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„I Have Known Rivers”: Traumatic Memory and the Postcolonial Kunstlerroman: A Reading of Paule Marshall’s Triangular Road

100%
Fondo B.
Zagadnienia Rodzajów Literackich
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2013
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vol. 56/111 z. 1
25-38
EN
The kunstlerroman or „artist novel” unlike the related bildungsroman (novel of growth and development) has not received wide critical attention. Yet it may be interesting in the study of the novel to engage with sub-genres such as the kunstlerroman, especially since it traces the development of the artist, his/her arts and perspective. This paper is interested in exploring the kunstlerroman from a postcolonial viewpoint. Specifically, this paper focuses on how a memory of traumatic events and experiences contribute in the development of Paule Marshall’s artistic skill as expressed in her novel Triangular Road. It therefore engages with issues such as the place of individual and collective traumatic memory, the question of apprenticeship and how it is played out in the postcolonial variant of the kunsttlerroman. It is also focused on how different the postcolonial kunstlerroman is different from the European version and what explains this difference. The main argument is that Marshall’s Triangular Road is a postcolonial kunstlerroman which traces her growth and development to artistic maturity, guided by her apprenticeship and against a backdrop of intrusive memories of the traumas and pains of her people. Therefore it insists that the postcolonial artist unlike those of the colonizing countries is largely influenced and formed by a series of traumatic events whose memories are triggered by „trauma buttons” and which push them in the present to pick up their pens. It underlines the fact that there is a close relationship between trauma, memory and the artistic development of Paule Marshall as expressed in Triangular Road which this paper considers as the postcolonial kunstlerroman par excellence.
2

Romantic imagination in a comparative perspective: English and Slovak Romantic literature

88%
Pokrivčák A., Pokrivčáková S.
Journal of Language and Cultural Education
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2016
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vol. 4
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issue 3
288-298
EN
The paper discusses Romantic imagination in two, relatively distant, national literatures. The first part is concerned with the problems comparative literature has faced in recent decades. In the second part, the work of two Slovak Romantic writers, Ján Kollár and Janko Kráľ, is compared to the poetry of Lord Gordon Byron and William Wordsworth. By identifying certain affinities between the discussed literary works, the authors point to the importance of the concept of national literature which has not lost its role even in contemporary literary studies.
3
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The transformations of the Model Reader and the translation shifts

87%
Wilkos A.
Studia Europaea Gnesnensia
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2016
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issue 14
121-141
PL
The aim of this publication is to analyze the transformation of the Model Reader and translation shifts, using the example of three selected post-colonial pieces of writing, in Polish translation from Portuguese. An analysis of the shifts enables one to observe changes occurring between the Model Reader of the original and the Model Reader of the output text.
4
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The Fading Revolutionary Capacity of the Zombi. The Transformation of Zombis’ Symbolism in Haitian Literature as Exemplified by the Novels of Dany Laferrière and Yanick Lahens

75%
Poręba I.
Academic Journal of Modern Philology
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2023
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issue 19
271-282
EN
Zombis, unlike the zombies prevalent in American pop culture, function in Haitian culture as complex symbols with historically variable meanings – initially depicting the process of enslavement during the transatlantic slave trade, they increasingly became symbols of Haitian revolutions and resistance. This dialectical doubling of the meaning of zombis can still be found in Dany Laferrière’s novel Pays sans chapeau, published in 1996. The article reconstructs the origin of zombis, presents a discussion on the meaning of this figure, including dialectical views, and discusses their fictional depictions. The aim of the article is to investigate whether zombis still have a twofold symbolism in narrative, as symbols of both enslavement and revolutionary resistance. By considering the vestigial reminiscences of zombis in Yanick Lahens’ novel Douces déroutes, attention is drawn to the processes of gradual loss of zombis’ ambivalence and their importance as means of creating Haitian identity and everyday experience. According to the study’s conclusions, their absence (or their residual forms) in the novel of the second decade of the 21st century is as significant and interesting as their vitality and omnipresence in the works of writers of previous generations.
5
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Life as Fiction: the Autofictional Turn in Women’s Writing of the Maghreb

75%
Ali N. N.
Lublin Studies in Modern Languages and Literature
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2016
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vol. 40
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issue 2
DE
Der Band enthält die Abstracts ausschließlich in englischer Sprache.
EN
The twentieth century witnessed the birth of a feminine strand of autofictional writing coming from the ancient colonies, of which Fantasia: An Algerian Cavalcade, by the francophone Algerian writer Assia Djebar, and the Arabic Memory in the flesh, by the Algerian writer Ahlam Mosteghanemi, are emblematic. Whether it be in the Arabic or French language, the women writers of the Maghreb risked writing an autobiography in a culture that stresses the anonymity of women. The coming to writing for these women is often accompanied by a desire – or necessity – to revisit the collective past from a female perspective. For these women, literary writing also meant writing their stories on the palimpsest of dominant history, in order to carve their place in it. To fight the forced amnesia of historical discourse constructed by man, they must create works that give voice to the stories silenced by the totalizing male narrative. Djebar and Mosteghanemi both insist that the emancipation of women is possible only if the subaltern woman becomes subject not object of her story/history.
FR
Le numéro contient uniquement les résumés en anglais.
RU
Том не содержит аннотаций на английском языке
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