scholarly journals LA GUERRE D’ESPAGNE – MÉMOIRE COLLECTIVE SOUS L’OPTIQUE DES DEUX ÉCRIVAINS MALRAUX ET MARKO

2019 ◽  
pp. 109-121
Author(s):  
Drita Brahimi
Keyword(s):  
Civil War ◽  
Collective Memory ◽  
The Novel ◽  
Peaceful Coexistence ◽  
General Study ◽  
Distant Event ◽  
The World ◽  
To Come ◽  
The One ◽  
Memoire Collective

SPANISH WAR – COLLECTIVE MEMORY FROM THE PERSPECTIVE OF TWO WRITERS MALRAUX AND MARKO The Civil War of Spain is a distant event in time, but very alive thanks to men of letters, respectively Malraux and Marko, the one French and the other Albanian. I would try to bring their perspective on this collective memory, which although it is a factual event, is evoked by the two authors in a rather original way. Through his novel entitled Man’s hope Malraux undertakes a general study of a revolutionary crisis among different groups of characters. Endearing to war, horror, fear and death a sense of brotherhood and peaceful coexistence, he manages to make us think that even in times of war there is hope for better days in the world to come up. All that organized according to a structure in movement. The novel entitled Hasta la Vista marks the author’s attempt to evoke a rather broad plan of the the Civil War front, a glorious epic of the Spanish people written with the blood of Albanian volunteers and other peoples. As supporters of the aspirations of the Spanish people, Albanian volunteers fight for a better reality in Albania. Keywords: Spanish war, collective memory, optics, hope.

Camus's Absurd and the World of Melville's Confidence-Man

PMLA ◽  
1967 ◽  
Vol 82 (1) ◽  
pp. 14-27
Author(s):  
Leon F. Seltzer
Keyword(s):  
Careful Analysis ◽  
The Other ◽  
The Novel ◽  
The Past ◽  
The World ◽  
Critical Attention ◽  
Confidence Man ◽  
Ugly Duckling ◽  
History Of ◽  
The One

In recent years, The Confidence-Man: His Masquerade, a difficult work and for long an unjustly neglected one, has begun to command increasingly greater critical attention and esteem. As more than one contemporary writer has noted, the verdict of the late Richard Chase in 1949, that the novel represents Melville's “second best achievement,” has served to prompt many to undertake a second reading (or at least a first) of the book. Before this time, the novel had traditionally been the one Melville readers have shied away from—as overly discursive, too rambling altogether, on the one hand, or as an unfortunate outgrowth of the author's morbidity on the other. Elizabeth Foster, in the admirably comprehensive introduction to her valuable edition of The Confidence-Man (1954), systematically traces the history of the book's reputation and observes that even with the Melville renaissance of the twenties, the work stands as the last piece of the author's fiction to be redeemed. Only lately, she comments, has it ceased to be regarded as “the ugly duckling” of Melville's creations. But recognition does not imply agreement, and it should not be thought that in the past fifteen years critics have reached any sort of unanimity on the novel's content. Since Mr. Chase's study, which approached the puzzling work as a satire on the American spirit—or, more specifically, as an attack on the liberalism of the day—and which speculated upon the novel's controlling folk and mythic figures, other critics, by now ready to assume that the book repaid careful analysis, have read the work in a variety of ways. It has been treated, among other things, as a religious allegory, as a philosophic satire on optimism, and as a Shandian comedy. One critic has conveniently summarized the prevailing situation by remarking that “the literary, philosophical, and cultural materials in this book are fused in so enigmatic a fashion that its interpreters have differed as to what the book is really about.”

Between the utopian imaginaries of literature and international law: The question of the insurgent child in international legal discourse and Kris Montañez’s Youth

2021 ◽  
pp. 1-20
Author(s):  
José Duke S. Bagulaya
Keyword(s):  
Civil War ◽  
International Law ◽  
Legal Discourse ◽  
The State ◽  
The Other ◽  
State Of Exception ◽  
Utopian Vision ◽  
The World ◽  
Realistic Representation ◽  
The One

Abstract This article argues that international law and the literature of civil war, specifically the narratives from the Philippine communist insurgency, present two visions of the child. On the one hand, international law constructs a child that is individual and vulnerable, a victim of violence trapped between the contending parties. Hence, the child is a person who needs to be insulated from the brutality of the civil war. On the other hand, the article reads Filipino writer Kris Montañez’s stories as revolutionary tales that present a rational child, a literary resolution of the dilemmas of a minor’s participation in the world’s longest-running communist insurgency. Indeed, the short narratives collected in Kabanbanuagan (Youth) reveal a tension between a minor’s right to resist in the context of the people’s war and the juridical right to be insulated from the violence. As their youthful bodies are thrown into the world of the state of exception, violence forces children to make the choice of active participation in the hostilities by symbolically and literally assuming the roles played by their elders in the narrative. The article concludes that while this narrative resolution appears to offer a realistic representation and closure, what it proffers is actually a utopian vision that is in tension with international law’s own utopian vision of children. Thus, international law and the stories of youth in Kabanbanuagan provide a powerful critique of each other’s utopian visions.

scholarly journals The graffiti art and the discover of the Keith Haring’s mural in Amsterdam

2020 ◽  
pp. 236-249
Author(s):  
Caterina Soliani
Keyword(s):  
New York ◽  
Collective Memory ◽  
Street Art ◽  
Art World ◽  
Continuous Growth ◽  
The World ◽  
To Come ◽  
The Many ◽  
Shed Light ◽  
Made In

The purpose of this work is to contribute to the continuous growth of the art world (Street Art in particular) and to discuss how it is essential for the discovery of artists. These artists have been pioneers and forerunners of new pictorial techniques, freeing creative and psychological flair, and combining the latter with the artistic technology that promises great things despite limited materials.  The intention of this article is to consider the elements of artistic expression that are less commonly subject to discussion, such as the world of Street Art. This form of artwork has not always been understood or accepted, with street artists waiting for the opportune moment to express the narrative, experiences, and emotions of society through their artwork, a power that unites sentiment and encourages change.  It is art which affects the community, the population and society. It is designed above all others to become part of the collective memory through violence of image and colour.  This project led me to come into contact with one of the many artistic artefacts of the Street Art movement, the Keith Haring’s mural in Amsterdam, a piece that makes me. understand and appreciate the problems inherent to these type of works, simple, synthetic, but never simplistic.  Therefore, a project, a study and a restoration hypothesis were conducted on one of the many works by Haring. The purpose of this was to shed light once again on the mural made in 1986 by the artist, situated in the Groothandeles Market of Amsterdam. No longer visible for thirty years, the mural was covered by insulation panels placed two years after its creation. With professors Antonio Rava and William Shank, the association Keith Haring Foundation of New York, the Stedelijk Museum of Amsterdam, in collaboration with the gallery Vroom & Varossieau, specialised in road art, on 8 June, the large metal sheet panels were removed and one of the greatest murals by Haring could once again be admired.

scholarly journals Fragility – Sustainability: Two Conflicting Major Challenges of this Twenty-First Century

2019 ◽  
pp. 31-64
Author(s):  
Demetrios Argyriades ◽  
Pan Suk Kim
Keyword(s):  
United Nations ◽  
Great Recession ◽  
Good Governance ◽  
First Century ◽  
Peaceful Coexistence ◽  
Global Order ◽  
The Great Recession ◽  
The World ◽  
Counter Culture ◽  
The One

With the Great Recession receding, but crises still afflicting large swaths of the world and a climate of rampant distrust adversely affecting governance, it may be time to ask whether and, if so, how and where our field went wrong. Have we been willing victims of sleep-walkers using metaphors as models? This paper argues as much. Specifically, it contends that, foisted on the world as the one- size-fits-all prescription for good governance, nationally and internationally, it has ended turning governance and democracy on their heads, while also undermining the very foundations on which a global order, based on peaceful coexistence and constructive cooperation through the United Nations, was predicated. The prevalence of symptoms of hurt and discontent should lead us to conclude that the roots of our predicament and problems go much deeper, to a might counter- culture, which triumphed in the 1990s but still goes strong, in places.

scholarly journals O JORNAL COMO ELEMENTO DE TRANSFIGURAÇÃO DA HISTÓRIA EM O ANO DA MORTE DE RICARDO REIS DE SARAMAGO

2003 ◽  
Vol 60 ◽  
Author(s):  
Gerson Luiz Roani
Keyword(s):  
Authoritarian Regimes ◽  
European History ◽  
Daily Routine ◽  
The Novel ◽  
The World ◽  
History And Literature ◽  
Jose Saramago ◽  
The One ◽  
Radical Approach

Este artigo investiga o diálogo entre a História e a Literatura no romance O Ano da Morte de Ricardo Reis de José Saramago. Nessa obra, vislumbra-se uma atitude inovadora e radical de interlocução com a História, que não se limita a uma mera representação de acontecimentos do passado português. Saramago investe no jogo do fingimento pessoano, inventando para Ricardo Reis um cotidiano e uma queda na conturbada História européia de 1936, que o poeta modernista não poderia prever para o seu mais clássico heterônimo. O discurso ficcional assume uma função restauradora, preenchendo vazios, lacunas e os silêncios do discurso historiográfico. Nesse processo, um dos recursos romanescos utilizados para a transfiguração da História consiste na inserção, na trama narrativa, de textos jornalísticos de 1936, que focalizam a situação histórica portuguesa e européia, nesse ano crucial, em que se consolidaram os regimes totalitários de índole fascista. O aproveitamento desses fragmentos da imprensa portuguesa proporciona uma minuciosa recosntituição das circunstâncias sociais, políticas e históricas de Portugal, criando uma atmosfera cotidiana que bem poderia ser a experimentada por Ricardo Reis, em 1936. Abstract The purpose of this paper is to carry out research on History and Literature in the novel O ano da morte de Ricardo Reis (translated as The year of the death of Ricardo Reis) by Portuguese writer José Saramago. The work stands out by its new and radical approach of a dialogue with History, but which is not limited to a mere representation of Portuguese past events. In Saramagos novel, the latter is revisited through the fictional recreation of one of his heteronyms, Ricardo Reis. The author probes into Pessoa’s play of pretence, inventing a daily routine for Ricardo Reis and plunges into the 1936 disturbances of European History, which the modernist poet could not have foreseen for his most classic heteronym. By giving Ricardo Reis an existence within new fictional parameters, the novel questions the validity of the guiding motto of this fictional figure’s attitude, that is, wise is the one who is contented with the spectacle of the world, which means that at a time of overwhelming social, ideological and political turbulence, the absence of historical conscience is unacceptable. Fictional discourse assumes then a restorative function, filling empty spaces, gaps and silences of historiographic discourse. In this process, one of the novelistic resources used in the transfiguration of History consists of the insertion, within the narrative’s plot, of 1936 newspapers’ texts. These articles focus on the European and Portuguese historical situation in this crucial year when authoritarian regimes of fascist character were being consolidated. The utilization of these fragments of the Portuguese press offers a detailed reconstitution of Portugal’s historic, social and political circumstances, thus creating a quotidian atmosphere that Ricardo Reis would have experienced in 1936.

Strolling in Tel Aviv: Setting Up and Breaking Down Boundaries in S. Yizhar'sPreliminaries(Mikdamot)

AJS Review ◽  
2017 ◽  
Vol 41 (1) ◽  
pp. 67-88
Author(s):  
Dvir Tzur
Keyword(s):  
The Other ◽  
The Novel ◽  
Urban Experience ◽  
Tel Aviv ◽  
Other Hand ◽  
The World ◽  
The One ◽  
The Individual

The article discusses the image of Tel Aviv, the first Hebrew city, as it is described in the novelPreliminariesby S. Yizhar (Yizhar Smilansky), one of Israel's best-known authors. In this novel, which engages with the question of home and borders, borders function as a double-edged sword: on the one hand, they define home and create a circumscribed place for the protagonist and his family. On the other hand, the novel dwells on the urge to cross borders and shatter the distinction between home and the world. In this regard, Tel Aviv is sometimes described as a pleasant, “normal” city, yet at other times it is written as a perilous place—since it divides between Jews and Arabs. Tel Aviv is also the place where one can imagine a great future or see a concealed history. It is a total urban experience, encapsulating the individual.

scholarly journals Desventuras do Pós-independência em Moçambique: nacionalismo, guerra civil e memória coletiva

2021 ◽  
Vol 5 (9) ◽  
pp. 55
Author(s):  
Andressa Da Silva Machado
Keyword(s):  
Civil War ◽  
Collective Memory ◽  
War Literature ◽  
National Consciousness ◽  
The Novel ◽  
Historical Source ◽  
Civil War Literature ◽  
History Of ◽  
Literature History ◽  
Literary Narrative

O presente artigo apresenta as principais contradições do projeto político nacional da Frelimo, em sua tentativa de construção de uma consciência nacional no pós-independência em Moçambique. É possível  identificar alguns aspectos que interagiam e moldaram a memória coletiva do povo moçambicano com relação à guerra civil, como no romance Ventos do Apocalipse de Paulina Chiziane, onde a autora enuncia, de forma crítica ao governo socialista e unipartidarista em Moçambique, uma narrativa literária que pode ser analisada como fonte histórica.Palavras-chaves: Moçambique. Nacionalismo. Guerra civil. Literatura.Abstract This paper presents the main contradictions of Frelimo's national political project, in its attempt to build a national consciousness post-independence in Mozambique. It is possible to identify some aspects that interacted and shaped the collective memory of the Mozambican people in relation to the civil war, as in the novel Ventos do Apocalipse by Paulina Chiziane, where the author critically enunciates the socialist and unipartisan government in Mozambique, a literary narrative that can be analyzed as a historical source. Keywords: Mozambique; Nationalism; Civil war; Literature; History of Africa

scholarly journals Mémoire collective dans les industries culturelles

2020 ◽  
Vol 6 (2) ◽  
pp. 122-134
Author(s):  
Julie Bérubé
Keyword(s):  
Collective Memory ◽  
Decision Makers ◽  
Cultural Industries ◽  
The World ◽  
Systemic Discrimination ◽  
Memoire Collective ◽  
Public Decision

The cultural industries participate in building collective memory because, in many cases, public decision-makers have chosen to elevate individual memories to the rank of collective memory. Cultural industries are faced with systemic discrimination (Eikhof and Warhurst, 2013), which suggests the collective memory of these industries face the same challenges. In this theoretical article, we propose a framework based on Boltanski andThévenot’s (1991, 2006) theory of justification in order to make collective memory in cultural industries more inclusive. First, we conceptualize collective memory as a compromise between the domestic and civic worlds of Boltanski and Thévenot (1991, 2006). Then, the artists and their individual memories are presented using the world of inspiration. Finally, we propose using the world of projects to make the collective memory of cultural industries more inclusive. We, therefore, propose greater openness and democratization of collective memory in the cultural industries due to the world of projects.

scholarly journals Still Ekphrasis? Visual and Non-Visual Art in Contemporary Anglophone Fiction

2020 ◽  
Vol 44 (2) ◽  
pp. 15
Author(s):  
Jarosław Hetman
Keyword(s):  
Visual Art ◽  
The Other ◽  
Artistic Expression ◽  
The Novel ◽  
Literary Context ◽  
Contemporary Novels ◽  
The World ◽  
The One ◽  
Definition Of

<p>The article explores the ancient notion of ekphrasis in an attempt to redefine it and to adjust it to the requirements of the contemporary literary and artistic landscape. An overview of the transformations in the world of art in the 20<sup>th</sup> century allows us to adjust our understanding of what art is today and to examine its existence within the literary context. In light of the above, I postulate a broadening of the definition of ekphrasis so as to include not only painting and sculpture on the one side, and poetry on the other, but also to open it up to less conventional forms of artistic expression, and allow for its use in reference to prose. In order to illustrate its relevance to the novel, I have conducted a study of three contemporary novels – John Banville’s <em>Athena</em>, Kurt Vonnegut’s <em>Bluebeard</em> and Don DeLillo’s <em>Mao II </em>– in order to uncover the innovative ways in which novelists nowadays use ekphrasis to reinvigorate long prose.</p>

scholarly journals The projection of colonialization and interculturalism throughout symbols in Forster's novel 'A passage to India'

2020 ◽  
pp. 100-110
Author(s):  
Sunaj Hadžija ◽  
Jahja Fehratović ◽  
Kimeta Hamidović
Keyword(s):  
Great Britain ◽  
The Novel ◽  
Indian Culture ◽  
Two Cultures ◽  
Cultural Minorities ◽  
The World ◽  
The Two Cultures ◽  
Racial Domination ◽  
The One ◽  
Negative Phenomena

Imperialism emerged in the late 19th century. Europe's supremacy in various areas of life which led to the view that Europe is above other parts of the world that are uncivilized and culturally fell behind, and that needed to be civilized. This attitude lead to negative phenomena such as racism - contesting the rights of other races and colonialism - conquering territories inhabitated by people of other cultures. The world seen from an imperialist perspective was most often the one colonized by Europe, postcolonial research has critized the way in which European colonial powers (especially England and France) created values of subordinate cultures and established relations between center and margins. However, the notion of discursive domination is spread quickly to all relations between colonizers and colonized, which is why this second group includes all gender and ethic groups that did not have cultural independece, but were marginalized and subjected to institutional repression. As different cultural minorities began to form resistance to agressive political, gender, and racial domination, postcolonialism also represents a disagreement with the passivity towards cultural supremacy which is symbolized in empires that no longer even existed. The novel A Passage to India represents Forster's interests in Indian culture, which was colonized by Great Britain. A Passage to India is an exploration of the spiritual and cultural contrast of the two cultures of East and West.

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