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Soumission de Michel Houellebecq en tant que roman décadent
Get PDFMichel Houellebecq’s Submission has been analysed as a novel of decadence in this paper. Referring to the works of Michel Winock, François Livi and Michel Onfray, it has been found that a decadent novel can be associated not only with the works of Joris-Karl Huysmans, Pierre Loűys, Jean Lorrain and others produced at the end of the 19th century but also at subsequent periods. Such characteristics of decadent writing as the threat of catastrophe, fundamental changes in society, nostalgia can be found in the analysed novel.François, the main character of the novel, an expert on Huysmans and a professor at Sorbonne University, supports Huysmans’ ideas to some extent trying to find the link between the end of the 19th century and the beginning of the 21st century by comparing processes in society. Huysmans sought an ideal in the Middle Ages, while François travels to Rocamadour, famous for the statue of the Black Madonna, with a hope to find a spiritual revelation but becomes aware that the world of the past has gone forever. Changes in society made Huysmans leave the monastery, similarly, François gets frustrated as he loses his job when the Muslim Fraternity comes into power.Using the dystopian genre, Houellebecq depicts unbelievable changes in society – the new government proclaims Islam an official religion of France. Society is governed by new rules, the authority is concerned about two things – demography and education. Those, who refuse to convert to Islam, lose their jobs. Changes in society are even linked with geopolitical changes. Meanwhile Houellebecq reveals significant differences between the decadence of the end of the 19th and of the 21st century. Huysmans’ decadence results in neuroses, a desire to seal himself off from the world in alcohol, drugs, etc., to surround himself with works of art, while François in Submission enjoys erotic pleasures, gradually becomes an alcoholic, he does not suffer like Huysmans’ protagonist Des Esseintes. It can be stated that Submission is a decadent novel only at thematic level since aesthetic values, characteristic of the decadence of the 19th century, are left in the background. The only justification of François is that he speaks about his conversion to Islam hypothetically, it shows that he has not made up his mind to take this step.L’article a pour but d’analyser „Soumission“ (2015) de Michel Houellebecq en tant que roman décadent. En basant notre analyse sur les travaux de M. Winock et de F. Livi, nous constatons que „Soumission“ adapte les traits du roman décadent de la fin du XIX siècle.Tout d’abord l’auteur compare les deux époques: la fin du XIX siècle et le début du XXI siècle. Il trouve que ces deux époques sont pareilles à cause du bouleversement qui règne dans la société. Le protagoniste de „Soumission“ François imite la vie de Huysmans dont l’oeuvre il avait analysé dans sa thèse du doctorat. Il a constaté que cet écrivain cherchait son idéal de la France au Moyen Age, mais François lui-même après avoir visité Rocamadour a compris que ses espoirs liés avec l’univers catholique sont perdus pour toujours.Houellebecq crée son roman comme une dystopie qui lui permet de montrer la catastrophe de la France quand la Fraternité musulmane gagne les élections. Mais dans „Soumission“ il présente seulement le niveau thématique du roman décadent parce que ses valeurs esthétiques restent pour lui au deuxième plan
Antikos žanrų transformacija: Kvadratas ir krikščioniškoji apologija
Get PDFQuadratus belonged to the second generation of Jesus’ followers. At the early stage of his life he was an itinerant preacher of the Gospel, also visiting Asia Minor in the course of his travels. It was there that he may have received information about the persons who had directly experienced Jesus’ beneficence. After he settled in Athens, Quadratus, just like other Athenian apologists, Aristides and, later, Athenagoras, was not part of the Church hierarchy, but, more likely, a free teacher. When Hadrian was visiting Athens, he was presented with an apology which should have provided the emperor with reliable information concerning the new religion. The paper suggests a hypothesis that the direct impulse to defend Christianity was the conflict between the Christians and the Athenian society on the issue of the Eleusinian mysteries.Quadratus’ apologetic opus, among other topics of which we have no knowledge, discussed the unique character of the miracles performed by Christ, comparing them to the deeds of the demigods or of the contemporary miracle-workers. It also (according Martyrologium of Bede the Venerable) discussed the nature of Christian food, emphasising its ordinary character. Just as the Letter to Diognetus, it probably suggested that the Christian way of life and customs were not different from those of other people.Straipsnyje iš naujo peržiūrimi vieno pirmųjų krikščionių apologetų – Kvadrato – šaltiniai, aptariami jo tyrimai. Ypatingas dėmesys skiriamas Bedos Garbingojo martirologo žinutei, kuri iki šiol nepelnytai ignoruojama
Literatūrinio kanono tyrimai: metodologinės gairės
Get PDFThe article presents for the Lithuanian audience an interdisciplinary approach of literary canon studies that integrates diverse methods of various disciplines (sociology of literature and culture, literary and cultural history, teaching of literature, text reception and aesthetic response history, memory and media research and bibliography studies). The most intense development of literary canon studies can be observed in Western Europe and the United States in the last decade of the 20th century. This was due to the fact that the scholars engaged in the field of postcolonialism, gender studies and neo-Marxism gave it a strong impulse by initiating a debate about insufficient representation of some social groups (women, racial or ethnic minorities and people from lower social strata) in high school curricula in the USA. The debate was expanded into theoretical polemics of whether the canon is formed by means of objective aesthetic criteria or, on the contrary, canon depends on the social contract. Methodologically, investigations of literary canon that are genetically related to the tradition of sociology of culture seem to be the most productive, while this perspective provides an apparatus for a detailed investigation of relations between specific interests of literary field and wider national, social or group interests.The framework of this article is based on the studies of John Guillory, Renate von Heydebrand and Simone Winko. Their essential starting point is the understanding of the canon as a sociocultural process in which the political elite selects a corpus of significant texts in accordance with tradition and formulates practices that ensure the transmission of those texts for future generations. Therefore, canon formation turns to be a strategy based on complex relations of evaluation, cognition and actions that aims to conserve this selected knowledge and transmit it to future generations. The structure of the canon is directly related to the notion of literature and literariness; a society (or its group) defines its canon by considering what they recognize as valuable.Unlike religious canons, which can only be constructed by theologians, there are a lot of canonizing institutions (schools, universities, literary criticism, theatre repertoire, book market, libraries, etc.) involved in the formation of literary canons. They do not create any well-balanced system of the canon but rather conduct diverse practices of canonization. We can distinguish a micro and macro level in the process of canon formation. The micro level contains a lot of separate actions of canonization that propel the canonization process which enables the canon formation at macro level. Origin, stabilization and transformation of literary canon are multidimensional processes, thus it is essential not to lose sight of the interaction of separate dimensions.Straipsnyje lietuvių auditorijai pristatomos svarbiausių šiuolaikinių anglakalbių ir vokiečiakalbių literatūrinio kanono tyrimų teorinės prielaidos, terminija ir analizės metodai. Nors įvade glaustai atpasakojamos kanono tyrimų ištakos, straipsnyje iš principo atsiribojama nuo preskriptyvinių kanono debatų problemikos (t. y. nėra sprendžiamas klausimas, koks turėtų būti kanonas) ir susitelkiama į teorinius kanono tyrimų aspektus. Iš gausios teorinės ir empirinės medžiagos stengtasi atrankos ir sisteminimo būdu rekonstruoti bendruosius šiuolaikinių kanono tyrimų metodologinius principus. Atsirenkant straipsnyje pristatomas literatūrinio kanono teoretikų įžvalgas, paisyta jų mokslinio naujumo ir konceptualumo, taip pat perimamumo ir cituojamumo vėlesniuose tyrimuose.Pirmame dėstomosios dalies skyriuje aptariama literatūrinio kanono specifika, palyginti su bibliniu kanonu, taip pat literatūrinių kanonų tipologija, vidinė struktūra, kanonų formavimo(si) principai ir kanonizacinės institucijos. Antrame skyriuje nagrinėjamos kultūrinės kanono funkcijos ir socializacija
Frau Avos Paskutinis teismas. Pirmosios vardu žinomos vokiečių poetės poemos vertimas į lietuvių kalbą
Get PDFThe present article offers an overview of several poems written by Frau Ava (1060–1127), a German poetess whose literary works are virtually unknown in Lithuania. Ava, an anchoress in Melk Abbey, is the first named German female writer, who broke ‘the deep silence of German literature’ lasting over a century (Stein 1976, 5). All poems attributed to Frau Ava are of religious character: Johannes ‘John the Baptist’ (446 lines), Leben Jesu ‘Life of Jesus’ (2418 lines), Antichrist (118 lines) and Jüngstes Gericht ‘The Last Judgement’ (406 lines), which make up an impressive biblical epic of 3388 lines. Leben Jesu, Antichrist and Jüngstes Gericht are found in the Vorau Manuscript dating the first half of the 12th century (Codex 276, 115va-125ra), whereas the Görlitz Manuscript (Codex A III. 1. 10), compiled in the 14th century but lost during World War II, contains the poem Johannes as well as the other poems mentioned above, excluding the epilogue of Jüngstes Gericht (lines 393-406).The article presents an overview of Frau Ava’s life and works as well as a Lithuanian translation of her poem Jüngstes Gericht, written in Early Middle High German (Ger. Frümittelhochdeutsch). The translation is based on Maike Glaußnitzer and Kassnadra Sperl’s text, published in 2014.Straipsnio dėmesio centre – Lietuvoje mažai žinomos vokiečių poetės Frau Avos (1060–1127) kūryba. Melko vienuolyne mirusi atsiskyrėlė – pirmoji vardu žinoma vokiečių poetė, savo kūryba nutraukusi „didžiąją vokiečių literatūros tylą“ (Stein 1976, 5). Visos Frau Avai priskiriamos poemos yra religinio pobūdžio: Jonas (446 eilučių), Jėzaus gyvenimas (2418 eilučių), Antikristas (118 eilučių) ir Paskutinis teismas (406 eilučių).Straipsnyje ne tik apžvelgiami Frau Avos tyrimai, skirti jos kūrybai ir asmenybei, bet ir pateikiamas vienos iš poemų, Paskutinis teismas, vertimas iš ankstyvosios vidurinės vokiečių aukštaičių kalbos (Frümittelhochdeutsch) į lietuvių kalbą
L’Histoire et l’identité selon Leïla Sebbar
Get PDFLeila Sebbar, since the beginning of her literary work, has been describing her identity experience connected with her mixed family origins: the writer’s father was Algerian and her mother French. This prevailing thread in her texts demonstrates the weight of the (re)construction of identity, frequently incoherent and delicate, in order to confirm her ethnic and cultural affinity.The author of this article is interested in problems, so close to the writer, of identity and history. The point of departure of the reflection on Sebbar’s attitude towards mother tongues of her parents is the analysis of her autobiographical novel “Je ne parle pas la langue de mon père” (2003). “We are not born with one identity, an identity is always gained, built”, maintains Sebbar and through this statement she confirms the role of the cultural baggage in the broad sense of the word, in the life of an individual coming from a culturally diversified environment. The questions of the ignorance of the Arabic language also lead the writer to define not only the picture of the individual family history but also common history, the history of the inhabitants of Algeria during the French colonization. The Seine Was Red: Paris, October 1961 (1999) is a story in which its author continues to exploit, tirelessly, the issue related to the history of its two countries: Algeria and France. For Leïla Sebbar, to return to the traumatic events of the massacre of dozens of Algerians in Paris on October 17, 1961 means to enter into incessant dialogue with the painful past. It seems that the writer’s will to confront the past is one of characteristic qualities of her works. In an original, far from stereotypical, way she tries to disclose errors and fights the oblivion and repression of uncomfortable events from history. The aim of the article is to analyze the non-stereotyped strategies that Sebbar uses to build his characters and to reflect on the modes of representations of History and identity.Née d’un père algérien et d’une mère française, Leïla Sebbar s’adonne, dès son premier roman, à raconter l’expérience d’une identité incertaine, à la croisée des cultures. En effet, l’œuvre littéraire de cette femme écrivain illustre à quel point il est important de (re)construire son identité, souvent fracturée et fragile, afin d’affirmer son appartenance ethnique et culturelle
Out of the Closet, into the World: The Power of Puppets in Jessie Burton’s The Miniaturist
Get PDFThe present paper examines the tropological significance of miniature figures in Jessie Burton’s novel The Miniaturist. By highlighting the ways in which the narrative’s figural system negotiates the structural and conceptual dichotomies of human/doll, object/thing, interiority/exteriority, authenticity/artificiality, and mobility/stasis, this reading of Burton’s novel attempts to show how the literary text rethinks the social life of things and the ambiguity of subject-object relations in the seventeenth-century Netherlands. Aligned with the commercial circuits of material culture, which underscore the moral ambivalence of the novel’s Dutch society, material objects are shown to exceed their decorative function and reveal their destructive purchase on human life.Pasitelkiant naujojo materializmo, daikto teorijos, Jurijaus Lotmano, Kennetho Grosso ir šiuolaikinės fenomenologijos samprotavimus apie medžiagiškumą bei subjekto ir objekto santykius, straipsnyje aptariama lėlės figūros reikšmė anglų rašytojos Jessie Burton istorinio romano Miniatiūristas (2014) tropologinėje sistemoje. XVII a. Amsterdamo visuomenės kontekste pagrindinės veikėjos lėlių namelis įkūnija kertines semantines įtampas, struktūruojančias pasakojimo dinamiką: išorė / vidus, žmogus / lėlė, daiktas / objektas, mobilumas / statiškumas, autentiškas / pseudo gyvenimas, gyvenimas / mirtis. Homologinio santykio tarp romano veikėjų ir daiktų ar dalykų išryškinimas analizėje leidžia daryti prielaidą, kad lėlės pasakojime veikia, viena vertus, kaip neautentiško gyvenimo tropas, liudijantis vartotojiškumo ir modernaus subjektyvumo genealoginę samplaiką, ir, antra vertus, kaip išmanaus medžiagiškumo (sapient materiality) figūros, kvestionuojančios subjekto / objekto dichotomiją Vakarų metafizinėje tradicijoje. Kitaip tariant, tiek žmonės, tiek lėlės Miniatiūriste gyvuoja daiktiškumo kontinuume, kurio reikšmės ekonomiją struktūruoja etiškai įpareigota santykiškumo ontologija (relational ontology)
А. А. Ахматова: русская и национальные литературы. Международная научно-практическая конференция (Ереван, 25–26 сентября 2019 г.)
Get PDFMaterials of the International Scientific and Practical Conference “A. A. Akhmatova: Russian and National Literature (September 25–26, 2019)”. Yerevan: Lusabac Publishing House, 2019. 494 p.А. А. Ахматова: русская и национальные литературы. Материалы Международной научно-практической конференции 25–26 сентября 2019 г. Ереван: «Издательский дом Лусабац», 2019. 494 с