Hidden Histories of Pakistan

Censorship, Urdu literature, Islam, and progressive secular nationalisms in colonial India and Pakistan have a complex, intertwined history. Sarah Waheed offers a timely examination of the role of progressive Muslim intellectuals in the Pakistan movement. She delves into how these left-leaning intellectuals drew from long-standing literary traditions of Islam in a period of great duress and upheaval, complicating our understanding of the relationship between religion and secularism. Rather than seeing 'religion' and 'the secular' as distinct and oppositional phenomena, this book demonstrates how these concepts themselves were historically produced in South Asia and were deeply interconnected in the cultural politics of the left. Through a detailed analysis of trials for blasphemy, obscenity and sedition, and feminist writers, Waheed argues that Muslim intellectuals engaged with socialism and communism through their distinctive ethical and cultural past. In so doing, she provides a fresh perspective on the creation of Pakistan and South Asian modernity.

Robak i robactwo w twórczości Władysława Syrokomli

The aim of this article is to determine the frequency of occurrence of the terms “worm” and “insects” in the works of Władysław Syrokomla. An assumption is made that these themes have animportant function in the poet’s works, and that their occurrence indicates something of significance. The article considers both the functionality and repeatability criteria, which is the necessary foundationfor recording these items. The conducted analyses indicate that Syrokomla’s insects (regardless of whether they have a literal or metaphorical meaning) in most cases signal something evil. Sometimes it is an ordinary pest (insect) damaging plants, but more frequently the insect refers to the human condition, characterising it in three dimensions: as the worm of death, as the worm of internal suffering or as the worm of insignificance. In other cases, worms or insects represent curses or sin. The diversity of how such zoomorphic connotations are presented and applied deserves attention. Moreover, although the majority of them have long-established cultural and literary traditions, in Syrokomla’s works they gain a new context (for example, historical, folk or social). They indicate sensitivity to injustice and evil. The poet frequently presents the human world by analogy to the world of nature.

Iambic verse in different literary traditions

This paper is devoted to study how the metrical verse like iambic tetrameter can be realized in different literary traditions. The formation of iambic verse in the Early Modern Time in Europe and its spread to the East of the Continent is investigated. The interaction between meter and language in different literary traditions during this process is considered and the nature of the meter’s implementation is determined. As a result of the transfer of iambic verse from one tradition to another, the highest degree of correspondence between meter and language is achieved. The utmost level of verse metricality was especially successfully embodied in the German and later also in the early Russian iambic poetry. However, the evolution and the further transfer of iamb on the East of the Continent significantly modifies the principles of interaction between metrical canon and language prosody.

FUNCTIONS OF REMINISENCES IN CHRISTMAS STORIES OF MODERN RUSSIAN WRITERS (ON THE EXAMPLE OF THE WORKS OF Yu. BUIDA AND D. BYKOV)

The Little Match Girl by H.Ch. Andersen is a fairy tale that tells a tragic story about a child's death at Christmas night. Famous Russian authors Yu. Buida and D. Bykov have written stories with the same names (The Little Match Girl and The Little Match Girl Gives a Light). The authors deliberately used these names to show the relation with the famous work. In both stories, the action is set within the timeline defined by the canons of religious calendarial prose. There are miracles in the stories; the Christmas characters are archetypes, as they are kind, merciful and compassionate. The stories written by the contemporary authors are examples of a kind of a palimpsest. They show the socio-historical collisions and moral problems of the post-Soviet time. The article uses the comparative method which allows us to consider the types of characters, to find literary traditions and innovations in the prose of the writers. It is important to take an intertextual approach during (when) examining the stories. It helps identify and analyze how certain motifs and images relate in the 19th century literature and fiction texts of modern writers. This approach reveals the deep connection between the works and the texts of world and Russian literary classics.

Tears in Heaven: Tracing the Contours of a Pan-European Transconfessional Genre

This article explores the genesis, proliferation, and readership of an understudied genre of religious poetry in early modern Europe. The weeping poem—a devotional literary genre combining elements of epic narrative and Petrarchan lyric that focused specifically on the religious grief of biblical figures—swept across Europe in the forty years around the turn of the seventeenth century. Although this genre was instigated by the Italian Luigi Tansillo’s 1560 Le Lagrime di San Pietro and has often been read as exhibiting a distinctively Counter-Reformation spirituality, our survey of weeping poems uncovers the surprising reach of this genre across multiple languages and even into Protestant England. The range and popularity of this specific kind of weeping poetry across early modern national, linguistic, and confessional lines shows how this constellation of texts transmitted a new form of devotional affect founded on imaginative identification with weeping biblical narrators. In other words, these poems demonstrate how interiority, rather than factional political or theological difference, could be the basis for new emotional communities of worship. Moreover, the relative obscurity of this genre to scholars prompts new questions around the viability of continuing to explore early modern European literary traditions from the perspective of nationalist/linguistic/confessional frameworks.

Alàgbà Adébáyọ̀ Fálétí as a Yorùbá Novelist

In their introduction to a book entitled: Yorùbá creativity, fiction, language, life, and songs, Falola and Genova (2005) assert that creativity among the ̣ Yorùbá has a long history and the traditions of oral histories, storytelling, performances and dramas are parts of fundamental habit of their civilization. In the pre-colonial era, the authorship of the stories in the folktales and in some poetic genres could not be claimed by any particular artist/artiste, but due to the influence of colonial rule, western literary traditions, among others, storytellers can claim authorship of their works today. The Yorùbá make no distinction between myth, legend and history. They all come under ìtàn (Ogunsina, 1992). One Yorùbá novelist that has distinguished himself in the effective use of ìtàn (story) in novel writing is Adébáyò ̣ Fálétí. He is not only a storyteller, he is a literary historian. Every creative writer in Yorùbá society is admired and judged as competent or otherwise not only by writing in the medium of the language but by having captivating story line and on the basis of his/her use of ‘quality’ Yorùbá language (i.e. language full of proverbs and other rhetoric devices). An average Yorùbá reader of Fálétí’s novels, poetry, plays and viewer of his films usually responds with delight because of his powerful use of Yorùbá language and captivating story lines, plot construct, narrative techniques and thematic contents. Isọ la (1998) classifies all other Yorùbá major novelists apart from Fágúnwà ̣ into three groups on their use of language and creative pedigree (190). According to him, “some are mere story tellers” who use mainly casual language; 154 Lere Adeyemi there are others with mixed styles and there are a few of them who creatively exploit the genius of the language. He identifies Adébáyò ̣ Fálétí among few others as belonging to the genius category. Ogunsina (1992) groups Fálétí as a prominent historical novelist who incorporates historical materials into novel writing. I agree with Ogunsina that Fálétí’s effective transfer of histori ̣ - cal materials into fiction is a revelation of the novel’s eclectic quality and also a manifestation of Fálétí’s creative genius. Fálétí’s love of ìtàn (story) is reflected in all his literary works, be it poetry, play or novel. However, our focus in this study is to examine Adébáyọ̀ ̣ Fálétí as a Yorùbá novelist through his literary lens.

Running In (and Out) the Family Postcolonial Family Novels in Perspective

The genre of the family novel can be identified in many postcolonial literary cultures. Initially, it was often read as an example of “national allegory” (Jameson 1986), thus considering family narrative in a tight relationship with postcolonial nation-building, but this theoretical framework has been later criticised from different perspectives, ranging from post-national to feminist critiques. Furthermore, the genre of the postcolonial family novel has been refashioned due to the emergence of diasporic narratives, leading to the diffusion of the “postcolonial fictions of adoption” (McLeod 2006). Nowadays, the high competition in the global literary market – namely, with family novels and sagas in the US literary market – drives this genre towards highly individualised, as well as hybridised, outcomes. While focusing, in particular, on The Brief Wondrous Life of Oscar Wao by Junot Díaz and Lara ([1997] 2009) by Bernardine Evaristo, this survey of family novels across different literary traditions aims to show the intrinsic porosity, as well as the strenuous resistance, of the genre.

One Text, Many Literary Traditions: The Multidimensionality of Wole Soyinka’s Death and the King’s Horseman

Death and the King’s Horseman, published in 1975, is undoubtedly Wole Soyinka’s most acclaimed play. When awarding the playwright the Nobel Prize in Literature in October 1986, the Committee specifically cited it as a “drama of existence”. Many literary critics have written about the play from multifarious perspectives. However, the dramatic text is still open to multidimensional interpretations that can further illuminate the rich texture of this canonical work. My study contextualises this dramatic masterpiece as yielding to a form of critical inquiry that makes it cohere with definitions of various literary traditions. It can be interrogated as Yoruba/Nigerian national literature, African literature, postcolonial literature, and world literature. It is, therefore, in this effort to use many approaches to see the play as a holistic text that I have chosen to interrogate it as “one text, many literary traditions”.

The Gender of Knowledge in Forensic Drama of Late Imperial China

In late imperial China practitioners of forensic investigation in legal cases were predominantly male. While crime literature frequently features female characters, the question of how this literature represents the gender dimension of forensic knowledge remains unanswered. This paper aims to answer this question with an examination of a number of late imperial era theatrical works that depict how forensic knowledge differed across the male and female divide. It argues court-case literature increasingly valorized male forensic knowledge and its relevance to the state legal system. At the same time, these theatrical pieces signify female forensic knowledge following two literary traditions, namely, the commendation of exemplary women and the condemnation of “wanton women.” Investigating these theatrical works at the interstices between court-case literature, women’s history, and forensic history, this paper suggests that the representations of forensic knowledge in Chinese drama accord with major developments in the history of women and gender in premodern China.

The Comparison and Exploration of the Subject Difference between Lamentations and Lament of Capital Ying

Lamentations and lament of capital Ying are models of city lament in ancient Hebrew-and Chinese classical literary traditions respectively. A comparative study shows that there are significant subject difference between lamentations and lament of capital Ying . Lamentations is the collective works, and its compilation and inheritance function as emotional expression of sufferings of the past, present and future of the Jewish people, reflecting their infinite belief of transcendent God . In contrast, lament of capital Ying is the creation of Qu Yuan, and under the influence of the sage's commitment to the mandate of heaven by his individual virtue. The poetry expresses Qu Yuan’s personal grief through a special literary technique and its succession and experience in later generations are mainly individual. The subject difference of two poetry is a reflection of different development trajectories of the humans-transcendent relationship in Hebrew- and the Chinese civilizations of the Axial Age.