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The contemporary understanding of the vampire trope is not solely a literary construct but also the outcome of its theatrical adaptations, often following closely after the publication of the seminal works that shaped the myth. Despite the occasional reading of vampires as tragic figures, works featuring these creatures have yet to be staged as tragedies, translating instead to melodramas and musicals. This article examines theatrical renditions of John Polidori’s The Vampyre (1819), Bram Stoker’s Dracula (1897), and Anne Rice’s Interview with the Vampire (1976) and The Vampire Lestat (1985), demonstrating that although these literary works offer varying interpretations of the vampire trope, they consistently diverge from the tragic form once they are adapted for the stage. At the same time, vampires represent a world of post-tragic plots, where tragedy is impossible since they live too long after the tragic event had already occurred. The authors argue that staging of vampire narratives coincides with historical contexts in which audiences experience disillusionment with tragedy’s promise of catharsis, opting instead to look to other dramatic formulas for a reflection of their times. While tragedies often depict the protagonist’s downfall due to an internal fatal flaw, vampire melodramas and musicals, in most cases, explore the collective trauma caused by external flaws, thus resonating more with the social and cultural milieu of their times. [ABSTRACT FROM AUTHOR]

G. Călinescu highlighted the absence of a major balzacian novel in Romanian literature and set out to fill this gap himself. Enigma Otiliei, has become one of the most frequently cited examples of the genre in Romanian literature. While many key balzacian elements are present, however, the novel often strays from its professed model. This paper examines the complex ways in which Călinescu’s novel both adheres to and deviates from the balzacian tradition. Modern themes, sensibilities, and literary techniques permeate Călinescu’s work. Critics have noted the presence of humor and the predominance of scenes over summary, action, or plot. The most significant deviation from the balzacian novel, however, lies in the complexity of Călinescu’s main characters, and, consequently, in relationships that are much harder to define. Contrary to secondary characters that conform to balzacian types, Felix and Pascalopol transcend their suggested social categories, be it through their fraught and contradictory relationship itself – a complex interplay of jealousy and affection. The study also addresses the challenge of integrating the intellectual into social categories and into balzacian types. Otilia is said to be an enigma, but, as the author states himself, she is an enigma for Felix, and for Pascalopol incidentally. Another focus of this paper is the influence of the reflector character in instilling ambiguity within the narrative, a feature more characteristic of 20th-century literature than the balzacian tradition.

This essay traces expressions in which authors or narrators claim to or are said to kill a character, with the key question as to which ideas about storytelling the cases convey and how these ideas resemble or differ across different periods. Examples of the "poeta necans metalepsis" are found in ancient Greek literature all the way to the modern novel; however, they bear a remarkable variety of implications. Already in antiquity, we find a range of positive to outright derisory usages, which are united by the fact that they present killing as a natural and unquestioned task of authors, especially for epic poets. From the Renaissance onwards, the picture changes: Ariosto exposes the idea that a narrator should save rather than slay his characters, and in the past two centuries, narrators reflecting on their qualms about putting a character to death becomes all but the standard case. The essay works with case studies from different eras, with emphasis on early usages in antiquity, which are analyzed according to the principles of diachronic narratology. In this way, the essay sheds light not only on historical concepts of storytelling but also on the motif of death in literature, which, as is argued, is not a negation of life but rather supports and defends it in various ways, for the narrator, the audience, and the characters. [ABSTRACT FROM AUTHOR]

This article presents a socio-literary analysis of the “invalid body” as depicted in Hortensia Papadat-Bengescu’s novels Disheveled Virgins (Fecioarele despletite, 1926) and Concert from Bach’s Music (Concert din muzică de Bach, 1927), within the context of the rise of eugenicist ideologies in interwar Romania. By comparing these portrayals of disability with representations of illness in other contemporary European novels, I explore the anachronistic relationship between the peripheral literary space of Romania and the central literary cultures of England and France. The methodology combines disability studies with key theoretical frameworks, including dysmodernism (Davis, 2019) and the concepts of the dys-/disarticulated (Berger, 2014), which are instrumental in understanding the depiction of the disabled body in 20th century European literature. I argue that the scientific discourses serve as a key factor in the social marginalization of the invalid characters in Papadat-Bengescu’s novels, where illness is not portrayed as the result of personal or psychological trauma but rather as a direct consequence of genetic inheritance. Through this analysis, I aim to highlight the terminological and conceptual differences between the literary center and periphery, focusing on the cultural reception of Papadat-Bengescu’s work in Romania and its social and ideological implications within the broader European context. [ABSTRACT FROM AUTHOR]

The contemporary understanding of the vampire trope is not solely a literary construct but also the outcome of its theatrical adaptations, often following closely after the publication of the seminal works that shaped the myth. Despite the occasional reading of vampires as tragic figures, works featuring these creatures have yet to be staged as tragedies, translating instead to melodramas and musicals. This article examines theatrical renditions of John Polidori’s “The Vampyre” (1819), Bram Stoker’s Dracula (1897), and Anne Rice’s Interview with the Vampire (1976) and The Vampire Lestat (1985), demonstrating that although these literary works offer varying interpretations of the vampire trope, they consistently diverge from the tragic form once thet are adapted for the stage. At the same time, vampires represent a world of post-tragic plots, where tragedy is impossible since they live too long after the tragic event had already occurred. Our theory is that the staging of vampire narratives coincides with historical contexts in which audiences experience disillusionment with tragedy’s promise of catharsis, opting instead to look to other dramatic formulas for a reflection of their times. While tragedies often depict the protagonist’s downfall due to an internal fatal flaw, vampire melodramas and musicals, in most cases, explore the collective trauma caused by external flaws, thus resonating more with the social and cultural milieu of their times. [ABSTRACT FROM AUTHOR]

Luigi Malerba’s novel Ithaca forever, a rewriting of the second part of the Odyssey, presents what happened in Ithaca after Ulysses’ return from the perspective of the protagonist and his wife in the form of contrasting alternative monologues. Interested in the borderline between truth and lies, in the relationship between reality and fiction, between life and art, the author depicts the recognition of Ulysses by those close to him as a complex game of masks, in which the characters in the foreground assume a role without fully controlling it.

Conceived as a fictive replica of the scientific expedition of Milman Parry and Albert Lord, Kadare depicts the journey in Albania of some students at Harvard in order to decipher the system that once gave birth to the antique epics. The Balkan region is the last place which has preserved the oral production of poems in a similar way to the Homeric ones. The young researchers intend to record the lyrics recited by the Albanian rhapsodists and to compare the variants. Their aim is to understand how the system of oral epics diffusion and improvisations bases on preexisting structures function. They want to discover the technology of creating and performing such artistic creations. They want to give an answer to the question of how an epic comes into being. The recording of the ballads helps them to elucidate the epic production system but endangers the whole spontaneous phenomenon of oral creation. The conservation on tape or in writing of the poems might kill their spontaneous and authentic live production. [ABSTRACT FROM AUTHOR]

Apart from the schools of realism and naturalism, which have a special relationship with the literary type of the novel, the characteristics of other art schools such as symbolism, cubism, impressionism, Dadaism, surrealism and expressionism are mostly represented in arts such as painting, poetry and even theater. Therefore, the discussion about the characteristics of these schools in the field of novels has always been a subject of discussion. Meanwhile, the expressionism school has special conditions. The specific attitude of the followers of this school towards reality and the way it is represented, as well as the presence of characteristics such as extreme subjectivism, attention to strange things and avoidance of simulations, have made the relationship of this school with the novel more ambiguous. Therefore, in this article, with the analytical-descriptive method and focusing on the novel "Life is like this" by Mohammad Hashim Akbaryani, the issue of how to reflect the characteristics of the expressionism school in the literary genre of the novel has been investigated and the question has been answered as to which characteristics of this school From two levels of form and content and in what way is it reflected? The results show that expressionism can appear in the novel at two levels of form and content. At the content level, with features such as dealing with strange and illogical matters, nightmarish atmosphere, typical characters and grotesque world, and at the formal level as well, in the form of paying attention to modern methods in narration, such as the use of the flow of the mind technique, multiple narratives, non-commitment to the classical ending. And especially the episodic structure. [ABSTRACT FROM AUTHOR]

Wacław Berent's novel Rotten Wood has often been described as polyphonic by literary historians. Critical voices expressed at the time of Young Poland (Włast-Komornicka, Brzozowski) and Berent's own comments shed light on the expectations of the reading public when the novel was published. They were influenced by the popularity of symbolism its underlying worldview - spiritualistic monism. This helps explain the tension between the polyphony of Rotten Wood and the views on art and creation articulated by its characters, most importantly concerning the identification of art with acting. On the one hand, the dramatic form of the novel seems to embody the idea of the momentary transcending of the past and its limits, but on the other, it can be seen as a response to the concepts formulated in the novel's dialogues. The significance of another's word and dialogical relationships between different levels of text connects the poetics of Rotten Wood to polyphony in the Bakhtinian sense. [ABSTRACT FROM AUTHOR]

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Odyssey is retold in prose by Marilù Oliva. In this text, by using the 1st person, the authoress successively gives voice to the feminine characters form the epics. Without significant omissions, the Homeric narative content is preserved, sometimes in a condensed form. The original frame is scrupulously preserved altogether with the specific rhetorical elements such as the Homeric epithetes. The voices that can be heard in this novel are those of the deities and the women which were drawn in the adventures of Odysseus. One can hear the voice of Calypso, Athena, Nausicaa, Circe, the Mermaids, Eurycleia and Penelope. Each of them represents different hypostases of feminity, from the obedience of the maid to the emancipation of the witch. In the novel, the multiplication of the points of view triggers the individualisation of the feminine characters which is almost absent at Homer. The ideological approach is evident in the novel and has the function to make more proeminent the feminine characters and their feminist beliefs. Furthermore, the novel highlights the ideea that the great force of Odyssey resides in its capacity of reflecting itself in the present. [ABSTRACT FROM AUTHOR]

In the 1920s, British publishers produced a number of books that queried the nature of the "modern novel." A useful way into the questions they were asking is through the dialogue between Virginia Woolf and E.M. Forster in their reviews of one another's books and in the books they wrote about the novel. In 1926, Forster reviewed Woolf's novels through Mrs Dalloway in The New Criterion. Throughout 1927, Woolf wrote in letters to Vita Sackville-West and her sister Vanessa, as well as in her diaries, that she was reading all of Forster's novels to write an article on his work to be published in the Atlantic Monthly in November of 1927. In 1926, Forster was asked to write the Clark Lectures for Trinity College, delivered in the spring of 1927, that were to become Aspects of the Novel, and sought Woolf's advice. She wrote Phases of Fiction as a kind of answer to his idea that we love novels because they let us occupy a world where people can be understood. They argued about something that preoccupies us still. Should a novel teach you how to live, how to see other people's lives and challenges; should it have a message? Or should it be beautiful, imaginative, or well crafted? (There is no right answer to this simplistic question.) Forster thought of the novelist as a kind of educator who would produce something with a clear meaning. As well, he thought that the author's preoccupations with form or beauty compromised its usefulness. Woolf, perhaps because there were many influential visual artists in her circle, thought the novel should be itself, that its form and its beauty were not add-ons, but were an integral part of the pleasure we took in a novel and part of art's autonomy. [ABSTRACT FROM AUTHOR]

In her novel, Madeline Miller proposes reconstructing Circe's legends from classical sources by offering a feminine, even feminist, perspective on events. In the protagonist's account, the witch's history appears as a delineation from the despotic deities and a way of coming closer to the mortals which ultimately ammounts to abandoning her own condition. The central part of the novel starts from the story of Odissey and continues with events narrated in Telegony, poem which was dedicated to the son of Odysseus and Circe who unwillingly became the killer of his father. Although she follows the Homeric narrative in detail, the author sometimes relates critically to the literary model. The events told by Odysseus and Circe in a heroic or debunking form reveal their polivalence. In the extension of the Homeric narrative, the last part of the novel encompasses the events that occurred after the return to Itaca of Odysseus, unable to find fulfillment on his native lands because of his thirst for the unknown and adventures. The hero's image gradually darkens, the author accentuating his violence or his generalized suspicion. Reconstructing the events from Circe's perspective allows Madeline Miller to delineate from the Odyssey which she has followed scrupulously up to a certain point. [ABSTRACT FROM AUTHOR]

Published in 1960, in France, the novel God Was Born in Exile (Dieu est né en exil) confirmed the talent of its author, Romanian born Vintilă Horia, and also the originality of a writer who had to leave his native country after the World War and use a foreign language (in fact, more than one: except from French, he also wrote in Spanish and Italian). It is obvious, then, that the general issue of exile, Horia’s main preoccupation within his entire literary work, also reflects his own tragic situation and stands for the difficult choices the author had to make during his lifetime. Often compared to Mircea Eliade, Eugen Ionescu or Emil Cioran, his contemporaries, Horia is another important representative of Romanian exile, even if his circumstances were less favorable as far as the reception of his work is concerned. In God Was Born in Exile, the Latin poet Ovid’s journey to Tomis mirrors Horia’s uprooting, but at the same time expresses a symbolic initiation – both of the protagonist and the author: during his eight years of exile, Ovid discovers not only the fundaments of Christian faith, but also the way to liberate himself from all the personal sorrows (and his youthful vain desires) and to firmly believe in his own literary art. [ABSTRACT FROM AUTHOR]

Surrealism was formed in the early 20th century with the aim of changing people's attitudes towards the industrial world and fighting against it. The goal of the surrealists was to change the world based on their own ideas and somehow return to the original human nature. Although this school of literature mostly dealt with poetry, it gradually entered the literary world of modern novels as well and raised opinions on the literary type of the novel and the closeness of its language to poetic language. Elias Khoury, a contemporary Lebanese writer, uses surrealist elements in his novel "Abvab almadinah" to narrate the protagonist's unsuccessful attempt to reach an unknown city, and finally, with the destruction of the city, he challenges contemporary man's efforts to achieve his desires. The present study aims to investigate the surrealistic characteristics of this novel in a descriptive and analytical way. It seeks to state what components of surrealism are present in this novel and how they are used in designing its themes. The fact that there is a lack of independent research on this literary work, coupled with its surrealist background, shows the necessity and importance of this research. The obtained results show that "Abvab al-madinah" is based on a surrealist foundation. Components such as surreal images, love, imagination and dreams, automatic writing, complexity, and ambiguity are among the most important features used in conveying surrealist meanings to readers in this novel. [ABSTRACT FROM AUTHOR]

The article analyzes the way in which explicit inter-imperial debates are incorporated through narrative discourse and characters’ discourse in two Romanian novels. Drawing on Anca Parvulescu and Manuela Boatcă’s recently published book Creolizing the Modern: Transylvania across Empires (Cornell University Press, 2022), Baghiu re-reads Liviu Rebreanu’s 1920 Ion and Sofia Nădejde’s 1903 Patimi in a world system frame. The analysis shows that Liviu Rebreanu’s novel features a form of static inter-imperiality, while Sofia Nădejde’s novel engages forms of exploratory inter-imperiality. This is due to the fact that Sofia Nădejde’s novel is set in Moldavia, a region of Romania that lies precisely at the intersection of the Austro-Hungarian, Ottoman, and Tsarist empires, while Rebreanu’s novel is set in Transylvania, a region that can be read in both inter-imperial and intra-imperial keys (since it is very dependent on the Austro-Hungarian empire). The two models show that the first feminist novel in Romanian literature is also an exploratory inter-imperial novel (Patimi), while the first modernist novel is a static inter-imperial novel (Ion). [ABSTRACT FROM AUTHOR]

The Metaphoric and Metonymic Poles is one of the Famous Contemporary Linguistic Theories Attributed to Romagna Jacobsen, one of the Famous Theorists in this Field, who Believes that every Discourse Driven from one of the two Metaphoric or Metonymic Poles. He Holds that the Metonymic Pole of Language is Used in Prose while the Metaphoric Pole is a Feature of Poetry. David Lodge, the Contemporary Literary Critic and Novelist, has Analyzed Roman Jakobson’s Theory, Expanding it. Interpreting Jakobson’s Theory, he Maintains that in Prose, in Addition to Contiguity Relations and the Metonymic Pole of Language, the Metaphoric Pole Also Exists. Lodge Sees the Modernist Fiction as a Blend of Similarity and Contiguity Relations, or Metaphoric and Metonymic Poles. In his View, Although the Metaphorical Pole is not Explicitly Manifested in Modern Novels, their Authors Draw on Techniques Through Which Prose -which is Essentially a Metonymic form- Takes a Metaphorical form and as a Result, the New Novels have Metaphorical Titles. Our Main Question in This Research is: in Contemporary Persian Novels, How are the Titles of the Story and the Text, Based on David Lodge's Linguistic Theory, Influenced by each other Linguistically and Semantically, and how did the Narrative Style Play a Role in the Formation of the Title? the Present Research has Applied David Lodge’s Theory to Six Prominent Persian Novels, Namely “Symphony of the Dead”, “the Blind Owl”, “the Last Game of the Lady”, “Nocturnal Harmony of Lumbers’ Orchestra”, and “the School Principal”. This Research Shows that this Theory can be Applied to Analysis of Novel Titles Based on the Metaphoric and Metonymic Poles. Therefore, Novels with Modernist Features that are Shaped According to the Metaphoric Pole of Language have Metaphoric Titles, and Novels in which Elements are Created Metonymically have Metonymic Titles.

Margaret Atwood in The Penelopiad, a modern rewriting of the mythical story, imagines Odysseus’ tale from the perspective of Penelope. In afterlife, the shadow of the heroine is recalling her life focusing on the relationship with her illustrious husband. Dissatisfied with the Homeric version of the events, she is claiming the right to speak in order to reject her presentation from the epic poem and also the gossip about her infidelity. Her narrative reconstitution reveals the ins and outs of the legends and brings into light a more complex appearance of a woman which is famous only as an exemplary wife. [ABSTRACT FROM AUTHOR]

Futabatei Shimei (1864-1909) was an early modern Japanese novelist, translator, and critic. He wrote what is now generally conceived of as the first Japanese ‘modern’ novel, Drifting Clouds (1887-89). He translated works by Turgenev, Leo Tolstoy, Garshin, Gorky, and others. He also published a number of critical essays, treatises on literary theory, political papers, and so forth. His early translation of Turgenev’s short stories: Aibiki (Rendevous, 1888) and Meguriai (Three Trysts, 1889) were extremely influential on the contemporary literati, who were amazed at the fresh, poetic prose used in stark contrast to the traditional Japanese fiction in the pre-Reformation period. These translations, seen in the light of the present-day readers, were unique in what we might term today ‘foreignizing translation’. Lawrence Venuti in Invisibility of the Translator argues that the ideal of (English) translation has been to conceal itself as a translation, i.e. to present itself as an original text (chap I and passim). In that sense, Futabatei’s translations, scandalously presenting itself as a translation, that is to say, as an alien text, is extremely ‘foreignizing’.

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The article aims at addressing the question of representations of World War Two in Croatian and Serbian literature that were subversive in the sense that they queried the legend not simply by rejecting communism and affirming nationalism, but by emphasizing the uncertainty and sensibility of the human beings, a typical modern reaction to violence and, in general, modernist topoi. In this article I will focus on modernist novelistic representations of the 1960s in which the uncertainty and instability of collective warrants are foregrounded. As a result a subversive meaning is produced which contradicts not only communism and revolution but more generally war as such, including the universal features of war such as confronting loneliness, love as an expression of an individual rather than a collective sense of existence, and the impossibility of a valid representation of past events.

Today's world is changing rapidly, and writers are sensitive to these dynamics in their work. This article examines the principle of movement in the poetics of two modern novels: Steamship to Argentina (2014) by the Russian‐German writer Alexei Makushinsky and Runaways (2007) by Polish novelist and Nobel Prize winner Olga Tokarczuk. As the literary analysis demonstrates, the principle of movement is a constitutive element of the artistic whole of these novels. It defines the image of the character, plot, spatial and temporal coordinates, and figurative dimension. The very titles—Steamship to Argentina and Runaways—are metaphorical and esthetically significant. To reflect this significance, the authors of this article offer an alternative translation of the title of Olga Tokarczuk's novel. When published in English, it was titled Flights. However, Runaways is semantically closer to the original Polish Bieguni and, as the article demonstrates, correlates more strongly with the semantic level of the text. Drawing on M. M. Bakhtin's ideas on the historical poetics of the novel, this study concludes that the poetics of Steamship to Argentina and Runaways is a form of representation of the new picture of the world, dynamic and transitional. This new literary world is recreated through the mobile chronotope and translingualism. [ABSTRACT FROM AUTHOR]

This article focuses on Anne Tyler's Vinegar Girl (2016), a retelling of The Taming of the Shrew published in the Hogarth Shakespeare Project, to explore how the novel and the series seek to create affective 'middlebrow' communities that purport to keep Shakespeare alive through love. Counter-intuitively, Tyler chose to adapt a play whose gender politics are unlovable to many twenty-first-century American readers, including the author. But although Tyler has said that she 'hates' Shakespeare, her solution is surprisingly to inspire mild, positive feelings in her readers. In mediating Shakespeare in this way, Tyler effectively strengthens bonds of empathy and affection between herself and her readers. Extending its claim, the article argues that the Hogarth Shakespeare Project is a 'middlebrow' publishing enterprise, in the sense that it uses Shakespeare to cultivate communities built on the relationship between the adapting author and her readers. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Humanities & Social Sciences (2522-3380) is the property of Arab Journal of Sciences & Research Publishing (AJSRP) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Edad de Oro is the property of Departamento de Filologia Espanola de la Universidad Autonoma de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article examines the genre structures in E. Vodolazkin's novel "Laurus". Combining medieval Russia and modernity, the author creates the image of the main character, a medieval doctor, who changes his essence throughout the novel after passing through difficult trials. From an orphaned boy, who has been raised by his grandfather Christopher, the protagonist takes his journey to become Laurus, a monk and a righteous man, recognized by the people and church. The way of the main character is redemption of a grievous sin. Due to the fault of the protagonist, his beloved dies. By means of hybrid literary genres, the author reliably depicts the transformation of the protagonist and determines the vector of his spiritual development. E. Vodolazkin in his novel "Laurus" uses different genre forms, synchronizing Christian religious ideas with the modern scientific view of the world. By combining the genre of the novel with the hagiographic tradition, the author overcomes the limitations of the historical moment, which makes it possible to interpret the plot from the perspective of eternity. The main objective of the study is to determine the protagonist in terms of the categories 'myself' - 'stranger'. The result of the analysis is to define the novel by E. Vodolazkin as an experimental field, where the genre paradigm reveals the ambiguity of the main character. Vodolazkin depicts characters as "stranger/different/alien/other", as people of a different era and culture. However, using the method of exegesis, the author reveals through the play with time layers the features of the Middle Ages in the modern man. Thus, overcoming the limitations of a specific time period, it is possible to observe the connection between the past and the present. [ABSTRACT FROM AUTHOR]

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Copyright of Diablotexto Digital is the property of Diablotexto Digital and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Diablotexto Digital is the property of Diablotexto Digital and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Diablotexto Digital is the property of Diablotexto Digital and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article approaches Samuel Beckett's Watt as a reflection on the paths of the modern novel. Three elements are highlighted: the literary and philosophical parody in the author's early work; the difficulty in determining the narrative focus; and the use of series and combinations to question the organization of romanesque time in the form of action. [ABSTRACT FROM AUTHOR]

My paper aims to investigate an early phase of the globalization phenomenon as it has manifested in a specific peripheral space, attempting to map, by means of both close and distant reading, how the internalization processes have been mirrored in the modern Romanian novel. The scope of my research revolves around the responses that Romanian literature - a peripheral, minor literature - has had towards transnational or global models, and how the novelistic production of the aforementioned timeframe has metabolised and illustrated the foreign input in our culture. The theoretical framework of the present. [ABSTRACT FROM AUTHOR]

Анистратенко Антонина, Мойсей Антоний. Альтернативная история и христианский мотив в новейший украинской литературе. Христианский мотив в неомодерном романе достаточно характерен для украинской литературы ХХ - ХХI вв. Эту проблему исследовали авторитетные теоретики литературы Т. Бовсунивська, Т. Гундорова, С. Митосек, Р. Нич и др. Однако, говоря об альтернативной истории, важная роль христианского мотива или библейского концепта до сих пор не была описана в ходе генологичнои исследования. Выяснить какова же степень его влияния в литературном процессе и, в частности, в современном романе - цель представленной статьи. Ключевые слова: альтернативная история, христианство, современный роман, картина мира. Anistratenko Antonina, Moysey Antoniy. Alternative history and christian themes in modern ukrainian literature. Christian themes is one of characteristics in neomodern novel of the Ukrainian literature in XX - XXI century. This problem was investigated by wellknown theorists of literature: T. Bovsunovska, T. Hundorova, S. Mitosek, R. Nych and others. However, we are going to speak about alternative history, the important role of Christian motive or the biblical concept have not been investigated in the genealogic research. First of all, the mental outlook of the Ukrainian nation and therefore the average Ukrainian world view have been shaped by millennia of Christianity. Our goal is to find out in this article what is the impact in the literary process and in particular in the modern novel it make. In the article analise in comparative way consideration of the separate factors and influences that are reflected in the history of Ukrainian literature, but what are situated in the field of history, sociology, religion, culture, ethnology: Religious dominant component is visible in the traditional worldview of Ukrainians, tradition in family life, demythologization passion, canonization features of the image "a women "and"a man"and others. Such images build the foundation for the development of the genre in Ukrainian literature. Ivan Bilyk wrote down his novels for the reconstruction of the national worldview and the historical consciousness of the Ukrainian nation, V. Vladko resumed the canon of science fiction in our literature, and even, to some extent, took part in it formation, and made the first attempt to implement a quality alternative history novel in two points of bifurcation. These works belong to the history of the origin and existence of Christianity in Ukraine. When analyzing consept sources and literary texts in the genre of alternative history come to the conviction we may makr, that the most important stylistic markers of alternative history, the experience of the presently known Ukrainian literary texts, are the following: immersion in the national mental peculiarities of historical development and the laws of motion and change historical events; hermeneutic communication alternative history of Christianity. It is seen that most of the works of alternate history, the written material in history after the advent of Christianity, or, indeed, the material of the process or its negation; noticeable characteristic features science fiction works are diving in mythology and esoteric knowledge. Here is also criticism of the theory of linear time-space in a general sense. Mimetic techniques began to attract other arts, science, and a wide range of formal and specific formations. Key words: alternative history, Christianity, Modern novel, the worldview.

Colloquial language has become a real tool that everybody should handle for a better understanding of the world (s)he lives in. The present paper is meant to highlight those particular situations that we encounter everyday within the act of communication and to point out some slang lexical resources detected in Spanish modern novels, underlining the fact that conversational language does not need to be regarded as inferior, but just distinctive and special.

The novel's title itself The Master Is Coming Tomorrow indicates to the idea it is about modern novel, which is of more avant-guardistic than realistic type. That was especially reinforced by the title of Becket's dramatic text Waiting for Godot, and with the fact that Saric's novel was compositionally organized in two parts the same as Becket's tragic comedy. Beet was occupied with the problem of human existence, and alienation of modern world. His vision of the world is pessimistic, and shows the life as the game of force majeure in which the human is reduced to physiological, and spiritual vegetarian, to senseless duration' fulfilled with questions, and futile expectation of salvation. Saric's Banjani 'play' in their theatre of absurd; by losing of their power, and the right over their freedom, they are also losing their identity, and are becoming a puppet governed by the will of one man. Their existential space is the circle which they closed by the fear, accepting vassalage, non-giving resistance, and reconciliation with their own limits. So their circle of life was reduced from existential and ontological point of view, to the area of Banjani, within which a dramatic plot is occurring through a series of scenes from little paradoxal life of the inhabitants of Banjannski villages, and their autocrat the Master Kojadin Kojadinovic. The category which is the most frequently connecting these two parts is the one of waiting, which is turning into the atmosphere of tension, unknowns, and even psychosis. But, while Becket's Vladimir, Estragon and Popo spend their life in senseless waiting for Godot, Saric's master is coming surely, and that moment is of crucial importance that the sheer drama of anticipation turns into Montenegrin, Banjanski tragic theatre of absurd.

This study seeks to place Don Quixote within the larger sphere of narrative forms in vogue in Spain at the beginning of the seventeenth century, and from this starting point defines the work as a prototype of the moderrn novel.

This article deals with the role of the literary topos of the city and its importance in the Ramón Gómez de la Serna’s novels. According to the Daniela Hodrová’s typology we attempt to demonstrate, through the analysis of some novels, that the Serna’s city is specified as “the city-subjec”. The author personifies the city and he fuses the soul of novel’s heroes with the local atmosphere. The protagonists are united themselves with the place and ambient, that are influenced by its attitude and the personality. We distinguished two main conceptions of the city in Serna’s works: “a modern city” and “a city-refugium” and their modalities. The modern city is characterized by its ambivalence: it offers an attractive and adventurous modern lifestyle, on the other hand it shows an existential chaos and dehumanization. As opposed to the topos of “the modern city” appears the topos of “the city-refugium” characterized by the historical memory and mythical tradition.

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Copyright of Letras (Lima) is the property of Letras, Facultad de Letras y Ciencias Humanas. Universidad Nacional Mayor De San Marcos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Colloquia Germanica is the property of Narr Francke Attempto Verlag GmbH & Co.KG and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The term “discurso del mercader” is understood as referring to the recurrent bourgeois demand that, in the writings of political treatise writers or the self same merchants seeks (between 1520 and 1620) to acquire a change in socio economic direction that would stem from a mercantile ethic based on the “legitimate merchandise of things”. This innovative and ideologically ground-breaking discourse was doomed to failure but contributed nevertheless to create conditions that favoured realist poetics that was decisive as regards invention in the modern Spanish novel.