scholarly journals Das Bild von Herkus Monte in der deutschen und litauischen Literatur und Kultur

2020 ◽  
Vol 11 (2) ◽  
pp. 251-264
Author(s):  
Alina Kuzborska
Keyword(s):  
Geographical Proximity ◽  
Historical Novels ◽  
13Th Century ◽  
Literary Works ◽  
Feature Film ◽  
Strong Affinity ◽  
Historical Figure ◽  
Historical Dramas ◽  
Literary Figure

This article focuses on the historical figure of the leader of the second uprising of the colonized Prussians against the Teutonic Order, Herkus Monte, who is presented here primarily as a literary figure. The increasing interest in Prussian history changed the written media, so that the order chronicle of the 13th century later turned into literary works, primarily historical novels and historical dramas in Germany. Because of the geographical proximity and linguistic relationship, the Lithuanians feel a strong affinity for the Prussians and their heroes. In the following, we analyze literary works by Lithuanian authors on the basis of which a feature film and an opera were created.

scholarly journals L’encaix de la narrativa sense ficció de Víctor Labrado en el paradigma de la novel·la històrica valenciana

2019 ◽  
Vol 14 ◽  
pp. 329
Author(s):  
Dari Escandell
Keyword(s):  
Civil War ◽  
Present Article ◽  
Spanish Civil War ◽  
Historical Novel ◽  
Civil Conflict ◽  
Past Century ◽  
Historical Novels ◽  
Literary Works ◽  
Past Time ◽  
Non Fiction

Resum: L’escriptor valencià Víctor Labrado (Sueca, 1956) s’ha erigit com un dels grans referents contemporanis en el camp de la novel·la de no-ficció en català, subgènere narratiu que conjumina la intenció metanovel·lesca amb fidedignes discursos testimonials. Ara bé, ¿les obres cabdals de Labrado –peculiars, idiosincràtiques i gens usuals– poden ser considerades també, sense subterfugis ni matisos, novel·la històrica? A grans trets: trames guerracivilistes empeltades d’entrevistes, dosis generoses de periodisme documental i absència gairebé absoluta de ficció. La tècnica i l’estil propi no suposen, però, cap impediment perquè molts llibres seus siguen alhora novel·la històrica, si fem cas dels topoi convinguts per la crítica especialitzada. No debades, aquests exemplars esdevenen, al capdavall, testimoni viu d’un temps passat; vivències i peripècies de gent anònima que rescaten de l’oblit, des de la particularitat més universal, la realitat valenciana d’un segle passat vilment estigmatitzat pel conflicte civil de l’any 1936 i la dictadura consegüent. ¿N’hi ha prou amb això, però, perquè aquesta etiqueta o clixé siga atribuïble també a la resta de la seua obra i trajectòria? El present article analitza a nivell tècnic, argumental i conceptual els llibres essencials de Labrado per tal de determinar quina part de la seua novel·lística sense ficció pot o no considerar-se al seu torn novel·la històrica.Paraules clau: Víctor Labrado, novel·la sense ficció, novel·la històrica, literatura catalana, valencià.Abstract: The Valencian writer Víctor Labrado (Sueca, 1956) has emerged as one of the great contemporary references in the field of the non-fiction novel in Catalan, a narrative subgenre that combines the fictional intention with real testimonial speeches. However, can Labrado’s capital books –peculiar, idiosyncratic and unusual– be considered also, without subterfuges or hints, historical novels? Broadly speaking: are his Spanish civil war plots grafted with interviews, generous doses of documentary journalism and almost absolute absence of fiction, historical novels? Its techniques and style are no impediment to say so, if we pay attention to the topoi agreed by the specialized critic. In fact, these novels become, in short, a living testimony of our past time: they rescue from oblivion the experiences and adventures of anonymous people, from the most universal particularity, and the Valencian reality of a past century stigmatized by the civil conflict of 1936 and the consequent dictatorship. Is that enough, however, to attribute this label to the rest of his literary works? This paper analyses the techniques, the plots and the concepts of Labrado’s essential books to determine what part of his nonfiction novels may or may not be considered historical.Keywords: Víctor Labrado, nonfiction novel, historical novel, Catalan literature, Valencian

scholarly journals Giving Voice to a Portrait: The Intersection of Gender, Race, and Law in Belle

2021 ◽  
Vol 10 ◽  
pp. WLS106-WLS125
Author(s):  
Kate Sutherland
Keyword(s):  
Historical Record ◽  
African Woman ◽  
Feature Film ◽  
Ethical Implications ◽  
Chief Justice ◽  
Historical Figure

The 2013 feature film Belle presents an account of the life of Dido Elizabeth Belle (1761-1804). Belle was the daughter of Sir John Lindsay, a British naval officer, and Maria Belle, an enslaved African woman, and she was raised in the home of her great uncle Lord Mansfield during his tenure as Chief Justice of England. The record of Belle’s life is thin, and her story might have been altogether forgotten had it not been for a 1779 portrait of her in which she was painted alongside her white cousin Lady Elizabeth Murray. The film was inspired by the portrait. The paucity of available facts left the filmmakers much latitude for fictionalizing, but even so the film makes significant departures from the historical record, for example, in its representations of Belle’s eventual husband, and in its insertion of Belle into the unfolding of the Zong case, a case involving slavery that was decided by Lord Mansfield in 1783. In this paper, I consider the effectiveness and the ethical implications of the filmmakers’ use of law to give voice to this historical figure.

Cross-dressing and Transgressing: The Queer Body in Madame Satã

2021 ◽  
Vol 48 (2) ◽  
pp. 123-136
Author(s):  
Marcus D. Welsh
Keyword(s):  
Gender Identity ◽  
Queer Theory ◽  
Film History ◽  
Social Position ◽  
Feature Film ◽  
Race And Class ◽  
Historical Figure ◽  
Social Discourses ◽  
Cross Dressing ◽  
Black Poor

In Karim Aïnouz’s debut feature film Madame Satã (2002), the protagonist yearns to be a cross-dressing performer. Based on the historical figure João Francisco dos Santos, the protagonist is black, poor, gay, and a criminal in the Brazil of the 1930s. An examination of his body as a nexus of these factors and the film’s portrayal of it in the context of queer theory, film history, and social discourses of gender, race, and class and in cinematic terms demonstrates that, while he is able to express his fluid gender identity temporarily through performance, the protagonist is unable to escape his social position as regulated by the intersectionality of his gender identity with other factors. En el primer largometraje de Karim Aïnouz, Madame Satã (2002), el protagonista anhela ser un artista travesti. Basado en la figura histórica de João Francisco dos Santos, dicho protagonista es negro, pobre, homosexual y criminal en el Brasil de la década de 1930. El artículo analiza su cuerpo como nexo entre estos factores y la manera en que es representado en la película a partir de una perspectiva teórica queer, de la historia del cine y los discursos sociales de género, raza y clase, así como de la técnica cinematográfica. Si por un lado el personaje es capaz de expresar su fluida identidad de género temporalmente a través de la interpretación, por otro es incapaz de escapar su posición social, la cual está regulada por la interseccionalidad entre su identidad de género y otros factores.

scholarly journals „Góry to naisto najszlachetniejsze dzieło Boże”. O Złotej wolności Zofii Kossak

2019 ◽  
Vol 12 ◽  
pp. 321-334
Author(s):  
Krystyna Heska-Kwaśniewicz
Keyword(s):  
Large Dose ◽  
17Th Century ◽  
Historical Novels ◽  
The Novel ◽  
Literary Works ◽  
Young Readers ◽  
The People ◽  
Symbolic Meanings ◽  
Cultural Texts

“The mountains are indeed God’s most noble creation”: On Zofia Kossak’s Złota wolność Golden LibertyZofia Kossak, author of excellent historical novels, outstanding books for young readers and many other fine literary works, liked to describe landscapes, with the mountains being her favourite landscapes. She sensed their sacred dimension, as it were, and symbolic meanings. She “read” them as cultural texts and described their colours, scents and sounds with a large dose of sensuality, which made her descriptions dynamic. As a result, they still seem to be moving and the people included in them always travel across space and inside their inner selves.Space is described in a sensual manner true to reality, because the writer knew it from experience; enchantment but also realism can be found in all descriptions and plots — constructed in a way that would make it possible to show this space as much as possible, at various times of day and year.  This is precisely the case of Złota wolność Golden Liberty, a novel about the 17th century, the action of which takes place in the regions of Nowy Sącz, the Island Beskids and the Pieniny. The protagonists of the novel, Sebastian and Piotr Pielsz, brothers from Czarny Potok, are Polish Brethren, fighting for the affection of one girl, Hanka, whose heart is won by the younger brother, Piotr, a brave Winged Hussar who fought under Chodkiewicz at the Battle of Kircholm. All this is happening against the background of lush highland nature described with admiration, at various times of the year.

scholarly journals Między Wallenrodem a Irydionem. Rzecz o Rozdzióbią nas kruki, wrony… Stefana Żeromskiego

2016 ◽  
pp. 139-164
Author(s):  
Elżbieta Flis-Czerniak
Keyword(s):  
19Th Century ◽  
Special Role ◽  
Historical Novels ◽  
Literary Works ◽  
Unique Position ◽  
The Aesthetic ◽  
The 19Th Century ◽  
Ideological Construction

In the opinion of the author of this article, Żeromski, showing a tragic picture of the January Uprising in Ravens and Crows Will Peck Us to Pieces, runs very skillfully polemic with the views of Stanislaw Tarnowski, both political and social, which are summarized in the hearing From the experiences and reflections, as well as the aesthetic-literary ones, expressed among other things in the works devoted to Arthur Grottger, Polish romantics or in reviews of Sienkiewicz’s historical novels. Irydion and Konrad Wallenrod play a special role in the intricate network of intertextual references presenting in Żeromski’s story. Count Stanislaw Tarnowski spoke many times about these literary works, occupying a unique position in the minds of Poles living in the 19th century. His writings designate the area of controversy, which is the foundation of imaginative and ideological construction of Żeromski’s story Ravens and Crows Will Peck Us to Pieces.

A STUDY OF THEMES AND AESTHETICS IN ELUCIDATING LOVE AS A THEME IN DANTE ALIGHIERI'S VITA NUOVA.

2021 ◽  
pp. 80-82
Author(s):  
Vidita Sachdeva
Keyword(s):  
Divine Comedy ◽  
The Other ◽  
13Th Century ◽  
Literary Works ◽  
Epic Poem ◽  
Vita Nuova ◽  
The Divine Comedy ◽  
Political Thinker ◽  
Modern Era

Dante was an Italian poet, prose writer, literary theorist, moral st philosopher and political thinker. He was born on May 21 and he is best known for his monumental epic poem; La Divina Comedia (The Divine Comedy). Although the Divine Comedy is very well-known literary piece, this often overlooks the other works he has done as well. He is seen as the father of modern Italian, and his works have ourished even after his death in 1321. How did Dante's Vita Nuova change the perception of romance and love in the time of the 13th century; furthermore, how did it change the belief of people view literary works of romance in the modern era?

scholarly journals Richard de Fournival et les sciences au XIIIe siècle edited by Joëlle Ducos and Christopher Lucken

2021 ◽  
Vol 2 (1) ◽  
Author(s):  
Nicola Polloni
Keyword(s):  
Open Access ◽  
13Th Century ◽  
Literary Works ◽  
Open Access Publication ◽  
Creative Commons ◽  
Manuscript Tradition ◽  
Theology And Literature

Edited by Joëlle Ducos and Christopher Lucken, Richard de Fournival et les sciences au XIIIe siècle focuses on one of the most fascinating intellectuals of the 13th century. Although Fournival studied in Paris and lived for some time in Rome, it was in Amiens that he spent most of his life. In some respects, Fournival may be compared with his English contemporary Robert Grosseteste. Both were polymaths interested in science, theology, and literature. Although less prolific than Grosseteste, Richard de Fournival wrote literary works in French—the most renowned being his Bestiaire d’Amours—and a number of scientific treatises. Some of these works are lost (e.g., his treatise on urines), while others such as his De arte alchemica are ascribed to him in the manuscript tradition, yet their attribution is still questioned. Reviewed by: Nicola Polloni, Published Online (2021-08-31)Copyright © 2021 by Nicola PolloniThis open access publication is distributed under a Creative Commons Attribution-NonCommercial-NoDerivatives License (CC BY-NC-ND) Article PDF Link: https://jps.library.utoronto.ca/index.php/aestimatio/article/view/37739/28738 Corresponding Author: Nicola Polloni,KU LeuvenE-Mail: [email protected]

The Allegory of Time and Space

2016 ◽  
Author(s):  
Laikwan Pang
Keyword(s):  
The Political ◽  
Time And Space ◽  
Literary Works ◽  
Historical Dramas ◽  
To Come ◽  
Representative Work ◽  
Maoist China ◽  
Tian Han

How did writers in Maoist China assume their role as authors, torn between self-expression and the political demands of the Party? How should we read the literary creations produced at a time in which literary works were not always candid expressions of the authors, but were manifestations of complex negotiations and self-censorship? This chapter provides a case study to illustrate these quandaries, focusing specifically on Tian Han’s historical dramas produced during the late 1950s. It illustrate how Tian Han tried to use historical and intercultural allegories to come to terms with contemporary happenings and offers an analysis of a rarely studied but extremely representative work,Princess Wencheng, that embodies the struggles of the Party and the Han intellectuals with the Tibetan problems during that time.

scholarly journals USING FICTION AS A VEHICLE FOR POPULARIZING HISTORY: JURJY ZAIDAN’S HISTORICAL NOVELS

2015 ◽  
Vol 4 (1) ◽  
pp. 67
Author(s):  
Abjar Bahkou
Keyword(s):  
Social Order ◽  
World View ◽  
Historical Novels ◽  
Greek Orthodox ◽  
Islamic History ◽  
Arab Media ◽  
Religious Learning ◽  
Literary Figure ◽  
Islamic Civilization ◽  
New Social Order

Jurji Zaydan was born in Beirut, Lebanon on Dec. 14, 1861, into a Greek Orthodox family. Many of his works focused on the Arab Awakening. The journal that he founded, al-Hilal, is still published today. His writings have been translated from Arabic into Persian, Turkish and Urdu as well as English, French and German. By the time he died unexpectedly in Cairo on July 21, 1914, at the age of fifty three, he had already established himself, in a little over twenty years, as one of the most prolific and influential thinkers and writers of the Arab Nahda (Awakening), but also as an educator and intellectual innovator, whose education was not based on traditional or religious learning. Philip Thomas called Zaydan, “the archetypical member of the Arab Nahda at the end of nineteenth century.” Zaydan transformed his society by helping build the Arab media, but he was also an important literary figure, a pioneer of the Arabic novel, and a historian of Islamic civilization. Zaydan was an intellectual who proposed new world view, a new social order, and new political power. Zaydan was the author of twenty-two historical novels covering the entirety of Arab/Islamic history. In these novels Zaydan did not attempt to deal with the history in chronological order, nor did he cover the whole of Islamic history; rather, his purpose was to popularize Islamic history through the medium of fiction. This paper will offer a brief analytical outline of Zaydan’s historical novels and how his critics viewed them.  

scholarly journals A literary figure or patriarchal reality? Reflections on the ‘ēšet hayil in light of depictions of womanhood from selected Yorùbá and Sotho proverbs

2018 ◽  
Vol 39 (1) ◽  
Author(s):  
Madipoane Masenya
Keyword(s):  
Gender Studies ◽  
Old Testament ◽  
African Languages ◽  
Positive Image ◽  
Present Essay ◽  
Historical Figure ◽  
Good Mother ◽  
Literary Figure ◽  
African Context ◽  
The Ideal

In varying Jewish and African contexts (cf. the Yorùbá and Sotho in the present essay), the ‘ēšet hayil is regarded as a historical figure who should serve as a model for women both young and old. As an organic scholar within an African context, I am both fascinated and also challenged by how biblical notions of gender and womanhood, as portrayed in the paean on the ‘ēšet hayil in Proverbs 31:10–31, seem to be at variance with notions of gender and womanhood as depicted in some Yorùbá and Sotho proverbs. Noting the emphasis in Proverbs 31:10–31 on the positive image of the ‘ēšet hayil as the ideal wife, this article shows that overall, in the African proverbs, the woman is depicted positively as a mother, though many proverbs (cf. especially the Yorùbá proverbs) cast the woman as a wife in a negative light. It is argued that the epitome of womanhood, which in Proverbs 31:10–31 is the ideal wife, appears to stand in tension with the image of a good mother and of a bad wife observed in some of the African proverbs. This article therefore focuses on the kind of gender- and family-conscious hermeneutic that may be envisioned when Proverbs 31:10–31 is read in the Yorùbá and Sotho contexts.Intradisciplinary and/or interdisciplinary implications: The research carried out in this article entails Old Testament Studies, Gender Studies and African Languages. Sotho and Yorùbá proverbs on womanhood are used as a hermeneutical lens to interrogate the text of Proverbs 31:10–31, resulting in fresh insights on womanhood. The resultant output makes a needed contribution in challenging patriarchal ideologies and contexts.

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