Influențe Svevo – Joyce Balita, Bogdan
Analele Universității de Vest din Timișoara. Seria științe filologice,
2017
55
Journal Article
Odprti dostop
Aron Hector Schmitz/Ettore Schmitz/Italo Svevo, a 46-year-old man from Trieste, met, in 1907, at the Berlitz School in Trieste, a young, 25-year-old English teacher from Dublin, James Joyce. It would ...become a lifelong friendship, incorporating on many levels (biographical, social, intellectual) a great accumulation of mutual exchanges, culminating with the transformation of the real Svevo into the Joycean character, Bloom. On the other hand, the city of Trieste, as the geographical centre of the liaison between the two writers to be, is of great interest to us. The city (Dublin or Trieste) becomes itself a character in the literary work of both Joyce and Svevo. If Bloom’s roots, as a character, can be traced (even if not entirely) to Italo Svevo, it can also be said that without James Joyce’s constant encouragement, Ettore Schmitz would have never finished his central literary work, The Conscience of Zeno, and thus would have never become the well-known Triestine writer: Italo Svevo. The influences between them can therefore provide a fruitful starting point for a study in the field of comparative literature.
In this article we intend to set out on an itinerary which will take us from the Malay space in Lord Jim (1900) to the Latin American one in Nostromo. A Tale of the Seaboard (1904). We posit that ...these spaces composed by the creative fabulation of the English-Polish writer Joseph Conrad (1857-1924) go beyond, respectively, the so called “salvage ethnography” in Lord Jim and the images coined by English travellers in Nostromo. Furthermore, as products of artistic creation, these spaces postulate worlds, that is, temporal-spatial wholes which surpass referentiality and mimesis.
Julio Cortázar and José Saramago create the poetics of compromise focused on a critique of the Argentinian and Portuguese dictatorships as paradigms of oppression and censorship. With this study, ...based on a comparatist analysis approach, we intend to show how the short stories “The Second Time Around” and “The Chair” denounce the evils of dictatorship, shaping fictions that explore the experience of impoverishment of the self. Cortázar’s text explores the practice of disappearance during Videla’s dictatorship from a absurd Kafkaesque perspective whereas Saramago’s writing focuses on the decline of Salazar’s dictatorship as a carnival game. Cortázar and Saramago assume the relevance of compromise, the aim of which is political disalienation in order to shape consciences enabling reassessing the evil effects of disalienating dictatorial regimes.
When I first read the proposed theme for this issue and thought about Schwab's realizations about reading, and my own recent, driven rereading of Steven Brust's Vlad Taltos science fiction/fantasy ...series, set in the semi-fictional world of Dragaera. The questions that Schwab poses, and Schwab's experiences reading Buck's Peony, had me focused more than I normally would on why Brust's series is such a touchstone for me as a reader. Then, looking back outward to other readers, I wondered, how does reading, as a kind of dreaming, potentially change our views of self, and perhaps change how we interact with our "reality", our lived world, and what that could be? I have chosen to discuss the works of Steven Brust, who has not yet been a part of academic conversation, in the hopes of opening up those existing conversations to the many other creative works of speculative fiction.
Under a title unerringly reminiscent of Marianne Moore’s modernist manifesto in “Poetry” (1921) ‒ good, real modern poets should give us “imaginary gardens with real toads in them”‒, this paper ...follows the journey or quest of the fox (particularly Vulpes vulpes) from Aesop (tentatively) to the “fox poems” of Mark Jarman, Lucille Clifton, Philip Levine, John Clare, Kenneth Patchen, W.S. Merwin, Mary Oliver, Rita Dove, Adrienne Rich, Ted Hughes (whose “Thought-Fox” may have been the starting point ‒ “I imagine this… forest…” ‒ of our own quest) and Brendan Kennelly; a journey that takes us from the image of the real animal, its many lives and deaths (metempsychosis is evoked), to that of dreams, thoughts, and poems embodying it (or simply mentioning it). The succession of authors and poems is not chronological, but rather as required by the various stages of this fictional journey.
The condition of the family towards the end of the 19th century and the beginning of the 20th century is subjected to a series of socially related changes, which were the direct consequences of the ...First Wold War and the Bolshevik Revolution.
Love, the key element of human nature, was meant to flourish within the boundaries of a family; otherwise it was considered adulterous and libertine. John Galsworthy’s novels, the Forsyte Saga series, and Mihail Sholokhov’s vast novel
On the Quiet Don take into discussion different social and cultural milieu, the urban so-
ciety of the high English bourgeoisie, on the one hand, and the rural community
of the Cossacks on the Don, on the other. In both cases, marriages are carried out
on the initiative of the family; the girls learn how to take care of home while men
occupy the central position in society, assuming freedoms totally banned to
women. Inevitably, the personal, individual plan intersects the historical one, and,
consequently, family relations are under constant change.
In DeLillo’s prose, especially in the novels preceding Body Artist, the worlds presented, their time and space, rely on fragments and artifacts, objects and events from everyday life, trinkets and ...details from newspaper clips and radio news bulletins which served as a gauge for the flow of time and for the duration of events –DeLillo constructed sequences of images whirling one after another, densifying time and compacting its spans. In the novel Body Artist, there is a conspicuous absence of this mechanism. In a secluded house, time retreats to its origins, circles in a closed loop, only to be liberated once again when a new system of binary pairs creates anew node compatible with the network from which the old node was extracted. The events are limited to the re-enactment of the basic sensory perceptions and the repetition of the auditory sequences, and as such, they are materialized through the strata of the different media, from a webcam device broadcasting images from a road in a Finnish city of Kotka, to the materialization of a second body, whose origin remains undetermined. This is the body which reproduces the past in a progression of erratic vocalized sequences of time that is forever lost for the protagonist. The body will beara name “Mr. Tattle” and it will be a medium of its own, a lost connection that Lauren,the protagonist, struggles to re-appropriate. She will unite all the strata in her own body and in the performance Body Time, trying to reinstate the time flow and to create a new self-perception of her own identity.
Not only do myths stand at the beginning or represent the birth of literature, but they have been present all along ever since. In times of havoc caused by natural catastrophes, wars or pandemics, ...people look for answers to the uncertainties that surround them. While often presenting such chaotic states themselves, myths can give an answer or offer a solution to these problems. The aim of the present paper is to compare and analyse short texts mainly by Kafka and Camus that deal with ancient myths (e.g. that of Prometheus, Odysseus, or Sisyphus) focusing on the type of answer they bring to the questions raised amidst and after the two world wars. The paper mainly focuses on the connection between hope and hopelessness.
Some important aspects of the edition Vater (1821) are still not very clear, particularly the relationship between the text published by Vater and the manuscript copy of the Old Prussian Enchiridion ...kept in the volume Ms. boruss. fol. 462. (Berlin), which has been unknown until now. The copy was carried out by A. E. Hennig on the base of an incomplete printed copy of the Enchiridion, which was his own property. Since Nesselmann (1845), this copy of the OPr. Enchiridion has been considered lost. Both internal and external arguments show that the lost incomplete printed copy was the starting point for Hennig’s manuscript and consequently also for Vater’s edition. The incomplete copy was lacking pages 126–134. Oddly enough, the text published by Vater is two pages shorter than Hennig’s manuscript copy. A comparison of different data allows us also to restore some features of the lost copy. I would propose calling this copy the “HV”-copy.
Death is a reality of human life that everybody will experience sooner or later. As a universal concept, the reality and fear of death can be observed in many literary works. The Story of Deli Dumrul ...Son of Duha Kodja and Everyman are among the literary works in which death is included as a cultural representation. The Story of Deli Dumrul is one of the stories from the Book of Dede Korkut and tells the adventures of Deli Dumrul, who challenges Azrael. Everyman is an allegorical English morality play, in which the protagonist Everyman’s journey of death and reckoning process are told. Both of the texts belong to medieval times, and the concept of death is not handled as just a literary theme but also a fact of life in each. In the Story of Deli Dumrul, as a result of his challenge to Azrael, Deli Dumrul is punished by God via the decision of his death. In Everyman, the sinful character Everyman’s process of pre-death is depicted as a spiritual journey on the basis of the Christian religion. Each text deals with the concept of death in a different cultural context. Hence, they each represent death in accordance with their cultural features. In each text, death is personified and included as a character, namely Azrael and Death. The primary objective of this study is to discuss the way death is portrayed as a character in the light of the cultural milieu in these texts. For this objective, the way death is represented in relation to other characters is tried to be examined and analyzed in a comparative way with regard to the texts’ sociocultural and religious background. The arguments are discussed with relevant references to the literary texts mentioned. In the study, representations of death are investigated in terms of three aspects: death as God’s wrath; death as a threatening and disturbing character; death as a trigger in the protagonists’ awakening/rationalization process. Thus, representations of death in the mentioned texts are discussed in relation to God’s and the protagonists’ attitudes and actions. This study also investigates how cultural patterns are reflected in each text on the basis of representations of death. Death, in the form of a character in both of the texts, functions as a trigger by which the protagonists go through a maturation process. The fact that death’s being a trigger in the maturation process of the protagonists is common in both texts confirms that facing the reality of death has a didactic effect/function and that the representations of death in literary texts could have an educational aspect.
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