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VanWagenen, Julianne. "Masters vs. Lee Masters: The legacy of the Spoon River author between Illinois and Italy." Forum Italicum: A Journal of Italian Studies 53, no. 3 (May 30, 2019): 679–98. http://dx.doi.org/10.1177/0014585819854046.
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Edgar Lee Masters’ 1915 Spoon River Anthology has been one of the most popular books of foreign poetry in Italy since it was first translated and published there by Fernanda Pivano and Cesare Pavese in 1943. Yet, in the US, Masters is virtually unknown to the public; American scholars find him a problematic figure and his Spoon River only viable in piecemeal form. This article considers the translation and reception history of Spoon River in Italy as well as Masters’ publication and reception history in the US until his death in 1950, to bring to light the reasons for the poet’s differing legacies. It goes on to examine recent scholarly translations of Spoon River, as they at once engage with and neutralize critical American scholarship in order to secure Masters’ status in Italy. Finally, the article suggests a way forward for Italian scholarly work on Masters, which does not attempt to engage American criticism, but, rather, roots itself in the fraught Italian relationship with “agrarian” literature after the ventennio fascista and Mussolini’s rural rhetoric.
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Jianqiang, Li. "Chinese Popular Film Criticism." Journal of Popular Culture 27, no. 2 (September 1993): 39–50. http://dx.doi.org/10.1111/j.0022-3840.1993.00039.x.
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Liboriussen, Bjarke, and Paul Martin. "Honour of Kings as Chinese popular heritage: Contesting authorized history in a mobile game." China Information 34, no. 3 (March 19, 2020): 319–41. http://dx.doi.org/10.1177/0920203x20908120.
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This article examines how users on social media responded to state criticism of the representation of Chinese historical characters in the popular Tencent mobile game Honour of Kings. The game’s usage of historical characters and the ensuing debate and criticism are analysed as ‘popular heritage’. A qualitative content analysis identifies several categories in the discussion of this game on the Q & A website Zhihu (知乎). The article discusses these categories in relation to existing literature on popular heritage. The analysis contributes to this literature by identifying a new feature of popular heritage, whereby the dissonance associated with popular heritage becomes in itself an enjoyable object of popular pleasure, deepening popular heritage’s capacity to generate critique of authorized heritage and exposing divisions within the power bloc. In light of these findings, we call for an approach to popular heritage that escapes a dichotomous people–elite schema in favour of a multi-actor approach.
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Do Van, Hieu. "Literature review by Nguyen Van Trung – a course rich in praticality." Journal of Science Social Science 66, no. 1 (February 2021): 63–71. http://dx.doi.org/10.18173/2354-1067.2021-0008.
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Literature review by Nguyen Van Trung is a popular literature course in the South in the 60s and 70s of the twentieth century. Born in a particular historical situation, this course met many ups and downs, but the more later, its value is confirmed. Literature review is a course rich in practicality, which is expressed in the compilation with combination of Literary Theory, Literary History and Literary Criticism; expressed in absorption modern Western academic thought in order to solve difficulties of domestic literary criticism research; expressed in the application of foreign literary theory in the study of national literary phenomena.
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CORNER, PAUL. "The Party and the People: Totalitarian States and Popular Opinion." Contemporary European History 24, no. 2 (April 13, 2015): 303–8. http://dx.doi.org/10.1017/s0960777315000107.
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In reply to Patrick Bernhard's critical review of my recent book I will make some brief general observations about the study of totalitarian and would-be totalitarian regimes.Some preliminary remarks are necessary. Bernhard locates his review within the context of the debate over Italians' consensus for Fascism – a debate continuing in Italy, with highs and lows, since the mid-1970s. His own approach is clearly very much influenced by the methodologies of cultural history; he looks for emotions, sentiments, practices and experiences in order to form a picture of how Italians lived under the regime. He approves of the history that finds these. There is much to commend this approach, and I would certainly not argue against its value – cultural studies do, indeed, have a great deal to offer. But the methodology of cultural studies is not, and cannot be, the only approach, nor its absence the only criterion for criticism.
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Gordon, Robert S. C. "Pasolini contro Calvino: culture, the canon and the millennium." Modern Italy 3, no. 01 (May 1998): 87–99. http://dx.doi.org/10.1080/13532949808454793.
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Summary This article offers an account of a recent debate in the cultural pages of the Italian press on a polemical work of literary criticism entitled Pasolini contro Calvino, in which the two authors are shown to represent emblematically different attitudes towards literature, cultural institutions and the culture industry in post-war Italy. The debate surrounding this claim is examined in substance, but also as an illustration of the workings of culture in 1990s Italy.
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Thind, Rajiv. "For the common weal." Cahiers Élisabéthains: A Journal of English Renaissance Studies 97, no. 1 (August 3, 2018): 69–83. http://dx.doi.org/10.1177/0184767818788086.
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While much of recent Hamlet criticism is heavily invested in foregrounding Catholic-nostalgic aspects in the play, I argue that the purgatorial Ghost can also be read as a caricature. Comedic and parodic depictions of Roman Catholic doctrine and beliefs were fairly common in the popular writings of Shakespeare’s age. I situate Shakespeare’s Hamlet within contemporary Protestant culture and its literary aesthetics as well as populist appeal. Finally, I read Hamlet’s mocking of the Ghost at the end of Scene 1.5 along with a popular pamphlet, Tarltons Newes out of Purgatorie (1590). Both, I argue, caricature Purgatory to induce community reinforcing Protestant laughter.
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Quick, Laura. "Dream Accounts in the Hebrew Bible and Ancient Jewish Literature." Currents in Biblical Research 17, no. 1 (October 2018): 8–32. http://dx.doi.org/10.1177/1476993x17743116.
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The study of dreams and their interpretation in the literary remains from antiquity have become increasingly popular access points to the phenomenological study of religious experience in the ancient world, as well as of the literary forms in which this experience was couched. This article considers the phenomenon of dreaming in the Hebrew Bible and ancient Jewish literature. I consider treatments of these dream accounts, noting the development in the methodological means by which this material has been approached, moving from source criticism, to tradition history, and finally to form-critical methods. Ultimately, I will argue that form criticism in particular enables scholars to discern shifts and developments across diachronic perspectives. Study of dream accounts is thus illuminating not only for the understanding of dream phenomena, but also for the development of apocalyptic and the method and means of early Jewish biblical interpretation.
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Warneke, Sara. "Educational Travelers: Popular Imagery and Public Criticism in Early Modern England." Journal of Popular Culture 28, no. 3 (December 1994): 71–94. http://dx.doi.org/10.1111/j.0022-3840.1994.2803_71.x.
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Chiesa, Paolo. "La Filologia mediolatina: una disciplina di frontiera." AION (filol.) Annali dell’Università degli Studi di Napoli “L’Orientale” 42, no. 1 (October 14, 2020): 109–27. http://dx.doi.org/10.1163/17246172-40010033.
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Abstract This article sketches a short history of Latin literature of the Middle Ages (as academic discipline) in Italy; defines its possible boundaries and relationships with other disciplines; lists the peculiarities of textual criticism when applied in the specific field of Latin medieval texts; highlights the methodological contribution brought by the scholars of this discipline, in order to build a ‘global philology’.
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Michalski, Robert. "Towards a Popular Culture: Andrew Lang's Anthropological and Literary Criticism." Journal of American Culture 18, no. 3 (September 1995): 13–17. http://dx.doi.org/10.1111/j.1542-734x.1995.00013.x.
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Rössel, Raphael. "Das Lesen der Schundkämpfer." Internationales Archiv für Sozialgeschichte der deutschen Literatur 44, no. 1 (June 4, 2019): 39–65. http://dx.doi.org/10.1515/iasl-2019-0003.
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Abstract In contrast to former research, this paper argues that moral crusaders strategically focused on the plot level of (historical) popular literature. This article asserts that text and reception need to be combined when analysing moral panicking about textual popular culture. This approach is presented by contextualising the public denigration of two distinct narrative elements of the imported dime novel series Nick Carter in Imperial Germany, namely its urban setting and its hands-on detective hero, with changes in the perception of city life and in criminological epistemology. Departing from this example, this contribution reflects on the general benefits of such an approach for reception-oriented criticism.
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Gross, Michael B. "Catholicism, Popular Culture, and the Arts in Germany, 1880-1933. By Margaret Steig Dalton. Notre Dame: University of Notre Dame Press. 2005. Pp. xii+378. $35.00. ISBN 0-268-02567-3." Central European History 39, no. 2 (May 19, 2006): 314–16. http://dx.doi.org/10.1017/s0008938906260126.
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The growth of research on religious topics from different conceptual perspectives in the past several years represents what one scholar has now called the “religious turn” in modern German historical study. With Catholicism, Popular Culture, and the Arts in Germany, Margaret Steig Dalton has made another important contribution to this historiography with a study of Catholic cultural criticism from the Wilhelmine period through the Weimar Republic. Her focus is on what she calls the “Catholic cultural movement,” and by cultural movement she means production in the arts broadly understood from literature to film and radio.
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Ryan, J. E. "Orestes Brownson in Young America: Popular Books and the Fate of Catholic Criticism." American Literary History 15, no. 3 (September 1, 2003): 443–70. http://dx.doi.org/10.1093/alh/ajg034.
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Cavallo, Sandra. "Early Vernacular Medical Advice Books and Their Popular Appeal in Early Modern Italy." Nuncius 36, no. 2 (June 23, 2021): 264–303. http://dx.doi.org/10.1163/18253911-03602003.
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Abstract The essay considers the explosion of medical advice publications in the vernacular thatcharacterises the first two centuries of printing, and in particular their chronology and the different textual genres that made up this literature in early modern Italy. It shows that, in spite of the almost exclusive focus on recipe books in recent scholarship, the composition of this literature was much more varied and regimens of health, food regimens, books about the medicinal properties of naturalia, and compendia of medical information of various kinds (diagnostic, preventative and therapeutic) matched and sometimes exceeded the fortune of recipe books. It then goes on to ask what made some vernacular medical advice books particularly appealing to a wide non-professional and non-Latinate audience,while apparently similar publications attracted little interest. To this end it pays unprecedented attention to the full range of elements that determined the appeal of a book: its physical and typographical features, its contents and implicit functions, its author, patron, publisher and geographical reach.
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Wandel, Agnieszka. "Książka popularnonaukowa dla dzieci i młodzieży w oczach krytyków — rekonesans badawczy." Roczniki Biblioteczne 60 (June 8, 2017): 247–69. http://dx.doi.org/10.19195/0080-3626.60.11.
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POPULAR SCIENCE BOOK FOR CHILDREN AND YOUNG ADULTS IN THE EYES OF CRITICS — A RESEARCH RECONNAISSANCEThe aim of the article is to determine the position of popular science books for children and young people in Polish literary criticism and book studies, and to specify the terminology used by scholars. Opinions about such books have been formulated by theorists and practitioners of children’s books since the 19th century, with the criteria of their assessment changing in accordance with the current literary fashions and trends in pedagogy. Critics’ interest in such works was strong until the end of the 19th century, when books for children were expected mainly to serve utilitarian purposes. The phenomenon intensified especially in the era of positivism; among the most enthusiastic advocates of popular science books were Adolf Dygasiński and the co-editor of Bluszcz Maria Ilnicka. The stature of popular science books is also evidenced by the fact that their titles often appeared in recommended bibliographies at the time. A later change in the perception of the tasks of literature for the youngest readers diminished the critics’ interest in such works. In addition, there was a growing rift between literary criticism and pedagogical-library criticism. In communist Poland the perception of popular science books was also affected by the promotion of works not suited to the expectations and needs of the readers. Today, the stature of popular science books rises with their market success and innovative projects in the area. That is why there are numerous reviews of such works in professional journals Guliwer, Nowe Książki, Świat Książki Dziecięcej etc. and websites Mądre książki, 10 książek: na start do nauki etc. as well as studies devoted to the history and evolution in the content and editorial form of such publications, and their usefulness in the teaching and self-education of young readers.
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Mendelman, Lisa. "Who Are We? Feminist Ambivalence in Contemporary Literary Criticism." American Literary History 32, no. 1 (December 4, 2019): 190–200. http://dx.doi.org/10.1093/alh/ajz051.
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Abstract Feminism exists in a perpetual identity crisis—with a vexed past, an unstable present, and an uncertain future. A scholar interested in this charged identity must manage such existential conditions in order to enable their transformative ambitions. Historicizing Post-Discourses (2017), Bodies of Information (2019), and Selling Women’s History (2017) take up this cognitive and corporeal challenge and largely meet it. In these three books, feminism’s endemic ambivalence becomes a resource for literary and cultural criticism. Focused on popular, digital, and material cultures in the twentieth- and twenty-first-century US, these volumes dramatize the merits and drawbacks of irresolution and resist a definitive conclusion about what feminism, both past and present, necessarily means for contemporary scholarship. Instead, we get alternative archives and, hopefully, better practices. Analyzing mass media, data visualizations, and consumer products, these studies engage new materials to flesh out the gendered, racialized human body at their common center. They rethink feminist historiography and demonstrate the myriad ways in which the sense of an ending continually renews and unsettles feminism’s search for a useable past. These works aim to create strategic alliances: they drive at embodied, material concerns, foreground questions of pedagogy and other modes of public interchange, and embrace a style of advocacy that rejects such extreme position-taking and instead embraces ambivalence.
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Hampton, Timothy. "Records of a Confident Man." American Literary History 34, no. 4 (November 18, 2022): 1503–12. http://dx.doi.org/10.1093/alh/ajac153.
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Abstract Bob Dylan’s prodigious creativity and transformation of popular song into literature raise new problems for writing about art. Neither traditional “poetry” criticism (which ignores sound and musical structure) nor traditional musicology (often indifferent to literary history) is adequate to the challenges posed by his work. Critics struggle to find a point of view from which to engage Dylan’s achievement. Through a critical account of four recent books, this essay points up both the limits and the resources of different approaches to this most mercurial of artists.
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Gilman, Todd S. "Augustan Criticism and Changing Conceptions of English Opera." Theatre Survey 36, no. 2 (November 1995): 1–35. http://dx.doi.org/10.1017/s0040557400001186.
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The love-hate nature of the relations between England and Italy in the seventeenth and eighteenth centuries is well known. Ever since Henry VIII broke with Rome after Pope Clement VII refused to allow his divorce, things Italian were a popular object of satire and general disdain. An ever-increasing British nationalism founded on political, religious, and aesthetic principles during the seventeenth century fanned the flames of anti-Italian sentiment. This nationalism, newly consolidated in the seventeenth century by the ambitions of the Stuart monarchs to destroy Parliament, was intimately connected with English Protestantism. As Samuel Kliger has argued, the triumph of the Goths—Protestant Englishmen's Germanic ancestors—over Roman tyranny in antiquity became for seventeenth-century England a symbol of democratic success. Moreover, observes Kliger, an influential theory rooted in the Reformation, the “translatio imperii ad Teutonicos,” emphasized traditional German racial qualities—youth, vigor, manliness, and moral purity—over those of Latin culture—torpor, decadence, effeminacy, and immorality—and contributed to the modern constitution of the supreme role of the Goths in history. The German translatio implied an analogy between the conquest of the Roman Empire by the Goths (under Charlemagne) and the rallying of the humanist-reformers of northern Europe (e.g., Luther) for religious freedom, understood as liberation from Roman priestcraft; that is, “the translatio crystallized the idea that humanity was twice ransomed from Roman tyranny and depravity—in antiquity by the Goths, in modern times by their descendants, the German reformers…the epithet ‘Gothic’ became not only a polar term in political discussion, a trope for the ‘free,’ but also in religious discussion a trope for all those spiritual, moral, and cultural values contained for the eighteenth century in the single word ‘enlightenment.’”
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Smith, Douglas. "Porosity and the Transnational: Travelling Theory between Naples and Frankfurt (Walter Benjamin, Asja Lacis and Ernst Bloch)." Forum for Modern Language Studies 57, no. 2 (April 1, 2021): 240–59. http://dx.doi.org/10.1093/fmls/cqab001.
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Abstract Since its foregrounding in Walter Benjamin and Asja Lacis’s essay on Naples in 1925, the concept of porosity has become a topos in discussions of that city, of Italy and of urban planning in general, to the point of receiving criticism in some quarters for its imprecision and over-use. The aim of this article is to explore the background to the term and its possible relevance to more recent transnational models of culture. This involves tracing the emergence of porosity in the work of Germanophone intellectuals travelling in Italy in the 1920s and its relation to the paradigm of travelling theory developed by Edward Said, itself one of the precursors of current models of transnationalism. Ultimately, the history of porosity reveals weaknesses and strengths that anticipate some of the problems and opportunities encountered by present attempts to understand cultural identity and interaction in transnational terms.
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de Groot, Renee. "What If the Pen Was Mightier Than the Sword? Civil War Alternate History as Social Criticism." aspeers: emerging voices in american studies 10 (2017): 55–75. http://dx.doi.org/10.54465/aspeers.10-06.
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Alternate histories about the American Civil War seem ideally set up to explore the possibilities and tensions of social criticism through art and literature. Counterfactual stories about the war easily invoke contemporary issues of inequality and exploitation, and they are part of a genre—alternate history—that has traditionally lent itself to social commentary. Yet while scholarship on alternate history has captured the presentist orientation of many alternate histories in the fantasy-nightmare dichotomy, these categories appear reductive as a reflection of the layered and intriguing forms social criticism takes in Civil War alternate history. This article examines two examples of this genre that position themselves as political statements. Frank Purdy Williams’s largely forgotten novel Hallie Marshall: A True Daughter of the South (1900) subverts major literary traditions of its time to mount a counterintuitive critique of capitalist exploitation. Kevin Willmott’s mockumentary C.S.A.: The Confederate States of America (2004) is both a scathing critique of American racism and a multilayered satire on the distortion of history in popular culture. Both works use the conventions of alternate history as conduits for critique and provocation, which makes the revelation of their ideological investments ingenious but perhaps dangerously circuitous.
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Костригин, А. А. "HISTORICAL-PSYCHOLOGICAL IDEAS OF A.P. NECHAEV. PART 1: HISTORY OF LITERATURE, LITERARY CRITICISM, HISTORICAL PSYCHOLOGY." Институт психологии Российской академии наук. Социальная и экономическая психология, no. 1(21) (April 12, 2021): 252–70. http://dx.doi.org/10.38098/ipran.sep.2021.21.1.010.
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Статья посвящена Александру Петровичу Нечаеву (1870-1948), выдающемуся отечественному психологу и педагогу первой половины XX в. В данной работе А.П. Нечаев показан как историк психологии. Рассматриваются историко-психологические работы и взгляды ученого по трем направлениям: анализ историко-литературных работ, в которых освещаются идеи, связанные с исторической психологией; анализ работ, освещавших состояние психологии на рубеже XIX-XX вв. и об отдельных персоналиях современной Нечаеву психологии; анализ специальных историко-психологических и историко-философских работ. В первой части представляются историко-литературные и литературно-критические работы: «Об отношении Крылова к науке» (1895) и «Поэзия А.Н. Майкова. Критический очерк» (1898). Отечественный психолог анализирует взгляды И.А. Крылова на ученых и научную деятельность, выраженных в художественных метафорах и отражавших общественные и народные представления о науке. Рассматривая творчество Майкова, Нечаев показывает, что поэзия может выполнять психологические задачи: с одной стороны, она влияет на эмоциональное состояние читателя и на развитие его личности, с другой - выражает внутренние особенности самого поэта, и необходима ему для удовлетворения собственных потребностей и стремлений. Несмотря на то, что напрямую эти работы не касаются проблематики истории психологии, они показывают интерес Нечаева к историко-научным исследованиям, а также могут быть отнесены к области исторической психологии, поскольку в них представлено изучение образов ученого и поэта и их психологические качества, характерные для XIX в., через художественное творчество и литературу. The article is dedicated to Aleksander Petrovich Nechaev (1870-1948), an outstanding Russian psychologist and teacher of the first half of the 20th century. In this work, Nechaev is presented as a historian of psychology. The historical-psychological views and works of the scientist in three directions are considered: analysis of historical and literary works in which ideas related to historical psychology are presented; analysis of works covering the state of psychology at the turn of the 19th-20th centuries and dedicated to Nechaev’s contemporaries in psychology; analysis of special historical-psychological and historical-philosophical works. The first part presents the historical-literary and literary-critical works of Nechaev: «On Krylov's attitude to science» (1895) and «Poetry of A.N. Maikov. A critical sketch» (1898). The Russian psychologist analyzes the views of I.A. Krylov on scientists and scientific activities, expressed in artistic metaphors and reflecting public and popular ideas about science. Considering the work of Maikov, Nechaev shows that poetry can perform psychological tasks: on the one hand, it affects the emotional state of the reader and the development of his personality, on the other hand, it expresses the inner characteristics of the poet himself, poetry is necessary for him to satisfy his own needs and intentions. Even though these works do not directly relate to the problems of history of psychology, they show the interest of Nechaev to historical-scientific research, and can also be attributed to the field of historical psychology: through artistic creativity and literature, the author studies the images of a scientist and a poet and their psychological traits specific to the 19th century.
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Sriastuti, Anna, Ida Rochani Adi, and Muh Arif Rokhman. "CAPITALISM AND SOCIALISM AS IDEOLOGICAL CONSTRUCTIONS IN AMERICAN DYSTOPIAN NOVELS." Rubikon : Journal of Transnational American Studies 8, no. 2 (September 30, 2021): 91. http://dx.doi.org/10.22146/rubikon.v8i2.69733.
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Literature reflects the history of people's lives, which includes lifestyle, culture, language, desires, and important events in people's lives. Dystopia novels cannot be separated from discussions about authoritarian government, restraints on people's freedom, criticism of the development of technology and information, exploitation and the class system, and the arbitrariness of the rulers. Despite telling a bad world, Dystopian novels proved popular in America, a country that promised freedom, equality, and freedom to its citizens. The possibility of different realities captured by American popular novelists who differ from their imaginations gave birth to dystopian novels that are popular in American society. Thus, this study is important to analyse Capitalism and Socialism as ideological constructions in American dystopian novels through Fahrenheit 451, The Handmaid’s Tale, Uglies, and The Hunger Games. This research will formulate an understanding of whether or not American dystopian novels confirm or negate the ideology of Capitalism and the ideology of Socialism.
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LeMenager, Stephanie. "Occupy Climate: Social Movement-Building in Literature, Politics, and the Arts." American Literary History 31, no. 1 (December 10, 2018): 96–103. http://dx.doi.org/10.1093/alh/ajy043.
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Abstract New books by Shelley Streeby, Robert Marzec, and Ashley Dawson point the way toward a cultural criticism for the climate change era. In its own way, each seeks to change the methods of literary and cultural studies, to change the form of the academic monograph, and to encourage a just transition from the radically unequal and ecologically injured world of the now. All three can be seen as contributing to the social and academic movement known as Environmental Justice or Critical Environmental Justice. All three evoke, to some extent, earlier, experimental scholarly works influenced by or generative for the Occupy movement, writings by theorists and practitioners of tactical media like McKenzie Wark and Ricardo Dominguez, and such popular radical thinkers as Mike Davis, Rebecca Solnit, Naomi Klein, and Winona LaDuke. Finally, all three books emerge, somewhat unexpectedly, from literature departments, raising the question of what we mean by literary and cultural studies at this moment in the eclipse of humanism by planetary geology and posthumanist philosophical thought.
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Giladi, Elad. "From Nasser to al-Sīsī." Oriente Moderno 101, no. 1 (October 6, 2021): 94–114. http://dx.doi.org/10.1163/22138617-12340256.
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Abstract After the events of June 30 and July 3, 2013, that brought the Muslim Brotherhood rule to an end, Egyptian President ʿAbd al-Fattāḥ al-Sīsī has been carried aloft on waves of adulation of most of the Egyptian people. This phenomenon was reflected in popular expressions and in the Egyptian media, and any criticism of it was minimal. Interestingly, it was the portrayal of al-Sīsī in a children’s magazine, Samīr (February 1, 2014), that generated vocal public debate on issues of the exposure of children to political content and their indoctrination. This article examines why this case provoked such harsh criticism even though political content and indoctrination in children’s magazines are not a new phenomenon in Egypt but rather a continuation of past traditions, and discusses what insights can be gleaned from the affair with regard to Egyptian society today.
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Romanenko, Ksenia. "The Transformation of the Canon, the Struggle With the Canon, the Re-creation of the Canon as the Basis of Fanfiction Culture." Philosophy. Journal of the Higher School of Economics VI, no. 2 (March 31, 2022): 168–88. http://dx.doi.org/10.17323/2587-8719-2022-2-168-188.
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To understand the transformation of canons and the struggle with them, we may productively explore fanfiction, a particular reader's, viewer's, and author's practice, within non-professional and non-commercial texts based on the plots and heroes of other people's works. Fanfiction is a paradoxical phenomenon: it is wholly based on a specific canon — collectively selected film and literary texts, moves by worship, emotional attachment, and attention, while initially working as a criticism of the canons and changing the canons. Canon is not only a research concept but also an intra-cultural designation of the original work as the basis of a fan text. Fans also create their canon — “fanon”, a set of characteristic plot solutions and ways to change characters established in fanfiction. The article examines the intersections of the cultural canon of high and popular culture, the national literary canon, and the canon and the fanon in the understanding of fans with different types of attitudes to the canons — disintegration, transformation, struggle, re-creation. The argument is based on a critical analysis of the research literature with a focus on metaphors that help authors describe the relationship of fiction writers with the canons and on the experience of empirical research about fanfiction devoted to samples of popular culture (“Harry Potter” franchise, “Doctor Who” series, “Sherlock” series, and others), fanfiction and sequels to novels by Jane Austen, the British writer of the 19th century, and fanfiction devoted to Russian classical literature.
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Rodinova, Nataliya. "BORIS GRINCHENKO'S ENLIGHTENMENT ACTIVITY." Educational Discourse: collection of scientific papers, no. 9(11-12) (December 27, 2018): 79–90. http://dx.doi.org/10.33930/ed.2018.5007.9(11-12)-7.
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B. Grinchenko, as a good expert in Ukrainian history, defended the right of Ukraine and its people to their own lives, the right to receive education and read books in their native language. His scientific interests included such humanitarian disciplines as: pedagogy, linguistics, journalism, ethnography, history, literary criticism, bibliography, museology. If you compile a list of figures of history and culture, whose lives and activities he investigated, to whom he devoted an article, review or obituary, then a galaxy of advanced people of that time will appear. In scientific and publicistic studies B. Grinchenko primarily concerned the issues of oral folk art, as well as pedagogy, literature, history, social and political life. It was noted that the cheap book's publication of popular science, folklore, biographical, applied and entertainment content, embodied the idea of B. Grinchenko for the creation of the Ukrainian library, the introduction of readers to the Ukrainian book and the development of their education.
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Hao, Jin. "The Myth of Shangri-La and Its Counter-discourses: (Anti-)Utopian Representations of China’s Southwest Frontier in the Twenty-First Century." Modern Chinese Literature and Culture 34, no. 1 (June 2022): 202–37. http://dx.doi.org/10.3366/mclc.2022.0009.
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In the early twenty-first century, the southwest frontier, especially the Sino-Tibetan borderlands, has been imagined as a particular utopian space, or “Shangri-La,” in China’s popular culture, but there are also literary works and films that debunk this conception. This paper is a study of these different discourses. I argue that the utopian and anti-utopian representations of China’s Southwest in these works are socially and intellectually significant. The myth of Shangri-La promises a fantasized utopian solution to social problems and a miraculous cure for personal afflictions. In contrast, Ge Fei’s End of Spring in Jiangnan ( Chun jin Jiangnan, 2011) and Ning Ken’s Sky·Tibet ( Tian·Zang, 2010) debunk the myth of Shangri-La as a utopian solution and cure. In this way, these two novels retain their critical stance toward China’s history and reality. Meanwhile, some anti-Shangri-La works can be more ambivalent: Zhu Wen’s South of the Clouds ( Yun de nanfang, 2004) and Han Han’s The Continent ( Houhui wuqi, 2014) appear to challenge the utopian construction to form their social criticism in the beginning, only to compromise this criticism in the end as they affirm the existence of utopia either in the rural Southwest or in urban China. All these utopian and anti-utopian elements make the southwest frontier a site of contestation and contradiction.
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Bassi, Shaul, and Igiaba Scego. "Othello and the Ambivalences of Italian Blackface." Multicultural Shakespeare: Translation, Appropriation and Performance 22, no. 37 (December 30, 2020): 67–85. http://dx.doi.org/10.18778/2083-8530.22.05.
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Blackface is a cultural practice that appears ubiquitously in Italian history cutting across the political spectrum; it also lends itself to suprising anti-racist actions. This essay examines the use of blackface from the nineteenth to the twenty-first century by looking at its appearance in popular culture and, contextually and dialectically, at its adoption in selected performances of Othello, a play that holds special meaning in Italy because of its famous operatic adaptations. Africa and blackness were often represented in Italian visual arts in the early modern period, but the early colonial ventures of the new independent Italy create a new exotic imaginary that is particularly manifest in popular culture. Othello is influenced by new African discourses but it allso exists in a parallel dimension that somehow resists facile political interpretations. The colonial ventures of post-unification and Fascist Italy do not reverberate in any predictable manner in the growing popularity of the play. After World War II new forms of exoticism emerge that will be subverted only by a new postcolonial scenario that also coincides with a re-emergence of racism. Against the respective historical backdrops, we examine the idiosyncratic versions of blackface by Tommaso Salvini, Pietro Sharoff, Pier Paolo Pasolini, Carmelo Bene, and Elio De Capitani to suggest continuities and discontinuities in Italian interpretations of Othello.
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Berkowitz, Beth. "Reclaiming Halakhah: On the Recent Works of Aharon Shemesh." AJS Review 35, no. 1 (April 2011): 125–35. http://dx.doi.org/10.1017/s0364009411000080.
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Bialik may have protested in “halakhah and aggadah” that aggadah had become too dominant in his day, but for countless generations it was halakhah that possessed greater gravitas, thanks to the geonim and their successors. Bialik was onto something, however, since even he succumbed to the power of aggadah—his most popular work was Sefer Ha-Aggadah. In the contemporary academy, aggadah continues to flourish. The encounter between midrash and literary theory in the 1980s, and between talmudic aggadah and stam-oriented source criticism in the 1990s and today, have firmly secured aggadah's territory on the academic map. Some aggadot have been scrutinized by so many scholarly eyes—the oven of Akhnai, the heresy of Elisha ben Abuya, the partnership of Rabbi Yoḥanan and Resh Lakish—that they seem to constitute a new Jewish core curriculum.
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Meserve, Margaret. "News from Negroponte: Politics, Popular Opinion, and Information Exchange in the First Decade of the Italian Press?*." Renaissance Quarterly 59, no. 2 (2006): 440–80. http://dx.doi.org/10.1353/ren.2008.0312.
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The fall of Negroponte to the Turks in 1470 was one of the first events in European history to be recorded in print. This article examines a little-known cluster of more than a dozen texts published in the months after the colony’s fall by some of the earliest printers to work in Italy. These editions did not “break” the news to the Italian public but rather offered analysis and commentary to an already well-informed readership. Some catered to contemporary demands for vernacular political poetry, while others now reveal the extent to which Italian humanists attached themselves to the printing industry in its earliest years, often with ambiguous results”
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Adams, Laura L. "Globalization, Universalism, and Cultural Form." Comparative Studies in Society and History 50, no. 3 (June 25, 2008): 614–40. http://dx.doi.org/10.1017/s0010417508000273.
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When we think of the globalization of culture, we tend to think of the consumption of cultural goods produced in the West and the effects of these goods on the values and practices of non-Western consumers. The literature on the globalization of culture also tends to focus on how Western markets for non-Western cultural goods affect patterns of cultural production in the non-Western world.1Naturally, this focus on markets tends to draw our theoretical interest toward questions of capitalism. However, when we look at societies without a history of capitalism, new questions come to light. That men wear Western-style suits in both Uzbekistan and Italy, that orchestras use polyphony in both Kazakhstan and Austria, and thatKing Learis popular in both Turkmenistan and England cannot be explained by the dynamics of capitalism.
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Miranda, José Américo. "Joaquim Norberto de Souza Silva: palestra brasileira." Aletria: Revista de Estudos de Literatura 13, no. 1 (June 30, 2005): 33–58. http://dx.doi.org/10.17851/2317-2096.13.1.33-58.
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Resumo: O texto aqui apresentado, preparado para publicação por José Américo Miranda, é obra de um dos mais operosos literatos do Romantismo brasileiro: Joaquim Norberto de Sousa Silva. Mais conhecido por sua crítica literária e sua contribuição à história da literatura brasileira, assim como por seus estudos biográficos e pelas edições que preparou dos poetas árcades e românticos brasileiros, Joaquim Norberto foi também historiador, poeta e teatrólogo. Nesta “Palestra Brasileira”, que publicou nas páginas da Revista Popular, no primeiro semestre de 1862, sob o pseudônimo de Fluviano, o autor combina sua vocação poética com a de historiador, num texto em que dados coletados em pesquisas de natureza histórica aparecem humoristicamente emoldurados por uma narrativa de cunho ficcional.Palavras-chave: Literatura Brasileira; História do Brasil; Romantismo.Abstract: The present text, prepared for publication by José Américo Miranda, was written by Joaquim Norberto de Sousa Silva, one of the most laborious men of letters during the Brazilian Romantic period. Better known for his literary criticism and his contribution to the history of Brazilian Literature, as well as for his biographical studies and for his editions of works by Brazilian Arcadians and Romantic writers, Sousa Silva was also an historian, poet, and dramatist. His “Palestra Brasileira” [Brazilian Lecture], published under the pseudonym Fluviano in Revista Popular during the first half of 1962, is a piece in which he joins his poetic aptitude and his endowment as an historian and in which the data gathered through historical research are lightheartedly framed by a fictional narrative.Keywords: Brazilian Literature; Brazilian History; Romanticism.
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Togola, Adama. "Du polar d’Afrique francophone et des stratégies pour contourner la marge instituée." International Journal of Francophone Studies 24, no. 3 (December 1, 2021): 207–19. http://dx.doi.org/10.1386/ijfs_00038_1.
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This study attempts to reassess the critical discourse on the Francophone African detective fiction in order to show how the dynamics of genres and discourse in the crime novel participates in a reflection on writing and the boundaries between so-called popular literature and the so-called ‘literate’. It is about analysing the workaround strategies implemented by writers to lift the crime novel from the sidelines in which it has long been placed. Born in the nineteenth century with modernity, the African detective fiction is today one of the axes of development of African literature. It competes, by its dynamism and its originality, with the canonical novel. The resumption of thematic recurrences (immigration, social and political criticism) shows that it contributes to a broad representation of social semiosis. It now claims a discursive space of which the dominant field is obliged to recognize the relevance.
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Montoya, Pablo. "Tomás Carrasquilla y los críticos colombianos del siglo XX." Estudios de Literatura Colombiana, no. 23 (August 16, 2013): 111–24. http://dx.doi.org/10.17533/udea.elc.16263.
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Resumen: El artículo hace un recorrido por las maneras en que los críticos colombianos más representativos del siglo XX han interpretado la obra de Carrasquilla. El cotejo de las diferentes lecturas permite, a su vez, aproximarse a los núcleos temáticos más polémicos que ha suscitado Carrasquilla a lo largo del tiempo en el seno de la crítica literaria nacional. Desde el asunto del lenguaje, pasando por la parodia y el humor, hasta las cuestiones del regionalismo y el cosmopolitismo son tratadas en este artículo. Se sopesan desde la actualidad las visiones que sobre Carrasquilla hicieron Baldomero Sanín Cano, Rafael Maya, Hernando Téllez, Rafael Gutiérrez Girardot y Rafael Humerto Moreno Durán, entre otro. Este itinerario culmina con una lectura de las posiciones que la Revista Mito y los nadaístas asumieron frente a la obra del escritor antioqueño. Descriptores: Crítica literaria colombiana del siglo XX; Regionalismo; Realismo; Lenguaje popular; Humor y parodia: Revista Mito; Dadaísmo; Valoraciones sobre la obra de Carrasquilla. Abstract: This is a survey on the ways 20th century Colombian literary critics have interpreted Tomás Carrasquilla's literary production. The confrontation of the different readings allows to approach the more polemical issues provoked by the author in the core of national literary criticism, such as: language, parody and humor, regionalism and cosmopolitanism. The points of view of Baldomero Sanín Cano, Rafael Maya, Hernando Téllez, Rafael Gutiérrez Girardot and Rafael Humerto Moreno Durán are weighed here from a contemporary perspective. This itinerary closes with a reading of the positions assumed about Carrasquilla's work by the editors of the journal Mito and the Nadaistas. Key Words: Colombian literary criticism; Regionalism; Realism; Popular language; Humor and parody; Mito journal; Nadaism.
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GRAY, RICHARD. "Writing American Literary History Sacvan Bercovitch (ed.), The Cambridge History of American Literature (Cambridge: Cambridge University Press, 1994–2005, £495.00). Volume One: 1590–1820 (1994, £70.00). Pp. xiii+829. ISBN 0 521 30105 [squf ]. Volume Two: Prose Writing, 1820–1865 (1995, £75.00). Pp. xviii+887. ISBN 0 521 30106 8. Volume Three: Prose Writing, 1860–1920 (2005, £80.00). Pp. xi+813. ISBN 0 521 30107 6. Volume Four: Nineteenth-Century Poetry, 1800–1910 (2004, £75.00). Pp. x+562. ISBN 0 521 30108 4. Volume Five: Poetry and Criticism, 1900–1950 (2003, £75.00). Pp. xi+624. ISBN 0 521 30109 2. Volume Six: Prose Writing, 1910–1950 (2002, £70.00). Pp. xx+620. ISBN 0 521 49731 0. Volume Seven: Prose Writing, 1940–1990 (1999, £75.00). Pp. xxiii+795. ISBN 0 521 49732 9. Volume Eight: Poetry and Criticism, 1940–1995 (1996, £75.00). Pp. viii+545. ISBN 0 521 49733 7." Journal of American Studies 40, no. 2 (July 27, 2006): 399–411. http://dx.doi.org/10.1017/s0021875806001447.
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Each generation needs to rewrite literary history. And it may be that this generation needs to do it more than most, if only because the proliferation of schools and theories has turned what was once common critical ground into a battlefield. American books, among others, have become a site of struggle, and American writers have been among those caught in the criss-crossing searchlights of ethnic and gender studies, interdisciplinary investigations and studies of popular culture, language and communication. Just how far things have gone can be measured by the fact that every term in the phrase “history of American literature,” is now open to debate. The textuality of history and the historicity of the text have become the most contentious issues in contemporary criticism, while the question of nationhood, in particular, is under scrutiny. In a famous phrase, Walt Whitman described his work as a language experiment, an attempt to summon a nation into being through words. The slippery, plural nature of American identity and the bewildering contingencies of American history that drove Whitman to say this feed into the more challenging of the recent accounts of American writing.
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Goethals, Jessica. "The Patronage Politics of Equestrian Ballet: Allegory, Allusion, and Satire in the Courts of Seventeenth-Century Italy and France." Renaissance Quarterly 70, no. 4 (2017): 1397–448. http://dx.doi.org/10.1086/695350.
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AbstractEquestrian ballet was a spectacular genre of musical theater popular in the Baroque court. A phenomenon with military roots, the ballet communicated both the might and grace of its organizers, who often played starring roles. This essay explores the ballet’s centrality by tracing the itinerant opera singer and writer Margherita Costa’s use of the genre as a means of securing elite patronage: from an elegant manuscript libretto presented to Grand Duke Ferdinando II de’ Medici and later revised in print for Cardinal Jules Mazarin in Paris, to occasional poetry written for the Barberini in Rome, and even burlesque caricatures.
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Moore, Kathryn Blair. "The Disappearance of an Author and the Emergence of a Genre: Niccolò da Poggibonsi and Pilgrimage Guidebooks between Manuscript and Print*." Renaissance Quarterly 66, no. 2 (2013): 357–411. http://dx.doi.org/10.1086/671582.
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While the anonymous Viaggio da Venetia al Sancto Sepolchro et al Monte Sinai, first published in Venice in 1518, was the most popular Holy Land guidebook in Renaissance Italy, the historical origins of the book have never been fully understood. From four illustrated versions of an earlier manuscript guide, the Libro d’Oltramare (1346–50), one can hypothesize about both the text and its author. The ultimate prototype for the Viaggio da Venetia was very likely one or more of these illustrated manuscripts, and the original author of both the text and illustrations was the Franciscan pilgrim Niccolò da Poggibonsi. Despite the eventual erosion of his name from the printed versions of the guidebook, the assertiveness and originality of the author parallels the production of other vernacular literature in mid-fourteenth-century Italy. Unlike Latin guidebooks of previous centuries, the intent to include illustrations that re-create the pilgrimage experience and the unprecedented descriptiveness of the prose together suggest that the book can be considered the foundational text for the genre of the illustrated pilgrimage guidebook.
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Wanzo, Rebecca. "The Unspeakable Speculative, Spoken." American Literary History 31, no. 3 (2019): 564–74. http://dx.doi.org/10.1093/alh/ajz028.
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Abstract Exploring various absences—what is or should not be represented in addition to the unspeakable in terms of racial representations—is the through line of three recent books about race and speculative fictions. Mark C. Jerng’s Racial Worldmaking: The Power of Popular Fiction (2018) argues racial worldmaking has been at the center of speculative fictions in the US. In Posthuman Blackness and the Black Female Imagination (2017), Kristen Lillvis takes one of the primary thematic concerns of black speculative fictions—the posthuman—and rereads some of the most canonical works in the black feminist literary canon through that lens. Lillvis addresses a traditional problem in the turn to discussions of the posthuman and nonhuman, namely, what does it mean to rethink black people’s humanity when they have traditionally been categorized as nonhuman? Sami Schalk’s Bodyminds Reimagined: (Dis)ability, Race, and Gender in Black Women’s Speculative Fiction (2018) speaks to the absence of a framework of disability in African American literature and cultural criticism. In addressing absence—or, perhaps silence—Schalk offers the most paradigm-shifting challenge to what is speakable and unspeakable: the problem of linking blackness with disability and how to reframe our treatment of these categories.
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Torstendahl, R. "TELLING HISTORIES OR ACCOUNTING FOR ASPECTS OF THE PAST: A HISTORIOGRAPHICAL CHOICE IN A EUROPEAN HISTORICAL PERSPECTIVE." Uchenye Zapiski Kazanskogo Universiteta. Seriya Gumanitarnye Nauki 163, no. 3 (2021): 9–20. http://dx.doi.org/10.26907/2541-7738.2021.3.9-20.
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The article departs from the difference between two types of historical writings, one narrating stories about actors and the other trying to bring about evidence that justify claims to know certain things about specific aspects of the past. From the Iliad and the Odyssey, telling stories have been a common way of presenting past events. Inscriptions and annals, as well as graves and monuments, urged to present posterity with evidence for acts and occurrences. Storytelling was always more popular than searching for evidence. In the 19th century, historians began to systematise their doubts about the truth of many stories. This source criticism has been refuted by many “historical theorists” in the late 20th and the early 21st centuries with the argument that claims that it is impossible to bring truth about the past and that all history is to be regarded as a kind of literature with, at best, symbolic “truth”. I want to reject this standpoint as based only on an internal “theory of history”-discourse and ask for analyses of actual historical research, which claims to produce new historical knowledge.
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Reichardt, Dagmar. "PUT IT ON OR : USE IT AND ENJOY ! THE TRANSCULTURAL AND SYNERGIZING HISTORY OF ITALIAN FASHION AND INDUSTRIAL DESIGN." Culture Crossroads 19 (October 11, 2022): 285–97. http://dx.doi.org/10.55877/cc.vol19.36.
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Among the three international fashion hubs Paris, Milan, and New York that have dominated fashion production since the 20th century, Italian fashion stands out through its transcultural Italophony. Since the historic beginnings of the West, the development of fashion, taste and etiquette in modern Italy plays both culturally and historically a key role in European politics, economics, literature, fine arts, music and theatre. This applies also to Italian design, which is – like fashion – a powerful nonverbal language in cultural, aesthetical and economic terms, expressing a unique and life-affirming sociological habitus. This essay intends to pinpoint the outstanding impact of taste, fashion and design originating from Italy and perceivable all over the world on a transcultural and transdisciplinary level. Starting with antiquity and Renaissance, both disciplines enter a period of prosperity and success during the golden 1950s and 1960s, supported by the rise of Cinecittà, family business structures and crafts enterprises. In early postmodernity, a shift takes place from Alta Moda to Pronto Moda, from fashion as art to popular, serial industrial ready?to?wear, and a complex reciprocal synergetic effect builds up between the fashion and design brands. Both sectors are equal in terms of international influence and versatility, both are associated complementary to each other, and both disseminate a new standard of shapeliness, elegance and peachiness in the whole country as well as on a transnational scale.
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Zamorano Díaz, César. "Assessment of the Cultural Project during the Unidad Popular: La Quinta Rueda and Cuadernos de la Realidad Nacional." Kamchatka. Revista de análisis cultural., no. 17 (July 30, 2021): 69. http://dx.doi.org/10.7203/kam.17.17648.
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The Unidad Popular is a period where there was a deep reflection on culture and its interdependence with the political-social changes. After a first moment, during the period of the electoral campaign and a year after starting the implementation of a national project on the road to socialism, the discussions on the role of culture in this process intensified and whose resonances went through positive balances to strong criticism, especially the danger of recognizing culture only as a means of disseminating something that is done elsewhere, of an instrumentalization of its practices. This paper aims to analyze this discussion in two political-cultural journals that opened their pages to their understanding. In effect, both La quinta rueda and Cuadernos de la Realidad Nacional (also known as Cuadernos del CEREN) constitute critical frameworks from which we can better observe the diverse and heterogeneous discourses that not only manifest the heterogeneity of voices that circulated, but also the theoretical and reflexive intensity of this era.
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Fuehrer, Bernhard. "The Columbia History of Chinese Literature. Edited by Victor Mair. [New York: Columbia University Press, 2001. 1,342+xxiv pp. $75.00; £52.50. ISBN 0-231-10984-9.]." China Quarterly 178 (June 2004): 535–36. http://dx.doi.org/10.1017/s0305741004390296.
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Following his Columbia Anthology of Traditional Chinese Literature (1994) and the Shorter Columbia Anthology of Traditional Chinese Literature (2000), the Columbia History of Chinese Literature intends to complement these two widely used readers. Edited by Victor H. Mair, the 55 chapters of this single-volume history of Chinese literature are chronologically arranged with thematic chapters interspersed. Indeed, a closer look at the chapters reveals that the book at hand follows the traditional dictum of wen shi zhe bu fenjia, i.e. that literature, history and philosophy should not be separated but regarded as one field of studies. Hence the scope of this history goes far beyond the scope of what is traditionally subsumed under the heading of literature. In addition to the topics (all genres and periods of poetry, prose, fiction, and drama) that one expects in a book of this sort, wit and humour, proverbs and rhetoric, historical and philosophical writings, classical exegesis, literary theory and criticism, traditional fiction commentary, as well as popular culture, the impact of religion upon literature, the role of women, and the relationship with non-Chinese languages and peoples (ethnic minorities, Korea, Japan, Vietnam) feature as topics of individual chapters.Most of the chapters are written by leading specialists in those areas and are highly informative as well as concisely presented. Moreover, a number of chapters are thought-provoking enough to inspire questions that may lead towards a more focused research on hitherto neglected or less well-documented topics. In this sense, The Columbia History of Chinese Literature may also be perceived as a potential major impetus for further developments in the study of pre-modern and modern Chinese literature and related fields. Since the volume aims at bringing the riches of China's literary tradition into focus for a general readership, the majority of chapters can probably be best described as outlines of specific developments that should encourage readers to consult more specialized publications.
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Doherty, Peter. "The Poverty of Posthumanism: Evolution and Extinction in Eugene Field's ‘Extinct Monsters’." International Research in Children's Literature 7, no. 2 (December 2014): 180–97. http://dx.doi.org/10.3366/ircl.2014.0131.
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This article interrogates constructions of posthumanism in twenty-first century children's literature criticism and ecocriticism. Focusing on an unpublished manuscript by Eugene Field, it argues that the concept of species extinction undermines the theoretical usefulness of posthumanism. The paper begins by discussing the uses and shortcomings of posthumanism as a critical tool in children's literature. In doing so, it establishes connections with the challenge to the human posed by technology in the twenty-first century and the new understanding of what constitutes the human at the end of the nineteenth century. This paper documents intersections between Field's illustrated poem and contemporary representations of evolution and extinction circulating in popular and scientific natural histories. It is suggested that Field's text is also mediated by the visual traditions which framed contemporary natural history writing. Further, situating Field's poetry for children in a broader tradition of nineteenth-century American poetics committed to authorising the voice of the poet, it asks how this voice is complicated by the new realities of evolution and extinction. Confronted with these new realities, Field's manuscript traces the waning of poetic authority and, it is argued, thereby calls for a new aesthetics of children's literature in the face of extinction.
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Peris Llorca, Jesús. "Festive literature in Catalan as a space of cultural resistance: The Valencian magazine Pensat i Fet (1912‐72) during the Spanish post-war period." International Journal of Iberian Studies 34, no. 2 (June 1, 2021): 113–32. http://dx.doi.org/10.1386/ijis_00048_1.
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The magazine Pensat i Fet (1912‐72), which was published every year before the Fallas festival and included a wide range of texts and pictures related to it, had been an important element in the dissemination of literature and culture in Catalan and the agenda of valencianism among wide sectors of Valencian society. Until 1936 ‐ especially during the years of the Second Spanish Republic ‐ the magazine explicitly opted for valencianism, for example, advocating for the agreement that would make the statute of autonomy possible. However, from 1940 onwards it became a true bastion of cultural resistance. So, the magazine maintained a literary use of Catalan language in diverse registers, strongly satirized the Castillianization of society, was able to express a valencianist spirit in a variety of ways, incorporated elements of social criticism through popular satire and accommodated very diverse authors from the Valencian literary field and from other Catalan-speaking regions. In this article, attention will be paid to the way in which the magazine manages to articulate these gestures, albeit not without trouble with censorship, throughout the first decade of Franco’s Regime, that is, between 1939 and 1950.
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Yakusheva, Lyudmila A. "ACTUALIZATION, MYTHOLOGIZATION AND TRANSFORMATION OF THE LITERARY HERO: THE STIRLITZ PHENOMENON." Verhnevolzhski Philological Bulletin 23, no. 4 (2020): 189–95. http://dx.doi.org/10.20323/2499-9679-2020-4-23-189-195.
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Conceptualization of artistic actions of the last XX century is a natural and logical process. In the cultural studies discourse of the Soviet cultural typology we can see a sustained interest in educational problems based on visualized acts of a semiotic and semantic range, which are defined through the cultural context of the epoch. The most recognizable sign-index of the 1970s (in terms of time, ideological system and Soviet mentality) is Maxim IsaevStierlitz. On the one hand, this is an image which artistic value was questioned even when it had appeared. On the other hand, mass popularity turned Stierlitz in a precedent phenomenon, and the consideration of canonization conditions inspired this research. The article continues the author's series of publications dedicated to «homo soveticus» and the phenomena of the Soviet era – communal apartments, shop lines, summer cottages. The author, based on her intuition and also on the synthesis of cultural and literary analysis, actualizes resources of myth-based criticism and history of memory, and reconstructs one of the most popular myth-images in literature and cinema of the second half of the XX century – the image of the popular Soviet spy. The research focuses on the reasons of Stierlitz’s mass popularity, archetypal qualities of this character, and its perception by difference cultural generations. The author analyzes vectors of this character’s mythologization.
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Onelli, Corinna. "Tra fonti erudite e lettori ordinari: una traduzione seicentesca del Satyricon." Ancient Narrative 15 (May 29, 2018): 35. http://dx.doi.org/10.21827//5c643a8525e4b.
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The paper presents a 17th-century translation of the Satyricon into Italian transmitted in manuscript. The translation is anonymous and presumably was intended for the illegal market of clandestine manuscripts. Material evidence shows that the translation actually circulated across time and among popular readers. The comparison between the Italian translation and 16th – and 17th editions of Petronius has revealed that the translator started his work on the obsolete text of the excerpta brevia (that is, the Satyricon as published before1575) and then shifted to the the excerpta longiora tradition, likely using the Satyricon edition published in 1601 (reprinted in 1608). Such a mixture of source texts proves the translator’s total lack of philological accuracy. In addition, he made several translation errors. However, surprisingly enough, the Italian translation underpins an excellent work of textual criticism on Petronius’ text. The suggested explanation is that the translator or a later reviser emendated the translation following a highly specialised commentary. Some translation errors, in fact, can be explained only as critical indications that have been completely misunderstood. The papers concludes putting in relation the success of the Satyricon among 17th-century popular readers with its reception as a subversive parody of the Greek novel and its traditional values.I have a PhD in Italian Studies (2006) from the Università RomaTre of Rome. Currently, I am a Marie Curie Research Fellow at the EHESS in Paris. My recent research interests are focused on the Early Modern Period; more specifically, on the translation and receptions of Classics and the circulation of heterodox texts. I am working at the research project Popular readers and clandestine literature: the case of an early modern translation of Petronius’ Satyricon into Italian (17th C.) funded by Marie Skłodowska-Curie Actions, and, more broadly, I am exploring the 17th-c. success of the Satyricon and its reception as a novel and as a satire.Affiliation: Post-doctoral Research Fellow at the Centre des Recherches Historiques of the EHESS in Paris (research group: Grihl – Groupe de Recherches Interdisciplinaires sur l’Histoire du Littéraire ).Relevant publications:‘La retorica dell’esperimento: per una rilettura delle Esperienze intorno alla generazione degl’insetti di Francesco Redi (1668)’, Italian Studies (2017), 72, 1, 41-56.Bartolomeo Beverini (1629-1686) e una versione inedita della Metafisica di Aristotele’, in L. Bianchi, J. Kraye and S. Gilson (eds), Vernacular Aristotelianism in Italy from the Fourteenth to Seventeenth Century, London, The Warburg Institute, 2016, 183-208.‘Freedom and censorship: Petronius’ Satyricon in seventeenth-century Italy’, Classical Receptions Journal (2014), 6. 1, 104-130.‘Con oscurità mutando in nomi: Napoli epicurea nei Successi di Eumolpione (1678)’, California Italian Studies (2012), 3. 1, https://escholarship.org/uc/item/2tr7x1nd.
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Onelli, Corinna. "Tra fonti erudite e lettori ordinari: una traduzione seicentesca del Satyricon." Ancient Narrative 15 (May 29, 2018): 35. http://dx.doi.org/10.21827/5c643a8525e4b.
Full textAbstract:
The paper presents a 17th-century translation of the Satyricon into Italian transmitted in manuscript. The translation is anonymous and presumably was intended for the illegal market of clandestine manuscripts. Material evidence shows that the translation actually circulated across time and among popular readers. The comparison between the Italian translation and 16th – and 17th editions of Petronius has revealed that the translator started his work on the obsolete text of the excerpta brevia (that is, the Satyricon as published before1575) and then shifted to the the excerpta longiora tradition, likely using the Satyricon edition published in 1601 (reprinted in 1608). Such a mixture of source texts proves the translator’s total lack of philological accuracy. In addition, he made several translation errors. However, surprisingly enough, the Italian translation underpins an excellent work of textual criticism on Petronius’ text. The suggested explanation is that the translator or a later reviser emendated the translation following a highly specialised commentary. Some translation errors, in fact, can be explained only as critical indications that have been completely misunderstood. The papers concludes putting in relation the success of the Satyricon among 17th-century popular readers with its reception as a subversive parody of the Greek novel and its traditional values.I have a PhD in Italian Studies (2006) from the Università RomaTre of Rome. Currently, I am a Marie Curie Research Fellow at the EHESS in Paris. My recent research interests are focused on the Early Modern Period; more specifically, on the translation and receptions of Classics and the circulation of heterodox texts. I am working at the research project Popular readers and clandestine literature: the case of an early modern translation of Petronius’ Satyricon into Italian (17th C.) funded by Marie Skłodowska-Curie Actions, and, more broadly, I am exploring the 17th-c. success of the Satyricon and its reception as a novel and as a satire.Affiliation: Post-doctoral Research Fellow at the Centre des Recherches Historiques of the EHESS in Paris (research group: Grihl – Groupe de Recherches Interdisciplinaires sur l’Histoire du Littéraire ).Relevant publications:‘La retorica dell’esperimento: per una rilettura delle Esperienze intorno alla generazione degl’insetti di Francesco Redi (1668)’, Italian Studies (2017), 72, 1, 41-56.Bartolomeo Beverini (1629-1686) e una versione inedita della Metafisica di Aristotele’, in L. Bianchi, J. Kraye and S. Gilson (eds), Vernacular Aristotelianism in Italy from the Fourteenth to Seventeenth Century, London, The Warburg Institute, 2016, 183-208.‘Freedom and censorship: Petronius’ Satyricon in seventeenth-century Italy’, Classical Receptions Journal (2014), 6. 1, 104-130.‘Con oscurità mutando in nomi: Napoli epicurea nei Successi di Eumolpione (1678)’, California Italian Studies (2012), 3. 1, https://escholarship.org/uc/item/2tr7x1nd.
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Gómez-de-Tejada, Jesús. "Parodia, intertextualidad y sátira en la narrativa policial de Lorenzo Lunar Cardedo." Studia Romanica Posnaniensia 47, no. 1 (March 15, 2020): 5–17. http://dx.doi.org/10.14746/strop.2020.471.001.
Full textAbstract:
Detective fiction as parodic reformulation of genre’s defining patterns has a long history in the Latin American tradition: Borges, Bioy Casares, Soriano, Levrero, Ibargüengoitia, etc. Besides, the evolution of Latin American detective genre has always been characterized by a progressive focalization in the social aspects over the detective story line which has served as a mask to depict in a critical way the flaws of the region’s societies and governments. In nowadays Cuba it could be highlighted the crime narrative of parodic slant by Lorenzo Lunar Cardedo. Among the major features of Lunar Cardedo’s style there are the marginal atmospheres, the stylization of popular speech, the intertextuality, the humor, the parody, and the social criticism. This article focuses on the parodic, intertextual and satiric aspects of his work, particularly discernible in the novel Proyecto en negro (2013), in which the author emphasizes – in opposition to the official discourse – the perpetuation of corrupt, chauvinist, racist, and homophobic behaviors in contemporary Cuba, while relaxing the genre formula limits in order to follow a much more irreverent path within the new Latin American detective fiction.
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Desmazières, Agnès. "Psychology against Medicine ? Mysticism in the Light of Scientific Apologetics." Revue belge de philologie et d'histoire 88, no. 4 (2010): 1191–212. http://dx.doi.org/10.3406/rbph.2010.9587.
Full textAbstract:
The foundation, in 1884, of the Bureau des constatations médicales, responsible of the medical authentification of the miraculous healings in Lourdes, signals the start of a “ medicalization of the miracle”. The Catholic physicians establish their competence in the discrimination of “ true” and “ false” mysticism and value a medical apologetic aimed at responding to the rationalistic critics. However, since the 1920s, their authory has been challenged by Catholic psychologists, led by the Italian Franciscan Agostino Gemelli, future president of the Pontifical Academy of Sciences, who marks himself out as an opponent of the stigmatized Padre Pio and fights for a positive apologetic based on the autonomy of sciences, against the religious appropriation of sciences by Catholic physicians. The scientific discussions over the Marian apparitions of Beauraing (Belgium) illustrate this clash between medical and psychological apologetics. They exemplify the process of “ psychologization of mysticism”, highlighted by Michel de Certeau, and the rise of a modern criticism of mystical phenomena, which owes not only to psychology but also to the development of a lay spirituality, detached from popular religion.