A study of He Qifang's creative writings

1981 ◽  
Author(s):  
Wai-ping, Judy Kong
Keyword(s):  
Creative Writings

scholarly journals Portrayal of women in creative writings of Imayam Padaippugal

2018 ◽  
Vol 7 (2) ◽  
pp. 132-137
Author(s):  
R. Vijayasamundeswary ◽  
Saraladevi M
Keyword(s):  
Creative Writings

scholarly journals الإبداعات المغربية باللغات الأجنبية بين سلطة اللغة وسلطة الهوية: قراءة تراتبية

2015 ◽  
Vol 20 (80) ◽  
pp. 142-111
Author(s):  
فؤاد بوعلي
Keyword(s):  
Cultural Identity ◽  
Foreign Language ◽  
Literary Text ◽  
Post Colonial ◽  
Colonial Studies ◽  
Cultural Alienation ◽  
History Of ◽  
Points Of View ◽  
Creative Writings ◽  
The Relationship

أثارت الكتابة الإبداعية باللغات الأجنبية العديد من المواقف المتعارضة في الحقلين: الأكاديمي، والثقافي. فقد عرف تاريخ المغرب الحديث سجالاً قوياً بخصوص هوية الكتابات الإبداعية باللغات الأجنبية، بين مَن يرى فيها استلاباً ثقافياً، ومَن يرفض ربط الجنسية الأدبية بالانتماء اللغوي، بل وربطها بالمتخيّل الجماعي أكثر من أيّ شيء آخر، ثمّ بالمنتوج الأدبي بوصفه تجسيداً لهذا المتخيّل. فالتعبير عن الذات بلغة أجنبية يطرح للنقاش مفاهيم، مثل: الهوية الثقافية، والسلطة، والخصوصية، والعلاقة بالآخر. وباستخدام القراءة التراتبية التي ظهرت في الدراسات بعد الكولونيالية أمكننا إثبات التلازم بين استعمال اللغة الفرنسية في الإبداع ومسار الفرنكفونية بوصفها إيديولوجيا استعماريةً تفرض لغتها على الشعوب والفضاءات الذيلية. The debate over literary writing in a foreign language has instigated a lot of dichotomous points of view in Moroccan academic and cultural circles. History of modern Morocco has witnessed strong ongoing debates about the identity of creative writings in foreign language. There are those who would consider such writings as cultural alienation. Contrary to that, there are those who refuse to link literary text to language belonging, and link it instead to the collective imaginary and to the literary product as a manifestation of this imaginary. In fact, expressing the self by using a foreign language puts into question notions such as cultural identity, authority, nation-building, and otherness. By applying the theory of hierarchical reading which appeared in the post colonial studies, we have established the relationship between using French in creative writings and La Francophonie as a colonial ideology imposed on people and annexed spaces.

INSPIRATIONS AND DISCOVERIES OF IDENTITY IN VILIS DZĒRVINĪKS’ POETRY

Via Latgalica ◽  
2014 ◽  
pp. 53
Author(s):  
Kristīne Macanova
Keyword(s):  
Ethnic Identity ◽  
Secondary School ◽  
School Teacher ◽  
Popular Front ◽  
Primary School Teacher ◽  
Creative Work ◽  
Language And Culture ◽  
Cultural Workers ◽  
Literary Source ◽  
Creative Writings

<p>Vilis Dzērvinīks was born on 16 March 1959 in Kromani village, Kaunata parish, Rēzekne district in the family of a blacksmith Jānis and a primary school teacher Antoņina. He studied in Ziedoņu elementary school, Rēzekne secondary school, that was graduated in 1975, Rēzekne Secondary school No. 1, that was graduated in 1977, Riga vocational training school No. 19, that was graduated in 1978 acquiring a general building master’s qualification. From 1978 to 1980 he served in the railway troops on Baikal–Amur Mainline. In 1988 he started to acquire a correspondence course at RPI (now – Riga Technical University) faculty of general technical sciences, where he completed four courses. In 1988 he began to work in LKP (Communist Party of Latvia) committee of Ludza district as an instructor in the Culture Department, in 1990 he was nominated by LTF (The Popular Front of Latvia) and elected as the Chairman of the Board of the deputies of Ludza town. In October 1991 he was elected as the Chairman of the Board of Ludza city. Later he moved to Rēzekne and was the owner of the company “Komforts” (by Paukštė, Rancāne, Salcevica, Vilčuka 2008: 160–161).</p><p>V. Dzērvinīks’ creative work has not been studied widely and its analysis has also missed out in the context of Latvian literature, but V. Dzērvinīks’ poetry has strengthened the usage of contemporary Latgalian language, as well as contributed to the development of Latgalian literature.</p><p>The article aims to reveal the factors of inspiration and identity them in V. Dzērvinīks’ creative work, describing the author’s characteristic traits. The findings of the research are based mainly on V. Dzērvinīks’ literary heritage, as well as on newspaper and book materials about V. Dzērvinīks.</p><p>The sources of the research are V. Dzērvinīks’ three volumes of poetry: “Laimeigu īsadūmōt” (2001), “Voi moz lidmašinu kreit” (2003), “Upers” (2006). To describe the author’s inspiration factors, there were used the following exploratory methods: psychology of creative work (A. Potebņa, R. Mūks) and structural semiotics (J. Lotman, R. Veidemane).</p><p>Inspiration factors can be divided into literary and non-literary ones, but it is impossible to draw a clear boundary between them, but the concept of identity is too broad and frequently used. Human identity (-ies) is formed during the person’s lifetime and is dependent on many factors. V. Dzērvinīks’ creative work depicts powerfully his affiliation to Latgalian, i. e., in this case we can speak of V. Dzērvinīks’ ethnic identity. Ethnic identity is formed, when a person accepts ethnicity-specific traditions, based on language and culture. V. Dzērvinīks’ ethnic identity is expressed both as a political and social participation in favor of Latgale and Latgalian language, that is the language of his creative writings and the dignity of Latgalian Heritage. Latgalian authors and cultural workers, who have spiritually enriched Latgale, are Antons Kūkojs, Pēteris Jurciņš, Ingrīda Tārauda, Anna Rancāne, Andris Vējāns, Antons Slišāns, Osvalds Kravalis etc., as well as emotional kinship with places of Latgale – Rēzekne, Ludza, Idzipoles Lake, Zvirgzdenes Lake, Kromanu village etc. Latgalian is considered as the familiar, but “čiuliskais” (‘other Latvians’) as the strange one.</p><p>Identity (particularity) is the person’s self-perception, self-characterization, which consists of an individual’s behavior patterns in different situations; this is how a person perceives himself. And, if there is created the inspiration – the model of identity relationships, then the inspiration is the impulse, the identity is the result of the impulse or it is something, that is formed in the result of inspiration. V. Dzērvinīks’ sources of inspiration can be viewed from two perspectives: firstly, analyzing the author’s creative writings, revealing the hidden motives of poems, and secondly, searching for answers in V. Dzērvinīks’ interviews and articles about the author.</p><p>Politics has been a bright non-literary inspiration factor in the author’s poetry. This is reflected both in the choice of the theme of poetry and the use of sharp and stinging irony and sarcasm, sharply dividing the oppositions such as familiar– unfamiliar, authorities–people.</p><p>Love as a non-literary source of inspiration creates the atmosphere of melancholy and longing lyrics in the poetry. Often it is an intimate poetry, because it is dedicated to a particular recipient. A woman in this poetry is divinized, because she is the muse – an inexhaustible source of inspiration.</p><p>V. Dzērvinīks’ Latgalian identity is revealed as a factor of non-literary inspiration. The proof of this identity is reflected both in the lyrics I self-revelation, acknowledging, that he is Latgalian, as well as in the choice of the tone of poems, when Latgalian is the familiar one, but the rest is the strange one.</p>

scholarly journals Notes towards a semiotics of parasitism

2003 ◽  
Vol 31 (2) ◽  
pp. 421-439
Author(s):  
Han-liang Chang
Keyword(s):  
Evolutionary Process ◽  
Religious Practice ◽  
Political Life ◽  
Critical Discourse ◽  
Jakob Von Uexküll ◽  
Von Uexküll ◽  
The Times ◽  
Creative Writings ◽  
The Relationship ◽  
Biological Foundation

The metaphor of parasites or parasitism has dominated literary critical discourse since the 1970s, prominent examples being Michel Serres in France and J. Hillis Miller in America. In their writings the relationship between text and paratext, literature and criticism, is often likened to that between host and parasite, and can be therefore deconstructed. Their writings, along with those by Derrida, Barthes, and Thom, seem to be suggesting the possibility of a semiotics of parasitism. Unfortunately, none of these writers has drawn enough on the biological foundation of parasitism. Curiously, even in biology, parasitism is already a metaphor through which the signified of an ecological phenomenon involving two organisms is expressed by the signifier of “[eating] food at another’s [side] table”. This paper will make some preliminary remarks on semiotics of parasitism, based on the notions of Umwelt (Jakob von Uexküll) and structural coupling (Maturana and Varela). It will look into the phenomenon of co-evolutionary process in community ecology. With reference to empirical history, the project will briefly survey the literary and medical praxis of the 17th century England where large number of creative writings referred to the phenomenon of parasitism, which was deeply embedded in religious practice (e.g., the Eucharist) and political life (e.g., the courtier ecology in monarchy) of the times. Finally, it will touch upon the possible ‘parasitic’ relationship between language and biology.

Fake news et libelles diffamatoires : Discours contre les fausses nouvelles, instrumentalisation des écritures de l’actualité et poétiques burlesques dans la première modernité (1559-1661)

2021 ◽  
pp. 45-59
Author(s):  
Martial Martin
Keyword(s):  
Early Modern ◽  
Free Form ◽  
Fake News ◽  
Periodical Press ◽  
Early Modernity ◽  
Information Media ◽  
News Writing ◽  
Political Foundations ◽  
Opposing Camp ◽  
Creative Writings

Free-form satire, emancipated from strictly Horatian / Juvenalian models, and organized around a poetic “I”, distant, critical or even indignant before a changing world, played an important role in the emergence of news writing in Early Modernity, leading to the onset of the periodical press in the 17th century. In order to reflect on the connection between Early Modern information media, and satirical or militant writing, the idiom “fake news”, while seemingly incongruous at first, is in fact particularly useful, as it helps establish a connection with our contemporary practices, such as incorrect news, ideologically-oriented publications, clickbaits, and ironic parodies. By comparing these apparently heterogeneous phenomena, it becomes possible to think, in a coordinated way, about three aspects of the exchanges and hybridization that took place between Early Modern “occasionnels” (short, topical brochures) and “libelles” (satirical or libellous tracts). Like contemporary “fake news”, a term often used by purveyors of equally debatable reports to decry doubtful information produced by the opposing camp, libelles were always entangled in a network of other libelles, ever expending due to the indignation caused by the enemy’s lies. Libelles imitated news writing, feeding on rumors, and led to demystifications that often doubled as critiques of the codes of topicality found in the occasionnels. In certain ways, such criticism contributed to the creation of these codes, by pushing back against them. The forms taken by this satire of ideologically-oriented, or militant news writing went beyond partisan intent; it was sometimes difficult, as it is nowadays on certain satirical websites or social media accounts, to distinguish between activist creative writings, and playful games of wit. At a deeper level, satirical esthetics, whether grotesque (referring to the whole period) or burlesque (referring to its end), could instigate a global exercise of incredulity or unbelief towards the religious and political foundations of the Ancien Régime. On account of such a meta-reflexive dimension, of its great diversity linked to its hybridization of news writings, of its oscillation between partisan and playful humour, depending on the readership’s liking and the publishing industry’s interests, libelle referred to changeable forms quite similar to the fickle realities the moniker fake news refers to nowadays. Conversely, the libelle invites us not to hastily reject one aspect or another of the current network, which might be more homogeneous than it seems at first sight.

A Checklist of the Creative Writings of W.E.B. Du Bois

1979 ◽  
Vol 13 (3) ◽  
pp. 110
Author(s):  
Paul G. Partington
Keyword(s):  
Du Bois ◽  
Creative Writings

scholarly journals Vrouwees: perspektiewe in die meer onlangse Afrikaanse poësie en prosa

Literator ◽  
1988 ◽  
Vol 9 (3) ◽  
pp. 29-43
Author(s):  
R. Marais
Keyword(s):  
United States ◽  
Women Writers ◽  
South African ◽  
United States Of America ◽  
The United States ◽  
The South ◽  
The Usa ◽  
Feminist Movements ◽  
Creative Writings

This article investigates the views on woman and womanhood that are expressed in the poetry and prose of several contemporary women writers in Afrikaans. The study is conducted against the background of certain tendencies in feminist movements in Europe, Britain and the United States of America as well as views pronounced in the writings (both literary and feminist) of a number of feminist writers in Europe, Britain and the USA. For the purposes of this investigation a short exposition is given of what feminism entails, as well as of a number of the different views and approaches which it accommodates. Subsequently different views on womanhood as expressed in the creative writings of a number of women writers who have written extensively on this topic are discussed at the hand of their poetry and prose. Specific attention is paid to the South African woman’s views on men, marriage, her own sexuality and motherhood as revealed in the writings of these women.

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