PeriodicalId":40903,"journal":{"name":"Interdisciplinary Literary Studies","volume":"8 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139296563","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 : 2023-11-01DOI: 10.5325/intelitestud.25.4.0462
Xinxin Qi
Miss Sophie’s Diary, a landmark novel by Chinese feminist writer Ding Ling, radically transformed traditional love stories for women. In this diary-style novel, a lady’s psychological activities are revealed by adopting a modern woman’s unique gender consciousness and the feminist discourse. As a remarkable literary work, it upended all previous love stories and centered on the eternal triangle between Sophie, the protagonist, and two male characters. Sophie’s behavior used to be criticized as immoral. However, these moral standards were gender-biased and did not necessarily apply to all women. In the following article, Sophie’s view of love is analyzed based on Gilligan’s ethics of care. It turns out that her love triangle caused inner conflicts that propelled her through three stages of growth: self-preservation, self-sacrifice, as well as balance and maturity. Her pursuit and rejection of love revealed the inner turmoil and pain of a feminist striving for independence in an oppressive era. Her diaries witnessed her growth in dealing with self–other relationships and ultimately made her stronger. By rising above the moral dilemmas, Sophie made her voice heard and became a role model for Chinese women in the new era.
{"title":"Women’s Dilemma of Love: An Ethical Literary Interpretation of Miss Sophie’s Diary by Ding Ling","authors":"Xinxin Qi","doi":"10.5325/intelitestud.25.4.0462","DOIUrl":"https://doi.org/10.5325/intelitestud.25.4.0462","url":null,"abstract":"Miss Sophie’s Diary, a landmark novel by Chinese feminist writer Ding Ling, radically transformed traditional love stories for women. In this diary-style novel, a lady’s psychological activities are revealed by adopting a modern woman’s unique gender consciousness and the feminist discourse. As a remarkable literary work, it upended all previous love stories and centered on the eternal triangle between Sophie, the protagonist, and two male characters. Sophie’s behavior used to be criticized as immoral. However, these moral standards were gender-biased and did not necessarily apply to all women. In the following article, Sophie’s view of love is analyzed based on Gilligan’s ethics of care. It turns out that her love triangle caused inner conflicts that propelled her through three stages of growth: self-preservation, self-sacrifice, as well as balance and maturity. Her pursuit and rejection of love revealed the inner turmoil and pain of a feminist striving for independence in an oppressive era. Her diaries witnessed her growth in dealing with self–other relationships and ultimately made her stronger. By rising above the moral dilemmas, Sophie made her voice heard and became a role model for Chinese women in the new era.","PeriodicalId":40903,"journal":{"name":"Interdisciplinary Literary Studies","volume":"96 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139303593","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 : 2023-11-01DOI: 10.5325/intelitestud.25.4.0414
Argha Kumar Banerjee
Though Tagore does not specify Neerja’s illness in his novella, The Garden, readers are made aware of its terminal nature following her surgery and the loss of her child. As the novella progresses, what draws the readers’ attention is not Neerja’s physical ill health but the “unreasonable torment” plaguing her mind. Tagore’s depiction of her distressful mental suffering and its corresponding psychological repercussions—chronic anxiety, low self-esteem, guilt, depression, and obsessional jealousy—tend to preoccupy the central focus of the narrative. In the early twentieth century, the general awareness of mental health issues was still at a formative stage in colonial Bengal. In the absence of requisite palliative care and appropriate treatment of Neerja’s underlying psychological distress, she remains a hapless victim of her tragic circumstances. Undertaking a close psychoanalytic exploration of the text, this analysis argues that through his keen observation and a meticulously detailed portrayal of his female protagonist’s predicament, Tagore represents the helpless despair endured by mentally challenged victims of his time.
{"title":"Negotiating Demons of the Mind: Psychological Distress, Social Apathy and Victimhood in Tagore’s The Garden (Malancha)","authors":"Argha Kumar Banerjee","doi":"10.5325/intelitestud.25.4.0414","DOIUrl":"https://doi.org/10.5325/intelitestud.25.4.0414","url":null,"abstract":"Though Tagore does not specify Neerja’s illness in his novella, The Garden, readers are made aware of its terminal nature following her surgery and the loss of her child. As the novella progresses, what draws the readers’ attention is not Neerja’s physical ill health but the “unreasonable torment” plaguing her mind. Tagore’s depiction of her distressful mental suffering and its corresponding psychological repercussions—chronic anxiety, low self-esteem, guilt, depression, and obsessional jealousy—tend to preoccupy the central focus of the narrative. In the early twentieth century, the general awareness of mental health issues was still at a formative stage in colonial Bengal. In the absence of requisite palliative care and appropriate treatment of Neerja’s underlying psychological distress, she remains a hapless victim of her tragic circumstances. Undertaking a close psychoanalytic exploration of the text, this analysis argues that through his keen observation and a meticulously detailed portrayal of his female protagonist’s predicament, Tagore represents the helpless despair endured by mentally challenged victims of his time.","PeriodicalId":40903,"journal":{"name":"Interdisciplinary Literary Studies","volume":"4 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139291689","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 : 2023-11-01DOI: 10.5325/intelitestud.25.4.0403
Monika Z. Moore
Throughout her works, Jane Austen utilized weather as a powerful natural phenomenon to facilitate plot action through enabling or inhibiting social interactions. The inclusion of the natural world gives indications of how Austen perceived humans in relation to the environment: that people, their plans, and their social interactions were very much at the mercy of nature. This ecocritical analysis of her work extends beyond the picturesque into broader conceptions of her interests in people and their interconnections with each other and with nature, raising the heretofore unspoken idea that Austen perceived nature as having the ability to both enable and interrupt social engagement. Austen’s use of weather to facilitate character action and plot development could be interpreted as a convention of Romanticism, or as counter to Romanticism, as these very same natural events create kinks in plans, deviating from so-called ideal conditions. This article examines the role of weather as a plot device across a selection of Austen’s novels, including Northanger Abby, Sense & Sensibility, Pride & Prejudice, Mansfield Park, Emma, and Persuasion. This article offers further ecocritical analysis of her interests in people and their interconnections with each other and with nature.
{"title":"The Weather Is Dirty: Jane Austen’s Use of Nature as a Social Agent","authors":"Monika Z. Moore","doi":"10.5325/intelitestud.25.4.0403","DOIUrl":"https://doi.org/10.5325/intelitestud.25.4.0403","url":null,"abstract":"Throughout her works, Jane Austen utilized weather as a powerful natural phenomenon to facilitate plot action through enabling or inhibiting social interactions. The inclusion of the natural world gives indications of how Austen perceived humans in relation to the environment: that people, their plans, and their social interactions were very much at the mercy of nature. This ecocritical analysis of her work extends beyond the picturesque into broader conceptions of her interests in people and their interconnections with each other and with nature, raising the heretofore unspoken idea that Austen perceived nature as having the ability to both enable and interrupt social engagement. Austen’s use of weather to facilitate character action and plot development could be interpreted as a convention of Romanticism, or as counter to Romanticism, as these very same natural events create kinks in plans, deviating from so-called ideal conditions. This article examines the role of weather as a plot device across a selection of Austen’s novels, including Northanger Abby, Sense & Sensibility, Pride & Prejudice, Mansfield Park, Emma, and Persuasion. This article offers further ecocritical analysis of her interests in people and their interconnections with each other and with nature.","PeriodicalId":40903,"journal":{"name":"Interdisciplinary Literary Studies","volume":"63 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139299620","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 : 2023-11-01DOI: 10.5325/intelitestud.25.4.0476
Sarani Roy
This article discusses how the representational politics of the late nineteenth- and early twentieth-century Bengali fairy tales was heavily informed by the racial discourses of the time. The racial discourses of colonial Bengal worked in close association with the discourses of anthropology and nationalism. The discourse of ethnographic nationalism prepared the ground for the historical rise of the Hindu, upper-caste, urban, elite, male subjectivity and enabled it to define and “speak” for the so-called “aboriginal” groups in a way that best suited their convenience. The contemporary idea of the “black,” “ugly,”“backward,” and “uncivilized” aboriginals influenced the representation of the rakshasas or the giants in the fairy tales of colonial Bengal. The article analyzes the ways in which the project of fairy tale collection turned into an upper-caste, Hindu, elite discourse in the hands of the Bengali intellectuals, which operated primarily by marginalizing the category of the aboriginals. The article also historically contextualizes the categories of the elite and the aboriginal in connection with the arya-anarya theory of race, popular in nineteenth-century Bengal.
{"title":"The “kala–admi” and the “golden-haired, fair-complexioned hero”: Racial Othering and the Question of the Aboriginals in the Fairy Tale Collections of Colonial Bengal","authors":"Sarani Roy","doi":"10.5325/intelitestud.25.4.0476","DOIUrl":"https://doi.org/10.5325/intelitestud.25.4.0476","url":null,"abstract":"This article discusses how the representational politics of the late nineteenth- and early twentieth-century Bengali fairy tales was heavily informed by the racial discourses of the time. The racial discourses of colonial Bengal worked in close association with the discourses of anthropology and nationalism. The discourse of ethnographic nationalism prepared the ground for the historical rise of the Hindu, upper-caste, urban, elite, male subjectivity and enabled it to define and “speak” for the so-called “aboriginal” groups in a way that best suited their convenience. The contemporary idea of the “black,” “ugly,”“backward,” and “uncivilized” aboriginals influenced the representation of the rakshasas or the giants in the fairy tales of colonial Bengal. The article analyzes the ways in which the project of fairy tale collection turned into an upper-caste, Hindu, elite discourse in the hands of the Bengali intellectuals, which operated primarily by marginalizing the category of the aboriginals. The article also historically contextualizes the categories of the elite and the aboriginal in connection with the arya-anarya theory of race, popular in nineteenth-century Bengal.","PeriodicalId":40903,"journal":{"name":"Interdisciplinary Literary Studies","volume":"12 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139303848","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 : 2023-11-01DOI: 10.5325/intelitestud.25.4.0497
Talal Hochard
Jack Kerouac’s “spontaneous” style has often been described as an anti-representational innovation that disrupts conventional narrative modes with multimedia features such as orality and jazz. This article outlines the aesthetics of Kerouac’s jazz writing, suggesting that its improvisational characteristic, in particular, functions as a tool for establishing intersubjective experiences, which contribute to the manifestation of authenticity and the construction and retrieval of empathetic opportunities with others. The jazz performances chronicled in On the Road could be regarded as the blueprint for Kerouac’s writing method, which employs technical elements of jazz improvisation such as crescendo, dragging, and minimalist variations. For Kerouac, improvisation is the performance of experimentations on the medium of artistic expression. This theory is demonstrated in his sketches of people’s lives, which he does by blending meticulous observation with the recollection of past events and the fabrication of fictional ones. Kerouac uses improvisation as a means of empathizing with others, a process that also reveals potential for intersubjective engagement from his readers.
{"title":"Improvisation in Jack Kerouac’s “Jazz” Writing: Intersubjectivity, Authenticity, and the Collectivist Utopia","authors":"Talal Hochard","doi":"10.5325/intelitestud.25.4.0497","DOIUrl":"https://doi.org/10.5325/intelitestud.25.4.0497","url":null,"abstract":"Jack Kerouac’s “spontaneous” style has often been described as an anti-representational innovation that disrupts conventional narrative modes with multimedia features such as orality and jazz. This article outlines the aesthetics of Kerouac’s jazz writing, suggesting that its improvisational characteristic, in particular, functions as a tool for establishing intersubjective experiences, which contribute to the manifestation of authenticity and the construction and retrieval of empathetic opportunities with others. The jazz performances chronicled in On the Road could be regarded as the blueprint for Kerouac’s writing method, which employs technical elements of jazz improvisation such as crescendo, dragging, and minimalist variations. For Kerouac, improvisation is the performance of experimentations on the medium of artistic expression. This theory is demonstrated in his sketches of people’s lives, which he does by blending meticulous observation with the recollection of past events and the fabrication of fictional ones. Kerouac uses improvisation as a means of empathizing with others, a process that also reveals potential for intersubjective engagement from his readers.","PeriodicalId":40903,"journal":{"name":"Interdisciplinary Literary Studies","volume":"597 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139303635","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 : 2023-11-01DOI: 10.5325/intelitestud.25.4.0523
A. Arsene
{"title":"A Review of Psychoanalysis and Literary Theory: An Introduction","authors":"A. Arsene","doi":"10.5325/intelitestud.25.4.0523","DOIUrl":"https://doi.org/10.5325/intelitestud.25.4.0523","url":null,"abstract":"","PeriodicalId":40903,"journal":{"name":"Interdisciplinary Literary Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139305954","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 : 2023-08-01DOI: 10.5325/intelitestud.25.3.0338
Arya Aryan
abstract:After the institutionalization of English within higher education, academia starts to become a rival to creative writing and, particularly after the High Theory of the 1960s, writers are gradually displaced or replaced by critics. This article argues that because of the twentieth-century critics’ deemphasis on the author since the professionalization of English literature as an academic discipline and in the wake of Roland Barthes’s famous announcement of the death of the author, symptoms of paranoia and anxiety projected onto protagonists of novels who are often writers begin emerging as a feature of creative writing from the 1960s to the 1980s. This article argues that paranoid delusions and the fear of losing authorial agency are a significant source of artistic creativity as the writer projects these semi-paranoid delusions, fears, and anxieties onto characters and stories. This article contends that the protagonist, Wilfred Barclay, is a paranoid creative writer, the author’s alter-ego, who anxiously tries to construct and defend an authorial identity and agency, though a textualized fictitious one. This article also argues that Tucker is a symbolic reification of Barclay’s own delusions and perhaps Golding’s.
{"title":"The Literary Critic and Creative Writer as Antagonists: Golding’s The Paper Men","authors":"Arya Aryan","doi":"10.5325/intelitestud.25.3.0338","DOIUrl":"https://doi.org/10.5325/intelitestud.25.3.0338","url":null,"abstract":"abstract:After the institutionalization of English within higher education, academia starts to become a rival to creative writing and, particularly after the High Theory of the 1960s, writers are gradually displaced or replaced by critics. This article argues that because of the twentieth-century critics’ deemphasis on the author since the professionalization of English literature as an academic discipline and in the wake of Roland Barthes’s famous announcement of the death of the author, symptoms of paranoia and anxiety projected onto protagonists of novels who are often writers begin emerging as a feature of creative writing from the 1960s to the 1980s. This article argues that paranoid delusions and the fear of losing authorial agency are a significant source of artistic creativity as the writer projects these semi-paranoid delusions, fears, and anxieties onto characters and stories. This article contends that the protagonist, Wilfred Barclay, is a paranoid creative writer, the author’s alter-ego, who anxiously tries to construct and defend an authorial identity and agency, though a textualized fictitious one. This article also argues that Tucker is a symbolic reification of Barclay’s own delusions and perhaps Golding’s.","PeriodicalId":40903,"journal":{"name":"Interdisciplinary Literary Studies","volume":"22 1","pages":"338 - 353"},"PeriodicalIF":0.1,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86476325","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 : 2023-08-01DOI: 10.5325/intelitestud.25.3.0293
Emily Crider
abstract:Over the last half-century, much of the scholarly discourse concerning Wuthering Heights has considered Catherine Earnshaw’s struggle for belonging in the social order, using a transgressive mode of gender criticism to challenge the constraints of traditional femininity found in the space of Brontë’s world and within the norms of the eighteenth and nineteenth centuries. Using Lacanian and Althusserian theoretical analysis, this article argues that Brontë’s novel effects an uncanny interpretation of womanhood, placing Catherine between two impossible, failed identities. The first, beginning in childhood, is rooted in an Imaginary form of identification with Heathcliff, who acts as the image with whom she identifies. The second emerges through her participation in the Symbolic order as a socially recognized wife, mother, and upper-class lady. Unable to find satisfaction in the self-mediation necessitated by these Imaginary and Symbolic identities, she lacks any identity at all. Instead, it is only in death that Catherine attains freedom from the agony of identification. By tracing this search for a fully realized sense of self throughout her life, this article endeavors to illustrate how Lacan offers a framework for understanding Catherine’s inner conflict, revealing the fundamental futility of searching for oneself in an external object or system.
{"title":"“Half Savage and Hardy, and Free”: The Search for Self in Wuthering Heights","authors":"Emily Crider","doi":"10.5325/intelitestud.25.3.0293","DOIUrl":"https://doi.org/10.5325/intelitestud.25.3.0293","url":null,"abstract":"abstract:Over the last half-century, much of the scholarly discourse concerning Wuthering Heights has considered Catherine Earnshaw’s struggle for belonging in the social order, using a transgressive mode of gender criticism to challenge the constraints of traditional femininity found in the space of Brontë’s world and within the norms of the eighteenth and nineteenth centuries. Using Lacanian and Althusserian theoretical analysis, this article argues that Brontë’s novel effects an uncanny interpretation of womanhood, placing Catherine between two impossible, failed identities. The first, beginning in childhood, is rooted in an Imaginary form of identification with Heathcliff, who acts as the image with whom she identifies. The second emerges through her participation in the Symbolic order as a socially recognized wife, mother, and upper-class lady. Unable to find satisfaction in the self-mediation necessitated by these Imaginary and Symbolic identities, she lacks any identity at all. Instead, it is only in death that Catherine attains freedom from the agony of identification. By tracing this search for a fully realized sense of self throughout her life, this article endeavors to illustrate how Lacan offers a framework for understanding Catherine’s inner conflict, revealing the fundamental futility of searching for oneself in an external object or system.","PeriodicalId":40903,"journal":{"name":"Interdisciplinary Literary Studies","volume":"26 1","pages":"293 - 314"},"PeriodicalIF":0.1,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85120179","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 : 2023-08-01DOI: 10.5325/intelitestud.25.3.0354
I. Prushkovska
abstract:This article is devoted to the dialogue of Ukrainian and Turkish literatures, which has more than a century of history. The article explores the history of the origin and development of literary contact between Ukraine and Turkey and the current state and prospects of development of Ukrainian–Turkish relations are considered in detail. Particular attention is paid to the influence of translations on the formation of images of each other in the minds of Turks and Ukrainians; the transformation of images in the minds of both peoples through the presentation of different genres of literature, from the twentieth century to the present day, is emphasized. The article also emphasizes the inequality of the functioning of Turkish and Ukrainian translations (translations of Turkish literature in Ukrainian predominate). The reasons for this inequality are the pressure on Ukrainian culture from the Russian, the unfamiliarity of the Ukrainian language and culture among Turkish scholars, and the problem of identifying Ukraine as an independent state in Turkey in the twentieth century.
{"title":"Retransmission of Culture through Literary Translation: Turkish–Ukrainian Interliterary Contact","authors":"I. Prushkovska","doi":"10.5325/intelitestud.25.3.0354","DOIUrl":"https://doi.org/10.5325/intelitestud.25.3.0354","url":null,"abstract":"abstract:This article is devoted to the dialogue of Ukrainian and Turkish literatures, which has more than a century of history. The article explores the history of the origin and development of literary contact between Ukraine and Turkey and the current state and prospects of development of Ukrainian–Turkish relations are considered in detail. Particular attention is paid to the influence of translations on the formation of images of each other in the minds of Turks and Ukrainians; the transformation of images in the minds of both peoples through the presentation of different genres of literature, from the twentieth century to the present day, is emphasized. The article also emphasizes the inequality of the functioning of Turkish and Ukrainian translations (translations of Turkish literature in Ukrainian predominate). The reasons for this inequality are the pressure on Ukrainian culture from the Russian, the unfamiliarity of the Ukrainian language and culture among Turkish scholars, and the problem of identifying Ukraine as an independent state in Turkey in the twentieth century.","PeriodicalId":40903,"journal":{"name":"Interdisciplinary Literary Studies","volume":"68 3 1","pages":"354 - 377"},"PeriodicalIF":0.1,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74709716","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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