scholarly journals Kazimiera Iłłakowiczówna mniej więcej znana

2018 ◽  
pp. 75-94
Author(s):  
Lucyna Marzec
Keyword(s):  
Literary Criticism ◽  
Literary Studies ◽  
Religious Poetry ◽  
The Past ◽  
Feminist Literary Criticism ◽  
History Of ◽  
The New Woman ◽  
History Of Literature ◽  
Government Institution ◽  
Unusual Type

The article is the analysis of the place of Kazimiera Iłłakowiczówna in contemporary literary discourse. The author of the article claims – using Pierre Bayard’s theory – that the poetess is known “more or less”: she is remembered as someone who got prizes and recognition but at the same time she is impossible to read nowadays. There is political ambiguity and antiquity in her texts that keep her in the past. Marzec points at four areas of literary studies, where Iłłakowiczówna is still present: 1. Poetics: Iłłakowiczówna uses an original and unusual type of the Polish tonic verse. The author of this article analyses it using tools of psychoanalysis. 2. Religious discourse: Iłłakowicz.wna is interpreted as the author of religious poetry but Marzec argues with such interpretations. 3. Post-dependence studies: Iłłakowiczówna has not been analysed in terms of post-dependence studies yet but she is mentioned in the Polish borderlines discourse. 4. Feminist literary criticism: Iłłakowiczówna used to be studied as the author of androgynous poetry, but Marzec points out other motifs such as miscarriage, infanticide or problems of the new woman, like work at government institution, contestation of vitalism and bureaucracy. The aimof this article is to show that writing of Kazimiera Iłłakowiczówna needs to be read in terms of the history of literature which is devoid of evaluation and judging. Such analysis means going back in terms of modern literary studies which have undergone multiple turns that changed the tools accessible to contemporary critics.

scholarly journals Semiotization of the past in the Lermontov studies of B.M. Eikhenbaum in the 1930s – early 1940s

2021 ◽  
Vol 1 (2) ◽  
pp. 65-74
Author(s):  
Kristina V. Sarycheva
Keyword(s):  
Literary Criticism ◽  
Point Of View ◽  
Semiotic System ◽  
Official Discourse ◽  
The Past ◽  
History Of ◽  
Literature History ◽  
Soviet Ideology ◽  
History Of Literature ◽  
Historical Past

The research is based on the concept of the historical process as a semiotic system, formulated by B.A. Uspenskii. The article aims to analyse within the framework of this concept the historical and literary works of B.M. Eikhenbaum of the 1930s 1940s, dedicated to the meeting of Lermontov and Belinsky in the prison. Some of the papers discussed here have not been previously studied. The fact that Eikhenbaum frequently referred to that episode and mentioned it in different papers let us assume that it was significant not only from the literary and historical point of view, but it also contained unique significance for the researcher. The article extends the observations made by E.A. Toddes regarding the implicit projection of contemporary events into the historical past that helped Eikhenbaum to overcome prescriptions of the Soviet ideology and literary criticism. The evolution of the history concept in papers of Eikhenbaum was analyzed and the elements of the language, resembling the contemporary epoch, were demonstrated. As a result, the author comes to the conclusion that the historic past of the Lermontov studies, carried out by Eikheinbaum, is the double coded semiotic system simultaneously, expressing the literary and historical facts, as well as following the official discourse and containing the unofficial or individual discourse regarding the contemporaneity.Key words: Eikheinbaum, Lermontov, Belinsky, formalism, Soviet literary criticism, history of literature, history, modernity, semiotic system.

scholarly journals Benjamin e uma nova formação a partir de uma nova forma de ensino da História da Literatura / Benjamin and a New Formation Through a New Form of Teaching Literary History

2020 ◽  
Vol 15 (2) ◽  
pp. 183
Author(s):  
Rafael Guimarães Tavares Silva
Keyword(s):  
Literary Criticism ◽  
Literary Theory ◽  
Literary History ◽  
Teaching Practices ◽  
Walter Benjamin ◽  
Critical Position ◽  
The Past ◽  
History Of ◽  
Intellectual Production ◽  
History Of Literature

Resumo: Buscando situar o contexto alemão do final do séc. XIX e início do séc. XX, no tocante às práticas de ensino e, mais especificamente, do ensino de literatura, o presente artigo oferece considerações sobre a forma como Walter Benjamin se posiciona nesse debate. Depois de abordar de forma mais geral a produção desse arguto pensador da cultura de seu tempo, a importância fundamental de seu texto História da literatura e ciência da literatura [Literaturgeschichte und Literaturwissenschaft], de 1931, assume o primeiro plano da argumentação e oferece o material para que se sugira a radicalidade do projeto benjaminiano. Detectando uma crise cultural profunda em sua época, o estudioso sugere que um posicionamento crítico, apto a articular o passado e o presente, por meio de um estudo envolvendo História da Literatura e Crítica Literária, seria a única forma de potencializar o estudo das Letras, de modo a converter a Literatura em órganon capaz de atuar diretamente sobre a própria História.Palavras-chave: Walter Benjamin; teoria literária; crítica literária; história literária; educação.Abstract: Seeking to situate the teaching practices and especially literary teaching practices in the German context of the end of the XIXth century and beginning of the XXth, this article offers considerations on how Walter Benjamin takes a position in this debate. After a more general approach to the intellectual production of this argute thinker of his own culture and time, the fundamental importance of his text History of literature and science of literature [Literaturgeschichte und Literaturwissenschaft], from 1931, takes the foreground of the argument and offers material to suggest the radicalness of Benjamin’s project. Detecting a deep cultural crisis in his time, he suggests that a critical position, capable of articulating the past and the present, through a study involving History of Literature and Literary Criticism, would be the only way to strengthen the study of Letters, in order to transform Literature into an organon capable of acting directly on History itself.Keywords: Walter Benjamin; literary theory; literary criticism; literary history; education.

FROM THE HISTORY OF SCIENTIFIC-THEORETICAL RESEARCH OF ALISHER NAVOI’S HERITAGE(ON THE PAGES OF AZERBAIJANI LITERATURE AND LITERARY CRITICISM

2021 ◽  
Vol 1 (1) ◽  
pp. 146-152
Author(s):  
Almaz Ulvi Bi̇nnatova ◽  
Keyword(s):  
Literary Criticism ◽  
Research Work ◽  
Theoretical Research ◽  
Literary Studies ◽  
Systematic Research ◽  
History Of

The research work named “From the history of scientific-theoretical research of Alisher Navoi’s heritage (on the pages of Azerbaijani literature and literary criticism)” was grouped in several directions. In the systematic research within the sections named - 1. “The influence of Alisher Navoiy’s creativity on Azerbaijani literature”, 2. “The influence of Azerbaijani literature on the creativity of Alisher Navoiy”, 3. “Studying of Alisher Navoiy’s legacy in Azerbaijani literary studies

scholarly journals Reclaiming Histories/Rewriting Destinies: Mrs. Woolf and Orlando in Unearthing the Buried

2019 ◽  
pp. 123-136
Author(s):  
Milica Nenezić
Keyword(s):  
Literary Criticism ◽  
Stable Structure ◽  
Special Importance ◽  
Literary Expression ◽  
The Past ◽  
Feminist Literary Criticism ◽  
Strange Particles ◽  
The Future ◽  
Structural Theories ◽  
Living Creature

History is usually written by the winners; those who lose retain their own. The extent to which these differ and whether the differences affect the fate of mankind are all issues that require constant rendering and re-examination. The future confidently retains the answers, but do these answers change the circumstances? Can philosophy, feminist literary criticism or post-structural theories obscure the meaning of fiction? We are composed of strange particles that create our being and identity, which does not likely pave the way to our becoming true by solely ‘static’ existence, but by one that unites the past, present and the future. Such particles placed on the platform of literary expression sometimes have the character of a more permanent testimony to history, either written, or tobe-written. One figure, who struggled to raise our awareness and to remind us that the essay can represent a dialogue, that the reader carries special importance and a role in both the creation and reception of artistic skills, yet that language and meaning do not have a stable structure, was Virginia Adeline Stephen Woolf, who was rewriting and reclaiming both individual and common histories. Reflecting on the dilemmas and perplexities of both historical and fictional structural norms in literature, Mrs. Woolf unobtrusively portrayed an androgynous and ever-living creature in her novel Orlando, who seeks, among other feats, to re-evaluate the importance of witnessing and re-examining history

Introduction: In Defence of Paraphrase

2020 ◽  
pp. 1-38
Author(s):  
Patrick Fessenbecker
Keyword(s):  
Twentieth Century ◽  
Literary Criticism ◽  
Intellectual History ◽  
Literary Studies ◽  
Reading Practice ◽  
The World ◽  
History Of ◽  
Art For Art's Sake ◽  
Aesthetic Structure

How did “reading for the message,” a mark of shame among literary critics, yet in many ways an ordinary reading practice, become so marginalized? The origins of this methodological commitment ultimately are intertwined with the birth of literary studies itself . The influential aestheticist notion of “art for art’s sake” has several implications crucial for understanding the intellectual history of literary criticism in the twentieth century: most important was the belief that to “extract” an idea from a text was to dismiss its aesthetic structure. This impulse culminated in the New Critical contention that to paraphrase a text was a “heresy.” Yet this dominant tradition has always co-existed with practical interpretation that was much less formalist in emphasis. A return to the world of American literary criticism in 1947, when Cleanth Brooks’s The Well-Wrought Urn was published, shows this clearly: many now-forgotten critics were already practicing a form of criticism that emphasized literary content, and often overly rejecting Brooks’s insistence that reading for the content or meaning of a poem betrayed its aesthetic nature.

Renaissance Poverty and Lazarillo's Family : The Birth of the Picaresque Genre

PMLA ◽  
1979 ◽  
Vol 94 (5) ◽  
pp. 876-886 ◽  
Author(s):  
Javier Herrero
Keyword(s):  
Urban Growth ◽  
European Society ◽  
Urban Landscape ◽  
The Past ◽  
Copernican Revolution ◽  
The World ◽  
History Of ◽  
History Of Literature

In the history of literature the change from the idealized worlds of the shepherd and the knight to the world of the pícaro; from arcadia and chivalry to the desolate urban landscape of misery and hunger; from romance to irony—in fact, the Copernican revolution that produced a new genre—could only have been born of an upheaval that affected men’s lives and forced educated writers to see conditions they had so far ignored. This change stemmed from an increased awareness of human misery, which the urban growth of the Renaissance had made highly visible. The genius of the Spanish author of the Lazarillo consists in his having found the literary voice for such a profound transformation of European society. The Lazarillo, of course, did not annihilate the past, but it gave artistic form to the all-pervading crisis that was destroying the basis of the traditional order.

Corruption and Redemption: The Legend of Valluvar and Tamil Literary History

2000 ◽  
Vol 34 (2) ◽  
pp. 449-482 ◽  
Author(s):  
Stuart Blackburn
Keyword(s):  
Nineteenth Century ◽  
Literary History ◽  
Language Ideologies ◽  
Cultural Identities ◽  
Colonial India ◽  
Literary Historiography ◽  
The Past ◽  
History Of ◽  
Literary Histories ◽  
History Of Literature

This [the Valluvar legend] is one of the traditions which are so repugnant to inveterate popular prejudice that they appear too strange for fiction, and are probably founded on fact. (Robert Caldwell 1875:132).If we now recognize that literary history is more than a history of literature, it is perhaps less widely accepted that the writing of literary history is an important subject for literary historiography. Yet literary histories are a rich source for understanding local conceptions of both history and literature. More accessible than archaeology, more tangible than ethnology, literary histories are culturally constructed narratives in which the past is reimagined in the light of contemporary concerns. Certainly in nineteenth-century India, the focus of this essay, literary history was seized upon as evidence to be advanced in the major debates of the time; cultural identities, language ideologies, civilization hierarchies and nationalism were all asserted and challenged through literary histories in colonial India. Asserted and challenged by Europeans, as well as Indians.

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