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Revisiting Noah’S Ark in Julian Barnes’ A History of the World in 10 ½ Chapters

100%

Muthu L.

Romanian Journal of English Studies

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2014

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vol. 11

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issue 1

98-102

EN

Considering that intertextuality is the text’s property of being connected to other previous texts, Julian Barnes’ novel, “A History of the World in 10 ½ Chapters”, rewrites the Biblical story of Noah’s Ark. Besides the narration accounted in the Bible, new elements are encountered here: e.g. the Ark wasn’t a simple vessel, but a small fleet; Noah butchered the animals from the Ark, animals selected initially to be saved from the Deluge; the woodworms, creatures that symbolize decay, were also present on the Ark, etc. Then, new versions of the Biblical story, all having connections with Noah, the Ark and the Sea are present. Therefore, Julian Barnes fructifies Noah’s story, readjusting it to other spaces and historic times.

2

Alegorie Zagłady w „Tworkach” Marka Bieńczyka i „Wieku 21” Ewy Kuryluk

84%

Tomczok M.

Prace Filologiczne. Literaturoznawstwo

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2016

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issue 6(9)

157-170

EN

This article is a combination of Robert Scholes and Walter Benjamin’s conception of allegory and the review of its role in the postmodern novels about Extermination. The author assumes that Scholes’s conception is a supplement to Benjamin’s conception adopted by Marek Bieńczyk and compares certain excerpts of the essay entitled Melancholia. About those who never find the loss, which are related to Benjamin’s allegory, with novels Tworki and Age 21. They include classical allegories which may be found in Cesare Ripa’s Iconology, as well as identity allegories connected with Jewish characters of the prose hiding on the Aryan side during the war or with the act of concealing their identity after the war. The allegory in novels by Bieńczyk and Kuryluk becomes the most important, yet not seen before, rhetorical figure.

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Lav Diaz, rewolucja i czas mesjański

84%

Loska K.

Kwartalnik Filmowy

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2023

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issue 123 Tempo i rytm

6-24

PL

Przyjmując założenie, że rewolucja jest wydarzeniem apokaliptycznym, czyli świeckim wariantem religijnego mesjanizmu (Leszek Kołakowski), autor przygląda się obrazowi antykolonialnego buntu w filmie Lava Diaza Kołysanka do bolesnej tajemnicy (Hele sa hiwagang hapis, 2016). Punktem wyjścia jest tu hipoteza o pokrewieństwie mesjanizmu z radykalnymi ruchami społecznymi w krajach zależnych (Vittorio Lanternari, Eric J. Hobsbawm) oraz koncepcja historii w ujęciu Reynalda C. Ileta, który w książce Pasyon and Revolution zwrócił uwagę na konieczność namysłu nad materiałami pomijanymi w oficjalnej narracji – jak wiersze, pieśni, powieści, listy, podania ludowe – ponieważ pozwalają one na zrozumienie zdarzeń politycznych. Głównym pojęciem operacyjnym w analizie filmu Diaza jest kategoria czasu mesjańskiego, czyli rozszczepionego, który rozbija linearność i przyczynowość, zakłada współistnienie przeszłości niekoniecznie prawdziwych (Gilles Deleuze) oraz sprawia, że nie sposób odróżnić tego, co realne, od tego, co wyobrażone.

EN

Assuming that the revolution is an apocalyptic event, a secular variant of religious messianism (Leszek Kołakowski), the author of the article looks at the image of anti-colonial rebellion in Lav Diaz’s Lullaby to the Sorrowful Mystery (Hele Sa Hiwagang Hapis, 2016). The starting point is the hypothesis of the links between messianism and radical social movements in subaltern countries (Vittorio Lanternari, Eric J. Hobsbawm) and the concept of history as presented by Reynald C. Ileto, who, in his book Pasyon and Revolution, emphasized the need for considering materials omitted in the official narrative, such as poems, songs, novels, letters, and folk tales because they allow us to gain a better comprehension of political events. The central operational concept in the analysis of Diaz’s film is the category of ‘messianic’ or split time, which breaks linearity and causality by assuming the coexistence of pasts that are not necessarily true (Gilles Deleuze) and making it impossible to distinguish what is real from what is imagined.

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Revisiting Noah’S Ark in Julian Barnes’ A History of the World in 10 ½ Chapters

Alegorie Zagłady w „Tworkach” Marka Bieńczyka i „Wieku 21” Ewy Kuryluk

Lav Diaz, rewolucja i czas mesjański