XXXI. Emotion and Literary Expression

1959 ◽  
pp. 174-178
Keyword(s):  
Literary Expression

scholarly journals Converses with the Grave: Three Modern Gaelic Laments

Genealogy ◽  
2021 ◽  
Vol 5 (1) ◽  
pp. 22
Author(s):  
Chelsey MacPherson ◽  
Brian James MacLeod ◽  
Lodaidh MacFhionghain ◽  
Laurie Stanley-Blackwell
Keyword(s):  
Oral Tradition ◽  
Audio Recording ◽  
Literary Expression ◽  
English Translations ◽  
Collaborative Article

Within Scottish deathways, the Gaelic lament has long served as a poignant and powerful outlet for loss. In this creative piece, three Canadian-born, Gaelic-speaking poets present their previously unpublished Gaelic laments along with English translations. This collaborative article is designed to demonstrate, in a creative rather than an academic format, that the venerable lament tradition continues to enjoy longevity and vitality in the present day as a literary expression of grief among Gaels. This article further demonstrates that modern Gaelic laments are not constrained by a strict fidelity to literary rules but strive instead to work creatively within tradition while reaching their audiences in a relevant and resonant way. For each poem, the author offers a personal contextualization for his/her lament, which serves to explain the source of inspiration and demonstrates how the work draws upon and reflects its literary roots. In recognition of the strong oral tradition present within Gaelic poetry, this article includes an audio recording of each of the three authors’ laments.

Nature as a theme in Canadian literature

2005 ◽  
Vol 13 (4) ◽  
pp. 169-197 ◽  
Author(s):  
Kate Turner ◽  
Bill Freedman
Keyword(s):  
Native Species ◽  
Environmental Literacy ◽  
Natural World ◽  
Environmental Damage ◽  
Natural Ecosystems ◽  
Canadian Literature ◽  
Literary Expression ◽  
Nature Literature ◽  
Century Poetry ◽  
Literature Culture

The relationships of people with the natural world are expressed in diverse ways, including painting, photographs, sculpture, song, video, and literature. In this document, we review historical and contemporary portrayals of nature as a theme in Canadian literature. Our assessment is intended to explore how Canadians have articulated their feelings about nature through literary expression, and to thereby gain insight into their empathy for natural ecosystems and native species, and their concern about damage caused to those values. We begin with a broad overview of nature as a theme in cultural expression, including overarching ones in Canadian literature, and discuss the influential literary views of Northrop Frye, Margaret Atwood, and their critics. We then examine the expression of nature within seven focal areas: early aboriginal expression, narratives of explorers, stories of settlers, the genre of animal stories, 20th-century poetry, recent aboriginal literature, and environmental ideas in contemporary prose. We identify six dominant themes of the expression of nature in Canadian literature: (1) humans as a part of nature; (2) a bounty of natural resources; (3) fear of an adversarial wilderness; (4) improvement of nature; (5) regret of environmental damage and perhaps despair of the future; and (6) love and respect of species and natural landscapes. Finally, we discuss how nature as a theme embedded in Canadian literature can be harnessed to further the compelling objectives of environmental literacy by providing sympathetic insights into the relationships of people and society with the species and ecosystems with which they share Canada.Key words: nature, literature, culture, Canada, environmental literacy.

The Salafiyya and Sufism: Muhammad ‘Abduh and his Risālat al-Wāridāt (Treatise on Mystical Inspirations)

2007 ◽  
Vol 70 (1) ◽  
pp. 89-115 ◽  
Author(s):  
Oliver Scharbrodt
Keyword(s):  
Intellectual History ◽  
Reform Movement ◽  
Alternative Form ◽  
Reform Movements ◽  
Major Work ◽  
Literary Expression ◽  
History Of ◽  
Intellectual Formation ◽  
Intellectual Crisis

This article questions certain assumptions on the intellectual history of modern Islam and on one of the most influential modern reform movements, the Salafiyya. By looking at the Sufi origins of one of the main Salafī reformers, it relativizes the notion of an inherent anti-Sufism of this reform movement. The article examines how Muhammad ‘Abduh (1849–1905), the famous Egyptian reformer, converted to Sufism in his youth after experiencing a spiritual and intellectual crisis. The influence of his paternal great-uncle Shaykh Darwīsh al-Khādir and of Sayyid Jamāl al-Dīn al-Afghānī (1837–1897) on ‘Abduh's spiritual and intellectual formation will be investigated. In his youth, Sufism provided him with an alternative form of religiosity with which he could express his dissatisfaction with the representatives of mainstream Islam in his time. ‘Abduh's mystical inclinations found its literary expression in his first major work, the Risālat al-Wāridāt (Treatise on Mystical Inspirations), whose contents will be discussed in detail.

J. M. Coetzee’s Age of Iron and the poetics of resistance

2016 ◽  
Vol 52 (1) ◽  
pp. 70-83
Author(s):  
Eckard Smuts
Keyword(s):  
South Africa ◽  
South African ◽  
Political Struggle ◽  
Literary Expression ◽  
Aesthetic Autonomy ◽  
European Modernism

Since the beginning of his career, J. M. Coetzee’s writing has occupied an uneasy threshold between the literary ideals of European modernism, with its emphasis on aesthetic autonomy, and the demands of socio-historical accountability that derives from his background as a South African novelist. This article revisits one of Coetzee’s novels in which these tensions come to the fore most explicitly, namely Age of Iron, to argue that it is precisely from the generative friction that arises between these two opposing fields that his writing draws its singularly affective force. I begin by considering the agonistic relationship between transcendent ideals and socio-material demands that marks Coetzee’s account of the classic (“What is a Classic?: A Lecture”), describing it as a defining feature of his literary sensibility. The article then moves on to a reading of Age of Iron that focuses on the protagonist Mrs Curren’s efforts, in the midst of the violent political struggle in apartheid South Africa, to speak in her own voice. My thoughts conclude with the suggestion that Coetzee’s perennial staging of the conflict between a desire for autonomous expression and a socio-historical milieu that is indifferent to that desire can be read as an imaginative form of resistance, in the field of literary expression, to both the pressures of historical determinism and the dangers of postmodern insularity.

Fracturismul în câmpul literar românesc

Transilvania ◽  
2021 ◽  
pp. 1-18
Author(s):  
Mihnea Bâlici
Keyword(s):  
Social Reality ◽  
Literary Field ◽  
Cultural Expression ◽  
Literary Expression ◽  
History Of ◽  
A Priority ◽  
The Aesthetic ◽  
Revolutionary History ◽  
Contemporary Author

Fracturism proved to be the “spearhead” of the 2000 generation. The first and by far the most radical literary group formed after 1989, this promotion became the cultural expression of a difficult context in the post-revolutionary history of Romania. The aim of this study is to analyze the origin, the function and the effects of the Fracturist ideas proposed by Marius Ianuș and Dumitru Crudu in 1998. Most literary interpretations failed to capture the specificity of this promotion. This is due to the fact that the aesthetic program was never a priority for the Fracturists. It can be emphasized that Fracturism appeared in a specific set of historical, political, social, institutional and cultural circumstances. The present analysis aims to clarify the complex links between the difficult post-communist transition, the crisis of the Romanian literary field and the ostentatious literary expression of the new authors. In this regard, a certain performative dimension of fracturism can be theorized: the poets and prose writers of the new millennium will militate against a distressing social reality by changing the very role of the contemporary author.

U TRAGANjU ZA IZGUBLjENIM SMISLOM: „RAZBRAJALICA, OKTOPOD-PRIČA“ LASLA BLAŠKOVIĆA

Lipar ◽  
2020 ◽  
Vol XXI (73) ◽  
pp. 133-143
Author(s):  
Ivana Tanasijević
Keyword(s):  
The Novel ◽  
General Sense ◽  
Literary Expression

The paper aims to explore the genre specifics of the novel Counting-out Rhyme, Octopus-Story written by Laslo Blašković, as well as the semantic layers that were activated in this manner. By accepting the traditional genre of the novel, which was transformed in the direction of a counting-out rhyme and octopus-story, the novel is constructed as a formally unique, subjective literary expression. Building its narrative flow upon the destinies of different personalities, who built seemingly independent stories, the novel Counting-out Rhyme develops the idea of a single story. With each new destiny, the story gets its variant, so the figure of the octopus will become a metaphor of literature in the most general sense. The story, having lost its meaning due to countless repetitions, like a counting-out rhyme, will become a structure of sound and scream, while the need for narration will become a principle of self-preservation.

NIETSCHE'S CONTRIBUTION TO A PHENOMENOLOGY OF INTOXICATION

2000 ◽  
Vol 31 (1) ◽  
pp. 19-43
Author(s):  
Sonia Sikka
Keyword(s):  
Narrative Structure ◽  
The Self ◽  
Phenomenological Description ◽  
Literary Expression ◽  
Authorial Voice

AbstractThrough a reading of Nietzsche's texts, primarily of Thus Spoke Zarathustra, this article develops a phenomenological description of the variety of intoxication exemplified in conditions of drunkenness, or in states of emotional excess. It treats Thus Spoke Zarathustra as a literary expression of such intoxication, arguing against attempts to find a coherent narrative structure and clear authorial voice behind this text's apparent disorder. Having isolated the intoxicated characteristics of Thus Spoke Zarathustra - its hyperbolic rhetoric and emotions, its lack of balance, its injustice, its shifting and conflicting moods, and its self-contradictions - I then offer an interpretation of the work, and by extension of intoxication itself, in terms of Nietzsche's model of the self as a dynamic multiplicity of forces. At the same time, I argue for a multiple and dynamic conception of personality in general.

scholarly journals Sol T. Plaatje's paremiological quest: a common humanity in cultural diversity

2018 ◽  
Vol 55 (1) ◽  
pp. 149-165
Author(s):  
Khekheti Makhudu
Keyword(s):  
South Africa ◽  
Cultural Diversity ◽  
Driving Force ◽  
Common Humanity ◽  
Literary Expression ◽  
Political Beliefs ◽  
The North ◽  
The Social ◽  
Relationship Of ◽  
The Relationship

Having written and compiled from memory, over 700 Setswana proverbs when he was briefly resident in London, around the 1900s, Sol T. Plaatje exhibited unusual ethnographic knowledge and remarkable, creative translation skills in diaspora-like circumstances.  While most literary researchers attest to those achievements, few have been the theories that account sufficiently for Plaatje's multilingual proverb renditions. The view propounded here is that Plaatje's paremiological enterprise was probably never only an exercise of his polyglot abilities. Rather his quest appears to have been to assert the cultural similarities and convergences between African and European people's histories.  His socio-political beliefs propelled deep pride over his Setswana identity and became the driving force for highlighting the human bonds among nations of the North and the South. For Plaatje, seeing the overlaps and equivalences in and through the proverbs of the Dutch, English, French, Germans and the Batswana peoples, firstly validated orality as the bedrock of modern literary expression.  Secondly, the relationship of the two seemed to recapitulate the communicative connections among people and their languages, across time and space. Lastly, the paper makes the point that Plaatje's search for unity in the cultural diversity as exhibited in his 1916 Diane tsa Setswana collection and the 1924 A Sechuana Reader stories, provides instructive lessons that present-day South Africa would ill afford to ignore considering the social cohesion challenges the nation faces.

scholarly journals Az irodalmi többnyelvűség stilisztikai megjelenése Domonkos István: Kormányeltörésben és Tawada Yōko: A követ című műveiben

2020 ◽  
Vol 11 (2019/2) ◽  
Author(s):  
Julianna Nikolett Tóth
Keyword(s):  
Literary Criticism ◽  
Complex Form ◽  
Literary Form ◽  
Poetic Language ◽  
Literary Traditions ◽  
Literary Expression ◽  
Stylistic Device

Multilingualism in literature is a well-known and extensively studied phenomenon. Due to the effects of globalization, however, a new complex form of multilingualism has emerged among writers, which can be studied as a linguistically and culturally hybrid literary form. This linguistic hybridity is called exophony. This paper aims to conduct deeper research into this fairly new literary expression and its usage in contemporary literary criticism. First, we examine the etymology, meaning, and usage of exophony, then we analyze its effects on poetic language. The second part of this paper provides some concrete example of exophony as a stylistic device in Yōko Tawada’s The Emissary (献灯使, Kentōshi) and István Domonkos’s Rudderless (Kormányeltörésben). The study finds that – although Japanese and Hungarian have different writing and linguistic systems, and have very few common points in their literary traditions, – exophony shows more or less the same characteristics in both works. This finding provides additional ways to use exophony as a concept in literary discourses.

scholarly journals Reclaiming Histories/Rewriting Destinies: Mrs. Woolf and Orlando in Unearthing the Buried

2019 ◽  
pp. 123-136
Author(s):  
Milica Nenezić
Keyword(s):  
Literary Criticism ◽  
Stable Structure ◽  
Special Importance ◽  
Literary Expression ◽  
The Past ◽  
Feminist Literary Criticism ◽  
Strange Particles ◽  
The Future ◽  
Structural Theories ◽  
Living Creature

History is usually written by the winners; those who lose retain their own. The extent to which these differ and whether the differences affect the fate of mankind are all issues that require constant rendering and re-examination. The future confidently retains the answers, but do these answers change the circumstances? Can philosophy, feminist literary criticism or post-structural theories obscure the meaning of fiction? We are composed of strange particles that create our being and identity, which does not likely pave the way to our becoming true by solely ‘static’ existence, but by one that unites the past, present and the future. Such particles placed on the platform of literary expression sometimes have the character of a more permanent testimony to history, either written, or tobe-written. One figure, who struggled to raise our awareness and to remind us that the essay can represent a dialogue, that the reader carries special importance and a role in both the creation and reception of artistic skills, yet that language and meaning do not have a stable structure, was Virginia Adeline Stephen Woolf, who was rewriting and reclaiming both individual and common histories. Reflecting on the dilemmas and perplexities of both historical and fictional structural norms in literature, Mrs. Woolf unobtrusively portrayed an androgynous and ever-living creature in her novel Orlando, who seeks, among other feats, to re-evaluate the importance of witnessing and re-examining history

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