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О пасторальности в творчестве Пятраса Цвирки
Get PDFThe article is devoted to the exposure and description of indications of pastoral figurativeness in Petras Cvirka’s literary works. In the author’s of this article opinion, the landscape description, pastoral chronotop, bucolic image, musical component have the character of semantic factors in some writer’s stories and the novel. These indications of pastorality not only organize the artistic world of Cvirka’s prose, but also demonstrate the stability and actuality of European pastoral traditions at the turning-point of history and convert his literary works from the tendentious field of urgent for his time ideas in the sphere of common to all mankind ontological meanings.В статье рассмотрен пасторальный подтекст прозы литовского писателя Пятраса Цвирки, который, с точки зрения автора статьи, основан на прочном фундаменте европейской традиции и окрашен национальной (литовской) спецификой. Выделены несколько составляющих отдельных прозаических произведений Цвирки – пейзажность, пасторальный хронотоп, буколическая образность, музыкальный компонент
Migrantės motinos tapatumas Betty Quan dramoje "Gimtoji kalba"
Get PDFThe article explores maternal subjectivity of a migrant mother as portrayed in the play Mother Tongue by the Canadian playwright of Chinese origin Betty Quan. It argues that by reproducing home through embodied practices, such as speaking Cantonese to the exclusion of English to her children, the mother works against the dissolution of her identity, but due to the cultural and personal trauma, becomes fixated on that identity essentially belonging in the past and is only able to face the challenges of the present (such as acknowledging the needs of her growing children), when the set ways of family dynamics is disrupted. The development of her mother’s subjectivity is considered using theoretical models developed by gender and migration theorist Irene Gedalof and psychoanalyst Julia Borossa. Gedalof claims that the repetition of the same cultural rituals performed by migrant mothers is not an act of reproducing sameness, but rather a dynamic process that creates difference and produces rather than reproduces identities. Borossa argues that the mother tongue is always already lost to all humans. For her, becoming a fully formed subject involves accepting the loss of the childhood language and acquiescing to speaking a different language – be it a foreign language or the native tongue that has developed since childhood. It follows, that a fully developed migrant mother should be able to accept that she as a mother and her mother tongue can never coincide and resign to speaking a foreign language to her children whilst keeping her native tongue as memory-trace. In the case of the mother in Quan’s play, her fear of annihilation by her children’s voices in foreign English originates from her not having come to terms with the separation from her mother tongue, which is symbolically contained in her infantile fixation on and identification with the traumatic past together with the language of the past. However, the end of the play opens up a window of hope. In conclusion, the biggest challenge for a migrant mother in Mother Tongue is developing a common identity with her children who feel foreign to her. The play suggests that this can be achieved by passing on the mother’s cultural identity onto the children through ritualistic practices of which speaking the mother tongue is an importantn component, but also opening up to the children’s cultural difference by learning the language of their socialisation and the dominant culture thus establishing a more mature and empowered maternal subjectivity and capacity for more adequate mothering.Straipsnyje analizuojama anglofoniškosios Kanados rašytojos Betty Quan drama Gimtoji kalba (Mother Tongue), siekiant panagrinėti kalbos ir tapatumo, šiuo atveju motinos tapatumo santykį ir išsiaiškinti, kaip motinos subjektyvumo tapsme dalyvauja, kokias funkcijas atlieka vaikų auginimo (mothering) kalba gyvenant motinai svetimoje kalbinėje aplinkoje. Pjesėje kuriamas motinos tapatumas analizuojamas pasitelkiant lyčių studijų specialistės Irene Gedalof feministinę migracijos teoriją ir psichoanalitines Julijos Borossa’os gimtosios kalbos bei Cathy Caruth traumos teorijas. Teigiama, kad motinos užsispyręs kinų kalbos vartojimas anglų kalbos sąskaita yra teigiama praktika, padedanti išsaugoti asmenybės vientisumą, tačiau dėl asmeninės ir kultūrinės traumos virsta destruktyvia jėga, kliudančia tolesniam motinos subjektyvumo vystymuisi. Daroma išvada, kad šioje pjesėje atskleidžiamas svarbus iššūkis užsienyje vaikus auginančioms motinoms – gebėjimas sukurti bendrą tapatumą su vaikais, jiems perduoti dalį savo kultūrinio ir kalbinio tapatumo, bet kartu susikurti naują migracinį daugiakalbį tapatumą, kuris būtų atviras vaikų gyvenamai kultūrai, priimtų ją, išmoktų jos kalbą, sugebėtų suvokti toje kultūroje gyvenančių vaikų poreikius ir juos patenkinti
Физическое, юридическое, значительное лицо в гетеротопии власти (Шинель Гоголя в свете теорий Мишеля Фуко)
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„ICH FORDRE SO VIEL FREIHEIT UND MUSSE, ALS NÖTIG IST, ÜBER MICH SELBST, ÜBER MEINE BESTIMMUNG UND MEINEN WERTH ALS MENSCH ZU DENKEN“.1 ZUR KUNST- UND FREIHEITSKONZEPTION BEI KARL PHILIPP MORITZ
Get PDFIn 1786 in Rome, Johann Wolfgang Goethe wrote about him: “He is my younger brother; we art cut from the same mould. However, fate was against him, whereas I was fortune’s favourite.” He meant Karl Phillip Moritz (1756-1793), a German writer and art critic, Greek mythology historian, precursor of modern psychology and the author of psychological novel. If we assume that Goethe’s comments concern Moritz’s material and social status only, we would have to admit that Goethe was right. However, if we apply these judgments to the quality of his (Moritz’s) works, we would be inclined to saying that in this case the great Goethe was wrong. In his aesthetic, Moritz is far more interesting and progressive than his “elder brother”; in his literary criticism – more consistent than Schiller, and in perceiving society and politics – more radical than Kant. This article is mainly on key concept regarding Moritz’s aesthetic works: the concept of beauty and its functionalism. Definition of “the work of art” as a closed, specified unity enables Moritz to get out of the frame of aesthetics itself and to enter the sphere of politics. Moritz liberates man from the restraints of utility and treats him as a noble individual who possesses the artistic value in himself
DIE AKADEMIE IM ZEITALTER DER GLOBALISIERUNG: ZUR ROLLE VON LITERATURUND KULTURWISSENSCHAFTEN
Get PDFThis paper engages with the scholarly discussion of the process of globalization and how they relates to changes in our discipline. The first problem is the fact that most of the scholarly literature on globalization originates from the social sciences and it is unclear how this body of scholarship transfers to what we are doing, i.e., how it relates to aesthetic issues and the understanding and critique of cultural practices. It is one thing to describe the portrayal of contemporary culture with its emphasis on consumer goods and material processes of exchange in contemporary literary texts, thematically so to speak, and it is quite another to engage with the concept of globalization on a structural level. What does a discipline of literary and cultural studies look like that has a refined understanding and critical engagement with globalization as a process that characterizes contemporary societies worldwide, not one that is simply borrowed from the social sciences and then tested on literary texts? What are the main topics of such a newly realigned discipline and what are its methodological premises? German Studies in a globalized age is an endeavor that highlights the negotiation of cultural values on a local level in a global context. Literary and cultural studies in a global age should focus on what they do best, i.e., describe the functioning of aesthetic structures. The national literatures need to shift their focus from a nationalist philological agenda to a more global arena, not to be confused with traditional comparative literature that presumes the existence of different nationalist agendas that then can be compared. Literary and cultural studies in a global and digital age must be expansive and situate its regional focus within global concerns on a thematic as well as a structural level...