This essay examines the English translation by Edward Grimestone of Pierre d’Avity’s The Estates, Empires, & Principallities of the World (1615), in relation to the French original, entitled Les ...Estats, Empires, et Principautez du Monde (1614), in order to show the interpenetration and contamination of geographic discourse in French and English. The argument is based on the notion of “literary space”—as in Maurice Blanchot's L'espace littéraire (1955)—which is the space developing "violently" (Blanchot 29) during the mutual contestation between the power of saying (“pouvoir de dire”) and the power of hearing (“pouvoir d’entendre”). D’Avity's geographic and cultural treatise is a metatext, combining human geography (sociology, history, religion, arts and literature) with economic geography, as well as demography and ethnography, as texts cross-polinate with other classical and early modern historical and geographic discourses. Literary space in d’Avity’s treatise is closely related to word, text, and image, so the French original and the English translation work like shifting and overlapping tectonic plaques, which interpenetrate with each other. Whereas the English version focuses pragmatically on European culture and its avatars, adding or omitting several places, according to the translator’s experience, the treatise in French offers a hugely comprehensive view of the world’s geographic space through the territories and the peoples it evokes. The treatise is inscribed in the niche of emerging seventeenth-century literary geography discourses, and the fact that its popularity has not survived for too long after this period is not a result of the text’s shortcomings, but of the competitive development of geographic and ethnographic knowledge.
The religio externa crisis examined in the article belongs to Rome’s religious framework and presents the relationship between the national interest and new unofficial trends. The facts refer to the ...end of 213, that is, to a still critical phase of the Second Punic War. New rites of an external origin unleash a political case when they leave the private dimension and express themselves in public. The magistrati minores are overwhelmed by the crowd of newcomers; the intervention of the praetor urbanus is needed, who orders the confiscation of the new religious materials. Among these emerge two texts in verse (the Carmina Marciana), containing the post quem prophecy of the defeat of Canne and the prescription of the ludi Apollinares, as a religious and political remedy to the present crisis. Order and national harmony are re-established, without repression and with partial attention paid to new religious and social demands.
The material of the study has become the card file of landscape models identified in the novel "Jane Eyre", published by the famous English writer Sh. Bronte. The object of research is the ...architectonics of the novel, the subject of research is landscape models interpreted as one of the textual spatial formats. The study was conducted using four methods: lexical semantics, quantitative and comparative analysis. The study of the artistic landscape space was carried out in order to interpret landscape models. Landscape models have made up landscape units. Personalized and nonpersonalized proxima have been identified as part of landscape models. Personalized and nonpersonalized landscape models have been translated both symmetrically and asymmetrically from English into Russian. An asymmetric translation means a mismatch of the text with the original, and a symmetrical one means a complete correspondence with the original source. The predominance of landscape models consisting of landscape units of airspace has been established.
This article examines the staging and coding of femininity in literary works focused on cities during wartime, authored by women. Drawing on Judith Butler’s reading of Luce Irigaray and Henri ...Lefebvre’s The production of space, the analysis centers on the works of Lidiya Ginzburg (Zapiski blokadnogo čeloveka, 1984), Anna Świrszczyńska (Budowałam barykadę, 1974), Zlata Filipović (Le journal de Zlata, 1993), and Yevgenia Belorusets (Anfang des Krieges, 2022). The article argues that these texts challenge abstracting, phallogocentric systems of meaning on two distinct planes. First, they subvert abstract spatial structures forced on urban space by masculine power dynamics, accomplishing this through a perspective that emphasizes the city ‘from below’ and underscores the private, as opposed to the institutional, dimension of urban life. Second, they contest the erasure of the feminine in linguistic structures, shedding light on the oppression experienced by women during war and showcasing narrative and linguistic practices that reclaim agency. The article contends that these four texts not only represent deviations from conventional war narratives but also stage their own female authorship as an appeal against phallogocentric linguistic, spatial, and narrative structures. Consequently, they provide a means to articulate the precarity and marginalization of the feminine within both cities during war and economies of significance wherein the female is subjected to obliteration.
This article examines the staging and coding of femininity in literary works focused on cities during wartime, authored by women. Drawing on Judith Butler’s reading of Luce Irigaray and Henri Lefebvre’s The production of space, the analysis centers on the works of Lidiya Ginzburg (Zapiski blokadnogo čeloveka, 1984), Anna Świrszczyńska (Budowałam barykadę, 1974), Zlata Filipović (Le journal de Zlata, 1993), and Yevgenia Belorusets (Anfang des Krieges, 2022). The article argues that these texts challenge abstracting, phallogocentric systems of meaning on two distinct planes. First, they subvert abstract spatial structures forced on urban space by masculine power dynamics, accomplishing this through a perspective that emphasizes the city ‘from below’ and underscores the private, as opposed to the institutional, dimension of urban life. Second, they contest the erasure of the feminine in linguistic structures, shedding light on the oppression experienced by women during war and showcasing narrative and linguistic practices that reclaim agency. The article contends that these four texts not only represent deviations from conventional war narratives but also stage their own female authorship as an appeal against phallogocentric linguistic, spatial, and narrative structures. Consequently, they provide a means to articulate the precarity and marginalization of the feminine within both cities during war and economies of significance wherein the female is subjected to obliteration.
This article examines the staging and coding of femininity in literary works focused on cities during wartime, authored by women. Drawing on Judith Butler’s reading of Luce Irigaray and Henri Lefebvre’s The production of space, the analysis centers on the works of Lidiya Ginzburg (Zapiski blokadnogo čeloveka, 1984), Anna Świrszczyńska (Budowałam barykadę, 1974), Zlata Filipović (Le journal de Zlata, 1993), and Yevgenia Belorusets (Anfang des Krieges, 2022). The article argues that these texts challenge abstracting, phallogocentric systems of meaning on two distinct planes. First, they subvert abstract spatial structures forced on urban space by masculine power dynamics, accomplishing this through a perspective that emphasizes the city ‘from below’ and underscores the private, as opposed to the institutional, dimension of urban life. Second, they contest the erasure of the feminine in linguistic structures, shedding light on the oppression experienced by women during war and showcasing narrative and linguistic practices that reclaim agency. The article contends that these four texts not only represent deviations from conventional war narratives but also stage their own female authorship as an appeal against phallogocentric linguistic, spatial, and narrative structures. Consequently, they provide a means to articulate the precarity and marginalization of the feminine within both cities during war and economies of significance wherein the female is subjected to obliteration.
This article examines the staging and coding of femininity in literary works focused on cities during wartime, authored by women. Drawing on Judith Butler’s reading of Luce Irigaray and Henri Lefebvre’s The production of space, the analysis centers on the works of Lidiya Ginzburg (Zapiski blokadnogo čeloveka, 1984), Anna Świrszczyńska (Budowałam barykadę, 1974), Zlata Filipović (Le journal de Zlata, 1993), and Yevgenia Belorusets (Anfang des Krieges, 2022). The article argues that these texts challenge abstracting, phallogocentric systems of meaning on two distinct planes. First, they subvert abstract spatial structures forced on urban space by masculine power dynamics, accomplishing this through a perspective that emphasizes the city ‘from below’ and underscores the private, as opposed to the institutional, dimension of urban life. Second, they contest the erasure of the feminine in linguistic structures, shedding light on the oppression experienced by women during war and showcasing narrative and linguistic practices that reclaim agency. The article contends that these four texts not only represent deviations from conventional war narratives but also stage their own female authorship as an appeal against phallogocentric linguistic, spatial, and narrative structures. Consequently, they provide a means to articulate the precarity and marginalization of the feminine within both cities during war and economies of significance wherein the female is subjected to obliteration.
This article aims at analyzing Henry Louis Gates’ theoretical strategies for remapping the African American literary space within the context of both American literature and world literary system. ...Gates’ strategies can be delineated through four stages. Firstly, he excavates a vast array of African American literary texts. In the second stage, he traces the lineage of African American literary theory to its origins within the African interpretation system. During the third stage, he employs African American literary theory to curate the African American literary canon. In the fourth and final stage, within the realm of African American literature, Gates endeavors to rebalance the representation of female and male voices within the literary space. A pivotal aspect of Gates’ strategies lies in his willingness to embrace and celebrate the African legacy, setting him apart from other marginalized nations and minority groups who may tend to disregard or belittle their own heritage. Building upon this distinctive characteristic, this article posits that Gates’ approach holds the potential to assist marginalized nations and minority groups in several ways: 1) Re-mapping literary space: Gates’ strategies can guide these groups in redefining their literary space within the broader contexts of both national and global literature systems. 2) Claiming literary legacy: emulating Gates, these groups can be inspired to embrace and champion their own literary heritage, instead of diminishing its significance. 3) Fostering indigenous literary models: by adopting Gates’ model, writers from these communities can craft their literary space grounded in their native or national paradigms, as opposed to adhering solely to Western European or U.S. models. 4) Balancing literary representation: Gates’ strategies also facilitate the recalibration of the literary landscape within these nations or groups by accommodating diverse elements such as race, gender, and class, thereby achieving a more inclusive and balanced representation. Overall, Gates’ methodology offers a powerful framework for marginalized communities to assert their literary identities, reshape their narratives, remap their literary spaces, and promote diversity within their literary landscapes.
Full text
Available for:
NUK, OILJ, SAZU, UKNU, UL, UM, UPUK
The relationship between literature and philosophy has led to the inflow of 'small' literature from 'big' literatures within the interaction between literary time and literary space with a propensity ...to emerge ‘big' again in another literary time and space. The most influential factor in ‘making it new' or 'from big to small, and big again' turns out to be time on account of the fact that the literary creator, namely the poet, is mortal. Since the existence of a poet as a creator turns out to be ‘temporal’, ‘making it new’ turns out to be vital for the next temporality. Therefore, this paper, using the document research method, examines Pound's poetry refracted through the time and literary space of his creative existence, as the urge for translation became an influential factor for Pound himself as a ‘new’ author. Thus, the paper analyses ‘temporal overlapping’ under the inspiring influence of Pound's poetic re-creation, either as a conversion of translated matter or as its enhancement by the poets he read. The divergent takes on mimesis by Plato and Aristotle helps Pound's creative originality, whereas J. Hillis Miller’s reading of the theory of temporality of De Mann and Heidegger, as well as the time-space transformations, help clarify 'temporal overlapping'. These, in turn, make us believe that the creation of ‘new originality’ influenced by ‘old originality’ during the transformation of time into space brings about the immortality of the poet along with ‘the little big’ literature.
Received: 7 October 2021 / Accepted: 29 November 2021 / Published: 3 January 2022
This essay argues that the Danish translation of Invisible Man (1952), Ralph Ellison’s prize-winning debut novel, offers a set of spatiotemporal coordinates with which the world location of postwar ...American literature can be mapped. By reconstructing how Invisible Man was received both in the United States and Denmark, I show that the evaluative criteria by which the novel was judged to be a valuable work of art breaks down the geographical delimitation of national literatures. To that effect, the construction of the author figure “Ralph Ellison” was contingent upon his fiction conforming to criteria of evaluation formalized by cultural institutions such as newspapers, universities, and literary prizes. These criteria were often derived from aesthetic principles associated with European modernism, and they come into full view in my reconstruction of Invisible Man’s publication and (Danish) translation history. I conclude that the residue of Invisible Man’s paratextual apparatus which has survived to this day, as well as the global connections this residue signifies, exposes the discursive construction of a nationally specific American literature as an ideological fiction, not a material fact.
The cave of Covadonga, where Pelagius triumphs over the Muslim invader in the eighth century, has remained since the Christian texts of the Middle Ages one of the founding symbols of national ...identity. The main stages of its literary reception in the nineteenth century in Spain and, by imitation, in France, allows us to observe the avatars of this epic material, tinged with religiosity from early on. This identity core, seized by the various ideological currents present in this period of profound political and cultural upheaval, and its regional-cohesion value for individuals in exile retain their inspirational capacity in almost all genres, be they fictional, referential or hybrid. Résumé La grotte de Covadonga, où Pélage triomphe sur l’envahisseur musulman au VIIIe siècle, reste depuis les textes chrétiens du Moyen Âge l’un des symboles fondateurs de l’identité nationale. Le parcours des vecteurs principaux de sa réception littéraire au XIXe siècle en Espagne et, par imitation, en France, permet d’observer les avatars de cette matière épique, très tôt empreinte de religiosité. Ce noyau identitaire, dont s’emparent les différents courants idéologiques présents dans cette période de profonds bouleversements politiques et culturels, et sa valeur de cohésion régionale pour les individus en exil gardent leur capacité inspiratrice dans presque tous les genres qu’ils soient fictionnels, référentiels ou hybrides. Resumen La cueva de Covadonga, donde Pelayo venció al invasor musulmán en el siglo VIII, sigue siendo, desde los textos cristianos de la Edad Media, uno de los símbolos fundadores de la identidad nacional. Recorriendo las principales etapas de su recepción en España, en el siglo XIX, y por mimetismo en Francia, se pueden observar los avatares de esta materia épica que pronto llevó la huella de la religiosidad. En este período de profundos cambios políticos y culturales, diferentes corrientes ideológicas se apropian este núcleo identitario. Posteriormente, para los exiliados, y junto a su valor de cohesión regional, mantiene su capacidad inspiradora en casi todos los géneros, ya sean ficcionales, referenciales o híbridos.
Lo spazio letterario nella critica marocchina (1984-2011) Fischione, Fernanda
Annali di Ca' Foscari : Rivista della Facoltà di lingue e letterature straniere dell'Università di Venezia,
06/2022, Volume:
58, Issue:
1
Journal Article
Peer reviewed
Open access
This article provides a roundup of the extant scholarly literature on space and place in the Arabic novel, focusing on the Moroccan literary criticism in Arabic from 1984 to 2011. It reviews the ...contributions of some of the most important authors to what can be described as a ‘canon’ of studies on literary space. The essay focuses on the work by Ḥasan Baḥrāwī, Muḥammad al-Būrīmī and Ḥamīd Lḥamdānī, who have laid the foundations for the structuralist criticism of literary space and place in the 1980s. Moreover, it analyses two essays by Ḥasan Naǧmī and Ḥūriyya al-Ẓill that challenge the formalist paradigm previously dominating the field.
PDF
