Problém „mužského“ jazyka (na príklade básní Migleny Nikolčinej a Ireny Ivanovej)

The paper is devoted to the problem of the „male“ language which can be found in the works of two Bulgarian poets – Miglena Nikolchina and Irena Ivanova (better known by her pseudonym Rene Karabaš). The author associates them with the change that happens in literary criticism and the literary production itself after the 1990s. The author considers the synthesis of poetry and prose, poetry and theory as an intertextual „dialogue” through which is possible to analyze the texts of both poets. Thematically, the article focuses on the ways in which the woman gains „a right to have a voice“ rejecting her gender to take up the poet’s word and on how man appears to be a „quotation” in their works.

Un sistema mitico in continua evoluzione: le grandi parodie Disney

ABSTRACT: Il fitto dialogo intertestuale con i classici di ogni tempo è stato inteso dagli autori della Disney Italia come una pratica di cannibalizzazione delle fonti; d’altra parte il confronto con la dimensione letteraria, estendendosi nel tempo ‒ dalla fine degli anni Quaranta a oggi ‒, ha lasciato un’impronta indelebile sulle Grandi Parodie: per un verso esse hanno acquisito uno spessore testuale inedito, riconnettendosi alle grandi matrici narrative in cui affonda le proprie radici il più vasto mondo della finzione; per l’altro hanno costituito un formidabile banco di prova per la variegata compagine Disney: gli eroi del fumetto, da Topolino a Paperino, si sono cimentati nell’impresa di interpretare il ruolo e assumere le fattezze dei più rinomati protagonisti della pagina letteraria mostrando al contempo una grande duttilità e una spiccata personalità. Il complesso dei personaggi Disney funziona in definitiva come un sistema mitico: il corpo delle loro storie costituisce un intero aperto a un continuo accrescimento ed è in effetti costantemente aggiornato da una pluralità di autori che rende il sistema perennemente sincronico col tempo dei lettori.Parole chiave: Fumetto. Disney. Grandi Parodie. Mito. Intertestualità. RESUMO: O estreito diálogo intertextual com os clássicos de várias épocas foi entendido pelos autores da Disney Itália como uma prática de canibalização das fontes, que proporcionou o confronto com a dimensão literária, estendendo-se no tempo ‒ do fim dos anos 40 a hoje ‒, e deixou uma marca indelével nas Grandes Paródias: por um lado, estas adquiriram um peso textual inédito, reconectando-se com as grandes matrizes narrativas nas quais fincam as suas raízes no mais vasto mundo da ficção; por outro ainda constituíram um formidável teste para a multifacetada equipe Disney: os heróis dos quadrinhos, de Mickey a Donald, cimentaram-se na empreitada de interpretar os papéis e assumir os perfis dos mais renomados protagonistas das páginas literárias, demostrando, ao mesmo tempo, uma grande flexibilidade e uma marcada personalidade. O conjunto dos personagens Disney funciona definitivamente como um sistema mítico: o corpo das suas histórias constitui um todo, aberto em uma contínua evolução, e é, de fato, constantemente atualizado por uma pluralidade de autores que torna tal sistema perenemente sincrônico com o tempo dos leitores.Parole chiave: História em quadrinhos. Disney. Grandi Parodie. Mito. Intertextualidade. ABSTRACT: An intense intertextual dialogue with the classics of all time has been intended by Disney Italian authors as a practice of source “cannibalization”. Their long-lasting dialogue with the literary dimension left an indelible mark on the Grandi Parodie: on the one hand they acquired an unprecedented textual depth, connecting them to the major narrative roots of the fictional world; on the other hand, they represented a crucial test for the varied team of Disney characters: the heroes of comics, from Mickey Mouse to Donald Duck, undertook the remarkable feat of interpreting the roles of renowned literary characters, showing a great adaptability as well as a strong personality. Disney characters function fundamentally as a mythical system: their stories constitutes an ever-changing whole, constantly updated to the time of their readers.Keywords: Comics. Grandi Parodie. Disney. Parody. Myth. Intertextuality.

Taxonomy as a Genre and Cycle-Forming Pattern of “Fandorin corpus” by B. Akunin

The issue of classification as the leading principle of organizing the set of texts by B. Akunin about Erast Fandorin are considered in the article. Particular attention is paid to the manifestation of this principle at the level of genre organization of texts and at the level of semantic and character components of works. The relevance of the study is due to the identification of the semantic constant of the metacycle about Erast Fandorin. It has been proved that the principle of taxonomy in the Fandorin corpus has two variants of manifestation — at the level of metacycle organization and at the level of semantics of the key motive of a classic detective — explaining the method used by the detective. The results of a comparative analysis of the image of Fandorin and his literary predecessors: detectives, derived in the texts of the authors of a classic detective story, are presented, and it is proved that Fandorin is the only one who explains in detail his method of investigation based on psychological classification. The authors dwell on the fact that the explanation of the method of investigation is an element of an intertextual game with the reader and at the same time, the opposition of the Russian detective to his English and American literary predecessors. At the same time, the principle of taxonomy is played up in the intertextual dialogue within the Fandorin corpus — other characters in this metacycle also resort to typing.

CANTO GENERAL E SOUTH AMERICA MI HIJA: UM OLHAR SOBRE “ALTURAS DE MACCHU PICCHU”

“Alturas de Macchu Picchu”, second book from the poem by Pablo Neruda Canto General (1950), is, according to critics, the best known of the epic. The writer Sharon Doubiago, in South America Mi Hija (1992), makes with such book an intertextual dialogue from which stand out similarities and differences, that is why the purpose of this study is to investigate some of the resonances that this dialogue provides. For this purpose, bibliographic research was made based on authors such as La Vega (1604), Steel (1967), Alegría (1981), Kirk (1993), Santí (2011), among others, and the presentation and analysis of excerpts from corpora poems, the dialogue between them will be shown in this article. It is evident that the notions of ruin and poetic justice are contrasted by the way in which writers somehow redeem narratives that are components of the history of the defeated, placing them as a component of the identity of the Latin American peoples, resulting in a voicing strategy (be it from the collective, be it individual characters – mostly female, in Doubiago) that start from a look at the past with a view to understanding the present.

Desiertos de amor (2018) by Raúl Zurita: between poetry, image and voice

After a brief contextualization of the author's biography, I present the volume Desierto de amor (2018) by Raúl Zurita, realized with González y Los Asistentes (music) and Massimo Giacon (comic), as a significant example of a hybrid literary product that mixes poems, music and comics. The transmedial and trimodal work uses different media that merge each other. The poem, a migrant text halfway between slam poetry and poetry in music, alternates and superimposes itself on music and poetry comix. Reflecting on the potentialities of transmediality and intersemiotic translation, I analyze how transcoding into other languages ​​brings added value to the poetic text because it creates an intertextual dialogue that produces a new reception mechanism. The visual and auditory reading takes place in a different space and time, with new expressive modalities and ways of reaching the addressee.

To the problem of intertextuality of “Fandorin corpus” by B. Akunin “Planet Water” and “Froth on the Daydream” by Boris Vian

This article is dedicated to the questions of intertextual dialogue in modern Russian literature on the example of allusions to the novel “Froth on the Daydream” by Boris Vian in the novel “Planet Water” by B. Akunin. The object of this research is the game with audience used by B. Akunin, which allows broadening the context of perception of the novel through intertextual links. The subject of this research is the forms and ways of manifestation of intertextual dialogue of the two works – “Planet Water” and “Froth on the Daydream”, as well as their interaction through the literary works of antiquity and Japanese legends. The authors examine the references to B. Vian’s novel, describing their role in text of the narrative. The article employs comparative, contextual,l and hermeneutical analysis. The interaction of the corpus of texts about Fandorin with the works of Russian, English and Japanese literature is subject to detailed analysis. The texts of B. Akunin about Erast Fandorin abound with various references to the Russian and foreign literary works. The scientific novelty is define by the fact that this article is first to draw parallels with the French literature. The article determines and substabtiates intertextual links of “Planet Water” with “Froth on the Daydream”, which manifest through the key images and onomastic system of the novel. These links should attributed to hidden, encrypted intertext, cryptotext; in order to grasp such text, the reader must be familiar with the primary source. The presence of intertextual dialogue broadens the context of perception of the detective story and associate it with the genre of dystopia and parody.

Intertextual dialogue with Victorian literature in the novels by Sarah Ann Waters as a means of implementing feminist issues

The article presents an analysis of the implementation of the category of intertextuality in the novel «Affinity» (1999) by the British writer Sarah Ann Waters. The aim of the work was to trace how the intertextual dialogue with the Victorian literature contributes to the formation of the feminist issues of the work. It is revealed that the main pretexts when creating a novel for Waters were «Little Dorrit» by Charles John Huffam Dickens, «Aurora Leigh» by Elizabeth Barrett Browning, «The Turn of the Screw» by Henry James, and novels by William Wilkie Collins. «Affinity» has elements of Gothic narrative, a detective, a sensational novel, the Newgate novel, picaresque novel, contributing to the formation of women's issues. The dialogue with Victorianism allows Waters to raise issues of gender inequality in the past and present, the exploitation of women, and the rights of individuals to realise their sexual identity. For Waters, turning to Victorianism is a way to draw attention to issues that, according to the writer, are still topical in British culture, such as sexuality, class and gender.

The Evolution of Post-Postmodernism: Aesthetics of Reality and Trust in Jonathan Franzen’s The Corrections and Freedom

This study aims to find out how literature moves from the postmodern thought, flourished until the 1990s, to the post-postmodern phenomenon. The study traces the evolution of this new phase as depicted in Jonathan Franzen’s The Corrections (2001) and Freedom (2010). It proposes these two works as examples of how over the past two decades, literature shifted from postmodernist fiction’s irony and skepticism that presents novels as “literature of emergency” to ethical objectivism and neo-realism (Franzen, 2002, p. 258). The purpose of the study is twofold. Firstly, it examines Franzen’s deployment of elements such as the subjective perception of truth, self-restraint, control, and knowledge, which he utilizes to understand reality. Secondly, it explores his employment of narrative tools (e.g., omniscient narrator, metafiction, intertextual dialogue) against postmodern fragmentation and deconstruction. By doing so, Franzen, this study demonstrates, reflects post-postmodernism’s core realist ideas that stress pragmatic interactions with the characters and readers’ cognizance of reality and encourage engagement with the narrative’s language to rework the novel’s social and cultural authority. These post-postmodern narratives reference fictional texts, real-life people, and authentic historical events that exemplify various models, simulations, and patterns of reality within and beyond the text, creating a mediated experience that enables communication with and understanding reality

Lázaro y Margutte entre burlas y hambre

In a comparative perspective between Spanish and Italian literature, it is considered a possible intertextual dialogue between Lazarillo de Tormes and the figure of the medium giant Margutte, proposed by Luigi Pulci in his Morgante (published between 1478 and 1483). This figure is actually examined as it appears in the Spanish translation of Pulci's work by Jerónimo de Aunés. This translation is divided into two volumes, both published in Valencia, the first in 1533 by the printer Francisco Díaz Romano (canti from I to XVII of the Italian original); the second in 1535 by the printer Nicolás Durán de Salvanyach (canti from the XVIII to the XXV). With regard to the second volume, which includes Margutte's episode, there are no modern editions and therefore I used a its facsimile. My research tries to highlight some points of contact between Lazarillo and the translation of Aunés, both at content and linguistic level. Therefore, this study also tends to integrate the corpus of literary knowledge of the anonymous author of Lazarillo.