Pub Date : 2019-10-21DOI: 10.1163/23751606-01502008
S. Sharifova
Project One Belt – One Way opens up new opportunities. On the one hand, to provide for the translation of contemporary Chinese authors into foreign languages, and on the other, to carry out a literary analysis of these works in terms of principles and methods characteristic of Western literary criticism. And this will allow the literary circles of various countries to consider contemporary Chinese literature as part of the world cultural heritage.
{"title":"One Belt – One Way: Perspectives on the Research and Distribution of Contemporary Literature in China","authors":"S. Sharifova","doi":"10.1163/23751606-01502008","DOIUrl":"https://doi.org/10.1163/23751606-01502008","url":null,"abstract":"Project One Belt – One Way opens up new opportunities. On the one hand, to provide for the translation of contemporary Chinese authors into foreign languages, and on the other, to carry out a literary analysis of these works in terms of principles and methods characteristic of Western literary criticism. And this will allow the literary circles of various countries to consider contemporary Chinese literature as part of the world cultural heritage.","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/23751606-01502008","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43972192","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 : 2019-10-21DOI: 10.1163/23751606-01502005
S. Seregina
The article makes the first attempt to analyze the philosophy of the sound and the name in the poetic consciousness of S.A. Yesenin. The article argues that in Yesenin’s poem I will not be wandering about… the female image becomes the personification of the ideal prototype of the world, the carnal-symbolic embodiment of the ‘light mystery’: Yesenin gives the female principle a metaphysical status, so sound and name in their physical and material shell become elusive carriers of the superreal divine essence of the world. Another conclusion of the analysis is that one of the sources of the idea of sound as a carrier of the grace of God for Yesenin was N.A. Klyuev poetry. Through his mediation Yesenin accepted the concept of Imiaslavie (‘praising the name’) that sound and name can bring the traces of the divine. The work also compares two articles: Andrey Bely’s Aaron’s rod and Sergey Yesenin’s Father’s word. It concludes that the main opposition of Yesenin’s article (‘humpbacked word with a broken spine’ and a word as a ‘bailer’ to draw the water of life out of nothing) origins from Andrey Bely’s Aaron’s rod, as well as Yesenin’s idea of ‘unsigned word’.
{"title":"“The sound erects white churches in lands…”: Towards the Philosophy of the Sound and the Name in the Poetic Consciousness of S.A. Yesenin","authors":"S. Seregina","doi":"10.1163/23751606-01502005","DOIUrl":"https://doi.org/10.1163/23751606-01502005","url":null,"abstract":"The article makes the first attempt to analyze the philosophy of the sound and the name in the poetic consciousness of S.A. Yesenin. The article argues that in Yesenin’s poem I will not be wandering about… the female image becomes the personification of the ideal prototype of the world, the carnal-symbolic embodiment of the ‘light mystery’: Yesenin gives the female principle a metaphysical status, so sound and name in their physical and material shell become elusive carriers of the superreal divine essence of the world. Another conclusion of the analysis is that one of the sources of the idea of sound as a carrier of the grace of God for Yesenin was N.A. Klyuev poetry. Through his mediation Yesenin accepted the concept of Imiaslavie (‘praising the name’) that sound and name can bring the traces of the divine. The work also compares two articles: Andrey Bely’s Aaron’s rod and Sergey Yesenin’s Father’s word. It concludes that the main opposition of Yesenin’s article (‘humpbacked word with a broken spine’ and a word as a ‘bailer’ to draw the water of life out of nothing) origins from Andrey Bely’s Aaron’s rod, as well as Yesenin’s idea of ‘unsigned word’.","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/23751606-01502005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44714973","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 : 2019-05-25DOI: 10.1163/23751606-01501003
György Eisemann
The inherence of textuality and meaning in the relation of the voice and the reading in the lyrical discourse appears with a special intensity. In the romantic poetry the materialisation of language into pure signals is presented as the threat of the speech with the termination of the co-existence of writing and voicing. The modern poetry tries to bridge this fracture, makes huge efforts for the co-operation between message and channels of the transmission. The echo is that romantic motif and rhyme technical method, which first brings to scene the difference between voice and speaker. It makes the words hearable in such a manner that their direct source is already not the subject of the language. For example E. A. Poe’s poem (The Raven) implements a „materializing” process, consequently the immateriality of the memory may be incarnated in the voice of speaker, and in the heard and loudly repeated pronoun („nevermore”). This metamorphosis manifests the hidden, authentic meaningful capability of language, that was considered until then as only a denoting-semiotic structure. This way the romanticism ties the signs of the paper sheet and their sounding to the immateriality of human voice and seems to have been unavoidable until our days as regards the poetic existence of language.
{"title":"The Voice and the Echo of Romantic Poetry","authors":"György Eisemann","doi":"10.1163/23751606-01501003","DOIUrl":"https://doi.org/10.1163/23751606-01501003","url":null,"abstract":"The inherence of textuality and meaning in the relation of the voice and the reading in the lyrical discourse appears with a special intensity. In the romantic poetry the materialisation of language into pure signals is presented as the threat of the speech with the termination of the co-existence of writing and voicing. The modern poetry tries to bridge this fracture, makes huge efforts for the co-operation between message and channels of the transmission. The echo is that romantic motif and rhyme technical method, which first brings to scene the difference between voice and speaker. It makes the words hearable in such a manner that their direct source is already not the subject of the language. For example E. A. Poe’s poem (The Raven) implements a „materializing” process, consequently the immateriality of the memory may be incarnated in the voice of speaker, and in the heard and loudly repeated pronoun („nevermore”). This metamorphosis manifests the hidden, authentic meaningful capability of language, that was considered until then as only a denoting-semiotic structure. This way the romanticism ties the signs of the paper sheet and their sounding to the immateriality of human voice and seems to have been unavoidable until our days as regards the poetic existence of language.","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45723561","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 : 2019-05-25DOI: 10.1163/23751606-01501006
Antal Bókay
The concept of lyric is a central component of Paul de Man’s theory of poetry. In several papers but first of all in his „Anthropomorphism and Trope in the Lyric” he developed a coherent understanding of the lyric as an act of modernism. Its epistemological character was given through Nietzsche’s often quoted statement on the metaphorical, anthropological and performative nature of subjective language and language use. The development of these ideas, however, took place through a detailed text-interpretation of two Baudelaire poems that served as metapoetical definitions of different poetical stances. It is possible that the idea of the lyric and reading lyric defined through anthropomorphism and phenomenality refers to, can be read like an elaborated epistemology of modern, subjective textuality too.
{"title":"The Lyric and Its Reading – Paul de Man’s Theory of Lyric","authors":"Antal Bókay","doi":"10.1163/23751606-01501006","DOIUrl":"https://doi.org/10.1163/23751606-01501006","url":null,"abstract":"The concept of lyric is a central component of Paul de Man’s theory of poetry. In several papers but first of all in his „Anthropomorphism and Trope in the Lyric” he developed a coherent understanding of the lyric as an act of modernism. Its epistemological character was given through Nietzsche’s often quoted statement on the metaphorical, anthropological and performative nature of subjective language and language use. The development of these ideas, however, took place through a detailed text-interpretation of two Baudelaire poems that served as metapoetical definitions of different poetical stances. It is possible that the idea of the lyric and reading lyric defined through anthropomorphism and phenomenality refers to, can be read like an elaborated epistemology of modern, subjective textuality too.","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/23751606-01501006","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45959012","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 : 2019-05-25DOI: 10.1163/23751606-01501007
Kornélia Horváth
The connection between the concepts of “rhythm” and “interpretation” or “meaning” in literary (lyrical) theory can be received as a mere paradox. The concept of rhythm and metre had a very important, functional role in the theories of structuralism and structural semiotics. These paradigms of literary theory provided very precise, sometimes numerically detailed descriptions of metre, or a rhythm of a poem, however without taking into consideration the problem of interpretation. From the other side, hermeneutic approaches sometimes mention the “phenomenon” of rhythm, all the same do not realize text-analysis, so cannot connect the problem of the rhythm of a concrete text with the general questions of text-interpretation. Finally, the deconstructive strategies of text-interpretation and text-analysis rather don’t pay attention on the rhythm of a lyrical work. Nevertheless, there are some xx-th century theories which are based on the creative function of language and the semantic interpretation of rhythm, especially the rhythm in a verse or a poem. The paper examines four semantic theories of rhythm: suggestions of Juri Tinanov, I. A. Richards, Émile Benveniste and Henri Meschonnic.
{"title":"On Interpretative Theories of Rhythm","authors":"Kornélia Horváth","doi":"10.1163/23751606-01501007","DOIUrl":"https://doi.org/10.1163/23751606-01501007","url":null,"abstract":"The connection between the concepts of “rhythm” and “interpretation” or “meaning” in literary (lyrical) theory can be received as a mere paradox. The concept of rhythm and metre had a very important, functional role in the theories of structuralism and structural semiotics. These paradigms of literary theory provided very precise, sometimes numerically detailed descriptions of metre, or a rhythm of a poem, however without taking into consideration the problem of interpretation. From the other side, hermeneutic approaches sometimes mention the “phenomenon” of rhythm, all the same do not realize text-analysis, so cannot connect the problem of the rhythm of a concrete text with the general questions of text-interpretation. Finally, the deconstructive strategies of text-interpretation and text-analysis rather don’t pay attention on the rhythm of a lyrical work. Nevertheless, there are some xx-th century theories which are based on the creative function of language and the semantic interpretation of rhythm, especially the rhythm in a verse or a poem. The paper examines four semantic theories of rhythm: suggestions of Juri Tinanov, I. A. Richards, Émile Benveniste and Henri Meschonnic.","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46083748","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 : 2019-05-25DOI: 10.1163/23751606-01501002
G. Finta
I suggest a reconsidered approach to a certain group of poems in my paper through reinterpreting Attila József’s “Consciousness”, a poem of twelve numbered stanzas without titles. In my opinion such poems cannot be satisfactorily described as either organic poems or cycles. My proposition is that this kind of poetry is worth approaching from the angle of the tradition of the (avant-garde) themeless poetry.
{"title":"Reading Strategies and Interpretation","authors":"G. Finta","doi":"10.1163/23751606-01501002","DOIUrl":"https://doi.org/10.1163/23751606-01501002","url":null,"abstract":"I suggest a reconsidered approach to a certain group of poems in my paper through reinterpreting Attila József’s “Consciousness”, a poem of twelve numbered stanzas without titles. In my opinion such poems cannot be satisfactorily described as either organic poems or cycles. My proposition is that this kind of poetry is worth approaching from the angle of the tradition of the (avant-garde) themeless poetry.","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42190181","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 : 2019-05-25DOI: 10.1163/23751606-01501004
Sarolta Osztroluczky
This paper will discuss three gardens and garden metaphors which represent such abstract ideas as temporality, transience, sickness or death. Even though these gardens do exist in reality, more of us are familiar with them from literature. The gardens of Sylvia Plath in Devonshire, Derek Jarman in Dungeness and Péter Nádas at Gombosszeg have acquired a metaphoric existence due to literary texts, they have been filled with meaning in the imagination of the readers, and they point to something beyond themselves. While constant change is part of the natural existence of gardens, these metaphoric gardens or garden metaphors are transferred to a certain timelessness, an everlasting present by the literary texts. This aesthetic existence or metaphoric overdetermination also affects the actual gardens themselves: if we are familiar with the poems or narratives written about them, we are no longer able to regard them as neutral spaces devoid of meaning.
{"title":"The Art of Dying","authors":"Sarolta Osztroluczky","doi":"10.1163/23751606-01501004","DOIUrl":"https://doi.org/10.1163/23751606-01501004","url":null,"abstract":"This paper will discuss three gardens and garden metaphors which represent such abstract ideas as temporality, transience, sickness or death. Even though these gardens do exist in reality, more of us are familiar with them from literature. The gardens of Sylvia Plath in Devonshire, Derek Jarman in Dungeness and Péter Nádas at Gombosszeg have acquired a metaphoric existence due to literary texts, they have been filled with meaning in the imagination of the readers, and they point to something beyond themselves. While constant change is part of the natural existence of gardens, these metaphoric gardens or garden metaphors are transferred to a certain timelessness, an everlasting present by the literary texts. This aesthetic existence or metaphoric overdetermination also affects the actual gardens themselves: if we are familiar with the poems or narratives written about them, we are no longer able to regard them as neutral spaces devoid of meaning.","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47261896","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 : 2019-05-25DOI: 10.1163/23751606-01501005
Zoltán Kulcsár-Szabó
Lyrical subjectivity is often thought of as the manifestation or self-expression of real, empirical personhood. The concept of “lyrical self” has since long served as a means to distinguish between lyrical subject, considered as a poetic form and the empirical person of the author. The theoretical presuppositions behind this concept seem, however, to blur the line of separation between the two. The paper proposes a reconsideration of the issue by drawing the attention to the discursive and material techniques of recording the empirical subject in poetic texts. In the first part, it discusses Rilke’s lyrical epitaph and one of Charles Olson’s Maximus poems, and confronts the conclusions with the theoretical concept of lyrical self as elaborated in German Geistesgeschichte. In the second part, it outlines a case study on the reception of the Hungarian poet Attila József with special respect to those phenomena (traces of a lyrical autobiography, appearances of the author’s name in the poems, references to the author’s body) which at first sight seem to be records of the empirical subject in the poetic text.
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Pub Date : 2019-01-01DOI: 10.17885/HEIUP.JTS.2019.2.23939
R. Costa
Some twenty years ago, Shelly Errington discussed the “double death of authentic primitive art” in her influential work The Death of Primitive Art and Other Tales of Progress.1 Emerging in the first half of the twentieth century in the West, the category of authentic primitive art has comprised all those “exotic” objects with “authentic” ritual or practical functions in their source communities. After a golden epoch, which, to Errington, and other authors,2 spanned from the 1957 opening of the New York’s Museum of Primitive Art to MoMA’s 1984 exhibit “‘Primitivism’ in 20th Century Art,” authentic primitive art began to die out. As Errington argues, this was mainly caused by the antievolutionary and ethical turn of disciplines such as history and anthropology, along with the “vanishing” of non-literate societies and their “authentic” material cultures (which provoked its “double” death). More recently, Errington has observed that artefacts made by Thirdand Fourth-World art makers have continued to be seen as bearing attributes of authentic primitivism, even though they are chiefly targeted at the global (art) market and hence are “inauthentic.” 3 Moreover, a further point she raises is that the concept of art has become loose. Thus, differences between low and high art, but also authentic and inauthentic or primitive and non-primitive (if it can be put so) are more and more blurred. That being so, Errington eventually contends that the terms “authentic” and “primitive” have “lost credibility, at least when linked to the term ‘Art’.”4
大约二十年前，谢莉·埃林顿在其颇有影响的著作《原始艺术的死亡和其他进步故事》中讨论了“正宗原始艺术的双重死亡”。1正宗原始艺术的范畴出现于二十世纪上半叶的西方，包括所有那些在其来源社区中具有“正宗”仪式或实用功能的“外来”物品。在埃林顿和其他作者看来，从1957年纽约原始艺术博物馆(Museum of Primitive Art)开馆到1984年现代艺术博物馆(MoMA)举办“20世纪艺术中的‘原始主义’”展览，经历了一个黄金时代之后，真正的原始艺术开始消亡。正如埃林顿所说，这主要是由于历史和人类学等学科的反进化论和伦理转向，以及无文字社会及其“真实”物质文化的“消失”(这引发了它的“双重”死亡)。最近，埃林顿观察到，由第三和第四世界的艺术创作者制作的手工艺品继续被视为具有真正的原始主义属性，即使它们主要针对全球(艺术)市场，因此是“不真实的”。此外，她还提出了另一个观点，即艺术的概念变得松散了。因此，低级艺术与高级艺术之间的差异，以及真实与不真实或原始与非原始(如果可以这样说的话)之间的差异越来越模糊。既然如此，埃林顿最终认为，“真实的”和“原始的”这两个术语已经“失去了可信度，至少在与“艺术”一词联系在一起时是如此”
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