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1

Темы памяти и возмездия в Надгробном слове В. Шаламова и в Колымской балладе В. Португалова

100%

Горбачевский Ч.

Acta Neophilologica

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2016

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issue 18/2

195-201

EN

This article discusses the themes of memory and retribution in documentary and literary texts (different genres) of two Kolyma inmates. The memory theme of the people tortured in “Kolyma planet” unites texts written by Shalamov and Portugalov. Both authors express similar thoughts in different ways, employing different genres and styles. Shalamov and Portugalov are convinced that these crimes, i.e., deaths of a great number of innocent people in Kolyma forced labour camps can never be forgotten, unpunished and treated as if the “facts never happened”.

2

Struttura e narratore ne I Promessi Sposi di Alessandro Manzoni

89%

Samir A., Salama R.

Romanica Silesiana

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2020

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vol. 17

138-150

EN

In the early 19th century, the Italian literature did not have a mature novel, as is known today. The Italian novelist, Manzoni, and his masterpiece The Betrothed, set a solid basis for the contemporary Italian novel; thanks to its’ narrative characteristics that helped the novelist in achieving different reformative goals, woven stupendously with fictional, historical and realistic threads. The main purpose of this study is to apply an analytical and thematic approach on the structure and narrator of the novel. Furthermore, the research aims to distinguish the main artistic characteristics adopted from the European historical novel. The study then focuses on analyzing the function of the anonymous author’s fictional frame and how it created a diversity in the narrative levels. The research also highlights the importance of the omniscient narrator, the strong relations between the narrator and the narratee, the different narrative perspectives, and finally the polyphony: techniques that enhanced the realistic dimension of the novel.

3

Narrator i czas w opowiadaniach Jorge Luisa Borgesa

88%

BIELAWKA M.

Stylistyka

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2007

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vol. 16

247-256

PL

The paper consists of two parts. The former is an attempt at showing the main idealistic theses related to time as presented by narrators in the short stories, especially in so-called metaphysical stories of Jorge Luis Borges, the outstanding Latin-American author. The theses are as follows: 1. The world, as well as time, are constituted by God; they emerge ex Divine aeternitate. 2. Time, as well as the so-called “real world”, are not fully real; they are phenomena. 3. The time of the materiał level of the world differs from the subjec- tive, psychic time. 4. Time is a necessary condition of entering the path of self-perfecting. 5. Even God cannot change past events, but He may allow us to change their interpreta- tion, or to “take the spell off”, due to personal expiation, among other things. The same concept of time is also expressed in Borges’ two essays: History of Eternity and New Re- futation of Time.The second part of the paper is devoted to the stylistic means involved in the presenta- tion of time. A certain vagueness and phenomenality of time and the world in Borges’ short stories are achieved by the following two means: mixing the levels of wakefulness and dreaming, and introducing the fictional, non-existing objects into the domain of the presented world. The specific aesthetic effects are obtained primarily by filling in the for- mal “scheme of time” with concrete events and by applying the “double” narration met- hod. In consequence, the double perspective of time is achieved.

4

Способи епізації лірики у творчості Василя Слапчука

88%

Chui S.

Studia Ucrainica Varsoviensia

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2017

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vol. 5

135-146

PL

This article reviews current basic methods of lyrics episation in the context of literary genres and forms evolution. The role of the poetry size accompanied by epic characteristics, such as diff erent descriptions, additional characters and plot elements are discussed. The study analyzes poetry peculiarities caused by narration, in particular, the narrator type and narrative. The author uses the narrator typology, proposed by W. Schmid. The poetry composition peculiarities related to the plot are defi ned. The article reveals the uniqueness of time and spatial relations and the function of descriptions and additional characters in poetry. It also investigates the infl uence of genres characters borrowed from traditional epic on the generic nature of poetry. The correlation of certain poetries with the genres of parables, fairy tales and fables are partially examined.

5

„Mit dem Spiele spielen“: Zum Erzähldiskurs in Adolf Muschgs Roman "Der Rote Ritter"

88%

Sośnicka D., Mutzbauer S.

Colloquia Germanica Stetinensia

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2013

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issue 22

141-160

EN

Muschg’s novel "Der Rote Ritter", which the author expressly described as a ‘play’ on Wolfram’s von Eschenbach verse-novel "Parzival". Thus Muschg, in his gigantic, emphatically post-modern novel, not only plays with the traditional medieval subject-matter by amusingly linking past and contemporary, archaic and modern – first and foremost he enhances his depiction of the Parzival story with reflections, which are both witty yet intended to be taken seriously, on narrative and its various possibilities, on reading and the role of the reader, and on the significance of literature in our contemporary world which is dominated by a variety of media.

PL

Artykuł analizuje różnorodne sposoby narracji i instancje narracyjne występujące w powieści Adolfa Muschga "Der Rote Ritter" (Czerwony Rycerz), którą sam autor określił mianem ‘gry’ ze słynnym rycerskim eposem "Parzival" Wolframa von Eschenbach. Bowiem w swym monumentalnym, postmodernistycznym dziele Muschg nie tylko doskonale bawi się średniowiecznym eposem, łącząc w dowcipny sposób przeszłość z teraźniejszością i archaiczność z nowoczesnością, lecz równocześnie wzbogaca swoją wersję historii Parsifala zabawnymi, choć niebłahymi refleksjami na temat narracji i jej wielorakich możliwości, a także na temat czytania i roli czytelnika, czy też ogólnie na temat roli literatury w dzisiejszym świecie, zdominowanym przez różne media.

6

Собака як спостерігач і свідок історії (за романом Вікторії Амеліної Дім для Дома)

88%

Polishchuk Y., Pukhonska O.

Poznańskie Studia Slawistyczne

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2021

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issue 20

143-157

EN

The authors of the article analyze one of the contemporary Ukrainian novels – Home for Dom (Дім для Дома, 2015) of Viktoria Amelina. Original feature of the plot is that protagonist and narrator of this work is dog Dom (Dominic). Writer, using an animalistic hero, has achieved not only a success between readers but she also has founded a new version for emotional rethinking of the past. The matter is that Viktoria Amelina tried to reveal the peculiarities of individual, family, city and national memory. Dog’s perception of the past in the novel is the author’s effort to replace accents from total estimates to relative and subtle ones. Different “faces” of memory is a value which writer shows in the examples of one Lviv family history. She combines all difficult and contradictory processes of the twentieth century – wars, genocides, repression, deportation, enslavement of man and people.

7

НАРАТИВНО-МЕНТАТИВНІ ОСОБЛИВОСТІ ЕСЕ ЕПІСТОЛЯРНОГО ТИПУ В СУЧАСНІЙ УКРАЇНСЬКІЙ ЛІТЕРАТУРІ (Листи з Києва С. Павличко)

88%

Шевченко Т.

Studia Ukrainica Posnaniensia

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2019

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vol. 7

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issue 2

183-192

EN

The article focuses on the narrative and mentative nature of S. Pavlychko’s Letters from Kyiv. It has been proved that the essay-letters in this collection grow into a thinking process and the narrator becomes a thinker. The narrative and mentative features become each other’s important components creating a full integrity. Such structure opens new opportunities for the essays as a discursive practice from the point of view of the communicative strategies in the works of the writers.

PL

Artykuł traktuje o narracyjno-mentatywnym charakterze Listów z Kijowa Salomei Pawłyczko. Wykazano, iż w esejach-listach tomu narracja przeradza się w rozważania, podobnie jak narrator - w myśliciela. Narratyw i mentatyw stają się podstawowymi składnikami struktury tekstu, uzupełniając się nawzajem i tym samym tworząc całość. Taka struktura otwiera nowe możliwości przed esejem z punktu widzenia strategii komunikacyjnych w twórczości pisarzy.

8

Ịzọn narratives: Nengi-Ilagha’s Condolences, and Okara’s The Voice and “Little Snake and Little Frog”

88%

Prezi G. s. T.

Academic Journal of Modern Philology

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2018

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vol. 7

131-140

EN

Beyond its definition as a story or an account of a sequence of connected events and experiences that is told or written in prose or poetry form in great detail and arranged in a logical sequence, or as the practice and art of telling stories, the narrative holds a special place of honour in the West African literary space. Although comparatively few are gifted in the art of story-telling, many often participate in listening. The griots, as these story-tellers or narrators are called in the countries that make up the Old Mali Empire, still wield some respect in modern times and often tell their stories in huge festival-like settings to the accompaniment of drums and tambourines. From the Senegambia in the West to Nigeria in the East, West Africa has produced literary giants in the narrative art form. Ousmane Sembene’s God’s bits of Wood(1960) and William Conton’s The African (1960) through D.T. Niane’s Sundiata: An Epic of Old Mali (1965) and Camara Laye’s TheAfrican Child (1953) to Chinua Achebe’s Arrow of God (1964) and J.P. Clark’s Ozidi (1966) all follow this narrative tradition. Ịzọn narratives consist of both the oral and written forms. However, this paper will focus on Bina Nengi-Ilagha’s Condolences (2002), Gabriel Okara’s The Voice (1964) and “Little Snake and Little Frog” (1992).

9

The Narrator’s Identity and the Pursuit of Trespassing Boundaries in Mary Shelley’s Frankenstein

88%

Filutowska K., University of Warsaw, Dr. Katarzyna Filutowska is a philosopher r. i. t. I. o. P.

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2016

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vol. 4

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issue 1

EN

The article focuses on the problem of the narrator’s and the author’s identity in Mary Shelley’s Frankenstein. According to Charles Taylor’s philosophy of subjectivity in order to have an identity we have to know what kind of good we would like to fulfil in our life. Such an orientation to the good (an orientation in moral space) and an endeavour after realizing this main value defines us as ourselves. In the paper it is argued that the pursuit of trespassing boundaries is constitutive to the narrator’s identity in the novel as it is such kind of an aim without which they could not have been themselves. It is also the key to the author’s identity. Through the medium of the stories of her male story-tellers she confronts her own demons, explores the territories of the subconscious beyond the bounds of understanding and depicts her struggle with the limitations she overcame as a woman in a patriarchal society and as a person who invented a new literary genre – science-fiction literature.

10

Dystopian and Utopian Omission of Discourse in Three Modern Robinsonades: Lord of the Flies, Concrete Island, The Red Turtle

76%

Gill P.

Porównania

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2019

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vol. 25

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issue 2

145-156

PL

Historia Robinsona Crusoe przedstawiona jest za pomocą narracji w pierwszej osobie częściowo napisanej w formie dziennika. Teksty kontynuujące tradycję robinsonady na ogół również przyjmowały podobną narrację, uwypuklając w ten sposób kwestię autorstwa, władzy nad tekstem i dominacji językowej. Niniejszy artykuł skupia się na tych robinsonadach, w których nie zastosowano wyżej opisanej techniki, co pozwoliło wyeliminować metanarrację i intradiegetycznego narratora. Celem jest ustalenie powodu takiego zabiegu na przykładzie trzech nowoczesnych robinsonad: Władcy much Williama Goldinga (1954), Wyspy J. G. Ballarda (1974) i filmu animowanego Michaela Dudok de Wita pod tytułem Czerwony żółw (2016).

EN

The story of Robinson Crusoe comes to us in the guise of a first-person narrative based in part on a diary. Successor texts have traditionally adopted the same narrative situation, exploiting it in order to foreground ideas of authorship, textual authority and linguistic dominance. This essay pays particularly close attention to those Robinsonades that have not followed this pattern and have instead opted to omit meta-narration and intradiegetic narrator figures. It considers to what ends this is done in three modern Robinsonades: William Golding’s Lord of the Flies (1954), J. G. Ballard’s Concrete Island (1974), and Michael Dudok de Wit’s animated film The Red Turtle (2016).

11

O właściwościach narracji filmowej

75%

Hendrykowski M.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2018

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vol. 23

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issue 32

EN

The aim of the article is to present a synthetic conception of film narrative both in the theoretical and practical context. The author considers the subject in terms of film theory and history. He also examines features of film narrative by using both the synchronous and diachronic method.

12

The Dyadic Narration (Second-person Narration) in the Short Story The Ontology of Childhood by Viktor Pelevin

75%

Ochniak M.

Slavia Orientalis

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2022

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vol. LXXI

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issue 3

13

Lingual‑communicative Reasons of Identifying Narrators in Vladimir Nabokov’s Novel Invitation to a Beheading

75%

Batsevych F., Бацевич Ф.

Slavia Orientalis

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2022

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vol. LXXI

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issue 1

14

Exploring Hidden Narrative Elements through a Close Reading of Vasily Grossman’s Short Story ‘The Life of Il’ya Stepanovich’ (1935)

75%

Ferrandi P.

Academic Journal of Modern Philology

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2023

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issue 19

37-47

EN

The subject matter of this paper concerns the early phase of Vasily Grossman’s literary career in the mid-1930s. Prior to this period, the author proved his ability to evaluate the mechanisms of censorship and developed his understanding of what was publishable and what could be sanctioned through the publication process of his first novel (Bit-Yunan, Fel’dman 2019). The research material selected for this paper is the lesser-known short story Zhizn’ Il’i Stepanovicha [The life of Il’ya Stepanovich], published in 1935, and the aim is to provide a close reading and an interpretation key to this text. In order to expose the hidden ambiguity of the short story, the chosen research perspective includes a focus on the function of the protagonist as an entity that does not legitimise the socialist myth; a narratological approach on the use of proper names, on “perspective” and the role of the narrator with regard to the axiological structure of the text.

15

Voice Management In The Mawlid By Mirza Safvet-Beg Bašagić

75%

Bulić H.

Slavica Lodziensia

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2017

|

vol. 1

EN

Mawlid is a poetic literary work about the birth and life of the Muhammad, the Messenger of God. Mawlid by Mirza Safvet-beg Bašagić is one of the most signifi cant mawlids written in the Bosnian language. The text of the Mawlid is analyzed from the perspective of literary pragmatics. The paper takes into consideration the relationship between the author and narrator in the text and voice management in the Bašagić’s Mawlid.

16

Césure et sublime

75%

Bieńczyk M.

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

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2019

|

issue 8

327-331

EN

Having written The Joke, Kundera changed the modus vivendi of the novel’s narrator who, with time, became a separate protagonist. This is connected with the appearance of the ellipsis as the main plot device, which is not yet present in The Joke. This change in the way of narrating represents another and, perhaps, a deeper dividing line in Kundera’s writing than switching to another language (from Czech to French), the change of the setting (from Czechoslovakia to Western countries) and the change of the political system (from communist to ‘imagological’) as an instrument of oppression.

17

Prowadzeni światłem

63%

Hasiuk M.

Kultura i Społeczeństwo

|

2012

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vol. 56

|

issue 2

105-126

EN

In the play 11 & 12, based on Amadou Hampate Bâ’s story A Spirit of Tolerance: TheInspiring Life of Tierno Bokara, Peter Brook has used a narration about the past to confront the problems of the contemporary world and the nature of inter-human conflicts. In the mosaic form of the performance he has combined reference to the Elizabethan theatre and the African griot tradition with inter-cultural exploration and Japanese essentialist minimalism. He has intensified the Platonic principle of nature’s duality, which was familiar to the Elizabethans, by confronting it with the Sufi tradition and weaving it into the performance’s structure and spatial construction. The sense of sight (in the physical and spiritual sense) and the proper way of seeing, as well as the related experience of (spiritual) light, which are made into themes of 11 & 12, are indicators of the play’s evangelical message.

18

The factors that influence the perceptibility of Free Indirect Speech

63%

Leskiv A.

Lingwistyka Stosowana / Applied Linguistics / Angewandte Linguistik

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2010

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issue 2

145-150

EN

The aim of the article consists of defining the indices of Free Indirect Speech on a lexical level which detect it in the body of a text as a distinguished type of represented discourse. The lexico-semantic peculiarities of Free Indirect Speech are analysed in fiction, in particular, in the genre of short story. Throughout, the illustrations are drawn from W.S. Maugham's short story "Outstation". It is typical of the writer to give a detailed description of the narrator himself and the circumstances of the narration. The narrator penetrates into characters minds, explores their thoughts. Such a manner of narration brings about numerous examples of FIS. The examination of the lexical peculiarities of FIS verifies the notion of FIS as a peculiar type of discourse; it is an authentic style that serves to convey the message in its special way.

19

Author, Narrator, and Literary Character:A Study of Xenophon’s "Anabasis"

63%

Hajduk J.

Classica Cracoviensia

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2013

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issue 16

45-62

EN

The article discusses Xenophon’s Anabasis. Its main aim is to present some new research perspectives for Classical Studies. It analyzes such aspects of Xenophon’s opus as author, implied author, narrator, narratee and narrative, as well as literary character and the human context. The article is a sort of introduction to narratological studies, concerning classical narrative texts, which has not so far been thoroughly tested for its inner structure.

20

Секс і кохання у ґендерному вимірі

63%

Bарикаша М.

Miscellanea Posttotalitariana Wratislaviensia

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2014

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vol. 2: Postkolonializm — tożsamość — gender. Europa Środkowa, Wschodnia i Południowo-Wschodnia

191 - 200

EN

In the present paper the discourse of sexuality in writers’ diaries of the 20th century is presented: how the authors wrote about love and passion, what the difference between masculine and feminine discourses was and what influenced the forming of these discourses. It was proved that women, due to their depressed sexuality in patriarchal society, perceived sexual attraction as a display of love and endowed it with mysticism which included the desirable and the forbidden, whereas men separated love from passion, wrote openly about sex, had a disrespectful attitude to their mistresses and tried to humiliate women who refused them.

Refine search results

Темы памяти и возмездия в Надгробном слове В. Шаламова и в Колымской балладе В. Португалова

Struttura e narratore ne I Promessi Sposi di Alessandro Manzoni

Narrator i czas w opowiadaniach Jorge Luisa Borgesa

Способи епізації лірики у творчості Василя Слапчука

„Mit dem Spiele spielen“: Zum Erzähldiskurs in Adolf Muschgs Roman "Der Rote Ritter"

Собака як спостерігач і свідок історії (за романом Вікторії Амеліної Дім для Дома)

НАРАТИВНО-МЕНТАТИВНІ ОСОБЛИВОСТІ ЕСЕ ЕПІСТОЛЯРНОГО ТИПУ В СУЧАСНІЙ УКРАЇНСЬКІЙ ЛІТЕРАТУРІ (Листи з Києва С. Павличко)

Ịzọn narratives: Nengi-Ilagha’s Condolences, and Okara’s The Voice and “Little Snake and Little Frog”

The Narrator’s Identity and the Pursuit of Trespassing Boundaries in Mary Shelley’s Frankenstein

Dystopian and Utopian Omission of Discourse in Three Modern Robinsonades: Lord of the Flies, Concrete Island, The Red Turtle

O właściwościach narracji filmowej

The Dyadic Narration (Second-person Narration) in the Short Story The Ontology of Childhood by Viktor Pelevin

Lingual‑communicative Reasons of Identifying Narrators in Vladimir Nabokov’s Novel Invitation to a Beheading

Exploring Hidden Narrative Elements through a Close Reading of Vasily Grossman’s Short Story ‘The Life of Il’ya Stepanovich’ (1935)

Voice Management In The Mawlid By Mirza Safvet-Beg Bašagić

Césure et sublime

Prowadzeni światłem

The factors that influence the perceptibility of Free Indirect Speech

Author, Narrator, and Literary Character:A Study of Xenophon’s "Anabasis"

Секс і кохання у ґендерному вимірі