This article explores the use of the guidebook as a narrative form in the work of a number of "displaced" Russian authors (Joseph Brodsky, Andreï Makine, Michail Šiškin). In literary fiction, the ...guidebook is a documentary-literary hybrid inscribed into the wider frame of postmodernism. It is a fusion of a document with its informative function, autobiography and historiosophic essay. Literary works written in this form share some features: they all display a shift in focus from space to time, putting strong emphasis on history and presenting a "panoramic" or "mosaic" picture of it. This panoramic view increases the distance to the spatial environments seen from afar and - as in Brodsky's case - undermines the very spatial reality. The paper argues that the use of the guidebook as a narrative form by transcultural authors makes transcultural writing itself a fusion of the pragmatic and the aesthetic, and that its specificity lies exactly in this blend.
The article examines the identity and work of Patricia Grace, a New Zealand writer of the Māori Renaissance period. Her fate echoes the life stories of many indigenous Māori people with mixed ...origins, and in regards to that it is interesting to see how this aspect of her existence was reflected in the works she created. Within the framework of this study, Grace’s identity and her literary style are analyzed from the standpoint of theory of translingualism and transculturalism. Particular attention is paid to the criticism and reception of Grace’s work in the literary community and to the development of the most suitable approach to studying her texts. This approach is developed on the basis of the concept of transculturation by F. Ortiz, research by Z.G. Proshina in the field of translingual literature, post-colonial research by H.-K. Trask and the works of M.V. Tlostanova on gender philosophy. Grace’s most famous novel “Potiki” was chosen as an example that confirms the transcultural and translingual nature of her literature. The analysis of the novel allows one to read it as not just a story-driven novel, but as a complex text that contains many elements of Māori culture hidden from a non-indigenous reader.
This article examines the matter of bilingualism and biculturalism of bilingual authors analyzing the literary work of Nicholas Kotar, an American bilingual writer who is a descendant of the ...first-wave of Russian émigrés. The relevance of this topic stems from a growing interest among scholars of bilingual studies in researching the features of bilingual writers who efficiently use two languages and two cultures to create literary images and express their ideas, leading to translingualism and transculturalism in their work. The article analyzes how bilingualism and biculturalism of Nicholas Kotar, a heritage language speaker of Russian, reflect in his English-language literary works, using research methods of comparative, cultural and translational interpretation. In the novels from the Raven Son series The Song of the Sirin, The Heart of the World , The Throne of the Gods , The Son of the Deathless , Nicholas Kotar conveys elements of Russian folklore to Englishspeaking readers by mythopoesis. The analysis of the literary text provides results, revealing that samples of Nicholas Kotar’s English-language creativity emerge in the process of hybridization and syncretism through the mythopoetic transformation of Russian folklore and linguaculture. Nicholas Kotar’s novels contain many lexical and cultural borrowings, exotisms (Slavicisms), sayings from Russian fairy tales, as well as allusions pertaining to Russian linguaculture. Thus, incorporating elements of Russian fairy tales and other folklore genres enables the translingual and transcultural writer to familiarize English-speaking readers with elements of Slavic linguaculture through the combination and hybridization of English and Russian literary traditions in mythopoetic literature.
The Tuvan Text in the Aspect of Transculturation Shafranskaya, Eleonora F.; Garipova, Gulchira T.
Polilingvialʹnostʹ i transkulʹturnye praktiki (Online),
09/2023, Letnik:
20, Številka:
3
Journal Article
Recenzirano
Odprti dostop
The article analyzes the modern processes of artistic aestheticization and transculturation of the Tuvan text in the works of two modern authors: Maadyr-ool Khovalyg, who writes about Tuva in Tuvan, ...and Roman Senchin, who represents Tuva as genius loci in Russian. The authors of the article postulate the thesis about the fixation of the micromodels of the native world in the works of the Tuvan author by means of the mother tongue, which is a foreign-cultural text for the Russian reader. In the Russian prose written by Senchin, the principle of transculturation consists in the transfer through the native language of the “other” ethno-cultural consciousness of the author, when through various principles of modeling “his own world” and “another world”, not an orientalist, but a transcultural image of Tuva is formed in the world models “paradise lost”, “fairy-tale world”, “exotic world”. The authors of the article seek to identify the specifics of the artistic design of the Tuvan text in the system of an interdisciplinary paradigm of aesthetic, historiosophical, ethnographic, mythological correlates in the works of ethnically different writers. The relevance of the research is due to the fact that the transcultural approach (conceptual for the presented article) in the study of any national literature in the paradigm system “Russian literature and the literature of the peoples of Russia”. This approach makes it possible to remove most of the contradictions in the ethnic identification of the literary ethos, the writer and the individual work itself. The understanding of ethnocultural and transcultural literature as historical and cultural phenomena makes it possible to find their manifestations in completely multidirectional author’s artistic models of the Tuvan text.
This article explores the use of the guidebook as a narrative form in the work of a number of “displaced” Russian authors (Joseph Brodsky, Andreï Makine, Michail Šiškin). In literary fiction, the ...guidebook is a documentary-literary hybrid inscribed into the wider frame of postmodernism. It is a fusion of a document with its informative function, autobiography and historiosophic essay. Literary works written in this form share some features: they all display a shift in focus from space to time, putting strong emphasis on history and presenting a “panoramic” or “mosaic” picture of it. This panoramic view increases the distance to the spatial environments seen from afar and – as in Brodsky’s case – undermines the very spatial reality. The paper argues that the use of the guidebook as a narrative form by transcultural authors makes transcultural writing itself a fusion of the pragmatic and the aesthetic, and that its specificity lies exactly in this blend.
The author of the article focuses on the image of letters as a symbol of national historical memory — on the example of Sukhbat Aflatuni’s story “Clay letters, floating apples”, where the letters act ...not only in their direct meaning, they are the antithesis of the imposed culture, language, historical interpretations. The article substantiates the legitimacy of using the term “transcultural literature” instead of the common and illogical one — “Russian-language literature”, since in this type of creativity the image of a different ethnic picture of the world, other national images of the world is paramount. The novel “Hands-rivers” by the contemporary writer Liana Shahverdyan is analyzed precisely in the categories of transcultural literature: the novel highlights the key themes and problems associated with the restoration of ancestral memory of family and the Armenian people, who, like millions of Soviet citizens, were subjected to Stalinist repressions. The metaphor of the carpet weaving culture, the carpet, the images of the local fauna — birds and snakes became the key ones in the analysis of the plot of the novel “Hands-rivers”. The novel by Liana Shahverdyan, based on archival documents, fills in the lost page of the history of the ХХth century, thus fitting into the current archival vector of the contemporary literary process.
The politico-historical settings of Christos Tsiolkas's novels The Jesus Man (1999) and The Slap (2008) compromise the expressions of self manifested by his transcultural characters. The failure of ...Howard-era multicultural policies combines with the economic rationalising of the culture wars and the xenophobic hysteria spread by Pauline Hanson's One Nation Party to haunt those marginalised by the Eurocentricity of Australian culture. As a result, the transcultural characters of The Jesus Man are forced to externalise an augmented version of their performative selves, compromised as they are by such cultural homogenisation; in The Slap, the failure of neoliberal multicultural policies manifests in the anxieties experienced by the characters. The characters of both novels are forced to confront these sociocultural, historical and psychological conflicts in a space laden with historical tensions, cultural erasure and political uncertainty. This article argues that Tsiolkas's real-world fictional settings problematise the performance of his multicultural characters in ways that unsettle hegemonic constructions of Australian culture. In particular, I contend that from this tension, a blurred space emerges that offers a way forward for transcultural subjects: it is a liminal space in which cultural syncretism is encouraged, cultural performance is delimited, and hegemonic cultural norms are mitigated.
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