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In the beginning there will have been violence: justice and law. The brothers Karamazov by Fyodor Dostoevsky
No full textThe realistic novel "The Brothers Karamazov" raises critical questions about modernist poetics, which refer to questions of religion, justice, law, and order within the narrative. They are interpreted both on the universal and the individual conceptual level, making the novel a complex system of narrative sequences. In the sequence related to the character of Ivan Karamazov, questions of fiction within fiction, writing and creation, repetition of the roles of the author and spectral characters in the story and the character of Ivan Karamazov are raised. These questions are modernist-critical and it is the intensity of their appearance that is referred to here. Modernism establishes the problematic situation of art itself, placing in the form of a meta quality, not only the question of artistic quality but also the field it belongs to in the foundations of the works of art themselves. The question raised is rooted in the basic meaning of literature. Literary forms bend self-referentially towards themselves, in order to twist anew and express reality. Modernist works ask readers whether all literary themes are legitimately literary or whether literature can deal with "any" topic. These questions have arisen since art has self-referentially bent towards the entirety of culture and art, and all the various questions raised in specific scientific fields. Therefore, it is sometimes said that literary works are, for example, philosophical, psychological. However, that refers to the entire literary order, whereas in the stated narrative the questions are so complex and the question of the literary status itself is entwined with their complexity
The Image of Egyptian Women in Taha Hussein’s Novels
No full textУ раду се анализирају романи Тахе Хусеина који говоре о животу у Египту с краја XIX и почетка XX века. У овим делима, која припадају ангажованој књижевности арапског културног препорода, описује се психологија људи египатске провинције. У фокусу истраживања наћи ће се женски ликови, њихов менталитет и положај у друштву. Кроз своје женске ликове, писац износи одређене феминистичке ставове, осуђује однос конзервативног египатског друштва према женама и истиче значај образовања у њиховој даљој еманципацији. Ова страна Хусеиновог стваралаштва до сада није довољно осветљена у нашој оријенталистици.The paper analyzes Taha Hussein’s (Ṭāhā Ḥusayn, 1889–1973) novels, which
all belong to the engaged literature of the Arab cultural renaissance (al-nahḍa). His
novels reveal the psychology of the people in the Egyptian provinces in the late 19th
and early 20th century, while calling for social, intellectual and religious reform. Our
analysis was focused on Hussein’s female characters and their sociocultural status.
Taha Hussein was surprisingly interested in women’s lives. Speaking through his
female characters, Hussein expresses his feminist views, criticizes the attitude of the
conservative Egyptian society towards women, and emphasizes the importance of
education in their further emancipation. Along with his well-known autobiography
The Days (al-Ayyām, Vol. 1, 1929; Vol. 2, 1939; Vol. 3, 1967), we have analyzed those
of his novels that depict Egyptian life: The Call of the Curlew (Duʻā’ al-karawān,
1934), A Man of Letters (Adīb, 1935), The Tree of Misery (Šağara al-bu’s, 1944) and
his newly re-discovered novel, The Sheikh’s Proposal (2017), which has thusfar been
poorly studied. In Hussein’s well-known autobiography, The Days, and his semi-autobiographical novel, A Man of Letters, there are only some sparse and haphazard mentions of Egyptian women’s life and their sociocultural status. However, we
found these two works worthy of analysis, as they enable us to better understand
the women’s role in the Egyptian social and cultural milieu. The rest of Hussein’s
novels is of feminist significance par excellence, as it is most interested in the lives
of women, to whom Taha Hussein has been very sympathetic. The Call of the Curlew
is is a poetic and romantic story about a broad-minded girl who revolts against the
practice of murdering women for having premarital sex. The Tree of Misery deals
with both men and women, but it seems that its compassion is primarily reserved
for the misery of its female characters, who are subject to arranged marriages and
polygamy, while their lives highly depend on male family members and religious
authorities. The Sheikh’s Proposal addressed a woman’s right to education, freedom
of thought, life and marriage. Hussein’s non-Egyptian novels are also mentioned, as
they put emphasis on female characters as well
Асоцијативни речници као извор за истраживање транзиционих промена у руском и српском друштву краја XX и почетка XXI века
No full textThis essay deals with the analysis of the content and the structure of the associative fields of lexemes from the semantic field “politics and society” in Russian and Serbian languages on the material of associative dictionaries. The aim of this study is the reconstruction of the notions of the political changes in the consciousness of both language speakers. The results are set in correlation with the recent sociological studies of the transition in Russian and Serbian society. The analysis we conducted here shows the com-patibility of the picture of society due to political changes in the language consciousness of the contemporary speakers of Russian and Serbian language with the findings obtained by sociological methods. The attitude towards the new, transitional society and the values on which it is based is mostly negative, judging by the structure and content of AF of lexemes from the sphere of politics, especially among Serbs, where it is more negative, more emotionally and expressively marked than among Russians. Also, there is greater dissatisfaction with the situation in the country among Serbian re-spondents, however, nostalgia and reflection about the past can be noticed among speakers of both languages
Srpska književnost u Kanadi - Ćuk Maja: Kultura, nacija i naracija - književnost srpske dijaspore u Kanadi, Alfa BK Univerzitet, Beograd, 2020
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The imperative denoting finality in contemporary Serbian
No full textThe paper syntactically and semantically analyzes the constructions of the doubled imperative in which the second imperative has a final meaning only recognized in the latest syntactic literature, which is confirmed by the substitution of the imperative by the final infinitive and the final da-present-tense clause which is always possible, such as: Idi kupi /-> kupiti / da kupis] novine. The basic question to be answered in the paper is: how, and in which syntactic-semantic conditions, is it possible that two finite verb forms separated neither by conjunctions, nor by punctuation, form a very specific asyndetic construction which is subordinate in its semantic status, and whose only conjunctive equivalent syntactically is a coordinated copulative sentence. In the conducted analysis the characteristics of doubled imperatives, unseparated or separated by commas were interrelated. Doubled comma-separated imperatives represent asyndetic copulative sentences. Thanks to the semantic correlation of imperative verbs, these sentences represent a special semantic subtype of copulative sentences: independent asyndetic and/or syndetic copulative sentences with final meaning (e.g. Dodi, jedi / Dodi i jedi). The meaning of finality is thus, within an independent compound sentence, only a subtype of copulative meaning. The constructions of doubled imperatives not separated by commas represent a unique case of structurally subordinated constructions in the Serbian language. They are structured as dependent syntagms, since the second imperative performs the function of an adverbial complement or goal determination, just as the one the semantically equivalent final infinitive does, too. These constructions are synonymous constructions with three imperative particles: hajde, daj and de(der), due to the fact that these particles appear in the meaning of the imperatives idi, podi, dodi and the like (cf. Hajde / daj / deder donesi vode -> Idi / podi / kreni donesi vode). Having in mind that imperative particles form a compact intonation unit with the imperative verb following them, then there is no justification to separate the imperative particle from the verb in the imperative with a comma in writing. Since imperative particles are pragmatically synonymous with basic verbs of movement - this equivalence is also transferred to writing: no comma or any other punctuation mark is placed between the doubled imperatives. It is this fact that enables the final interpretation of the second imperative in the constructions of the doubled or reduplicated imperative. And its final meaning is confirmed by the possibility of substitution by a final infinitive and/or a final da-present-tense clause without changing the meaning of the utterance
Teleological fictions: Making up the ends of a networked course
No full textLike any fiction that is "something made or fashioned" (Clifford & Marcus, Writing culture. Berkeley/Los Angeles/London: University of California Press, 1986, p. 6), a course is also a fiction, a narrative created by the people involved. It consists of an idea, a message, or a goal, and the knowledge and skills that are needed in order to achieve it. Except that for the goal of a course to be achieved-for something to be learned-students must be willing to go along with the arc of a course, to reach that goal. So, it may be posited that learning is realized only by taking a leap of faith, by accepting that there is a purpose to the journey: this is the telos. But this chapter is also about how to wrap up a networked course, which is another way of saying how to conclude a dialogic experience. If a course, by its nature, outlines the realization of a project or goal, this project or goal must be kept in mind, instructionally as well as reflectively and reflexively, at all times, since the goal determines the action. However, it is not an end unto itself, or it would signify the end of learning. If a networked course realizes its goal, it is a scaffold, a productive apparatus that is built on dialogic exchange and can be carried over to new contexts and situations. So, we propose a telos that is both one of closure and one of beginnings: involving both formal evaluation as well as a sustainable, ongoing praxis of reflective and collective questioning-of both teachers and students
On the notion and delineation of the term 'causative verb' in contemporary Norwegian
No full textThis paper is concerned with the definition and delineation of the so-called causative verbs in contemporary Norwegian. Norwegian and Scandinavian grammars have somewhat diverse notions of the causative verbs, for the most part too narrow, often contrasting them with resultative and factitive verbs. Decades of typological, semantic, and syntactic studies within research on causation show that all these verbs can be classified as causative in Norwegian, an Indo-European language with no productive morphological causatives. The crux of causative verbs lies thus in transitive verbs with causative meanings (or sometimes rather causative interpretation). The author first distinguishes auxiliary causative verbs from the lexical causative verbs. The former, such as få (til) and gjøre, show a high degree of semantic depletion, expressing only the causation component and being the pivotal point of highly productive and grammaticalized analytic causative constructions. These constructions are therefore semantically unmarked, with different types of agents and agent-like participants surfacing as their subjects, and the constructions express high degree of 'unspecified' indirect causation. Lexical causative verbs can be classified into (1) one-component lexical causatives, expressing only the notion of causing an event, while retaining the remainder of the verbs lexical meaning (such as bevirke, forårsake, foranledige or medføre), (2) two-component lexical causatives, expressing the causation component together with either the feature of the causing subevent (many pseudo-causative verbs, such as verba dicendi represented by e.g. be, beordre, overtale, befale) or the feature of the caused subevent (traditional resultatives, such as knuse, brekke, myke, bleke, bøye, væte, åpne, fylle, skjerpe, forbedre, forverre, skremme or glede), and finally (3) three-component lexical causatives, expressing the notion of causation together with both the feature of the causing and the caused subevent (myrde, lynsje, henrette, vaske). The paper also discusses in some detail the notion of the so-called instrumentality in connection with instrumental two-component causatives and three-component causatives, in relation to the notions of agentivity and the causatives licensing specific causers as their subjects. We then go on to establish three main semantic fields that Norwegian causative verbs are a part of
A tale of two women in academia
No full textThis particular piece of writing can be understood as an introductory chapter to a very exciting, insightful, and, above all, honest collection of articles by our students and academic peers. Our narrative views academia as a primary social context. Therefore, when interpreting the theoretical assumptions, methodological orientations, and organization of academic research and writing-all of which are socially, politically, and culturally charged-we attempt to provide a critical evaluation of academic hierarchy, academic authority, academic vanity, and shortsightedness. In a combination of autobiography and (accidental) autoethnography, we emphasize the social aspects of academic research and maturation on both sides of the equation (in both the supervisors and the supervised), in an attempt to illustrate that personal lives cannot be separated from academic careers, suggesting that heterarchy, leadership in thought and action, mutual trust, and empathy all play a crucial role in the making of a person, a researcher, a colleague, but also a mother, a wife, and a friend
Песничка уметност Бориса Поплавског Poetic art of Boris Poplavskiy
No full textВ диссертации на соискание ученой степени кандидата наук – «Поэтическое искусство Бориса Поплавского» – анализируется поэзия поэта первой волны русской эмиграции – Бориса Юлиановича Поплавского (1903–1935). Объектом исследования является поэтическое наследие Бориса Поплавского, опубликованное в различных журналах («Радио», «Числа» и т.д.), в поэтических сборниках, вышедших при жизни поэта («Флаги» 1931), в поэтических сборниках, увидевших свет после смерти поэта («Снежный час» 1936, «Дирижабль неизвестного направления» 1965 и др.), а также поэзия, опубликованная в собраниях сочинений Бориса Поплавского или выходившая отдельными книгами с 90-х гг. ХХ века до нашего времени. При исследовании поэзии Бориса Поплавского автором также был использован Поэтический подкорпус Национального корпуса русского языка. Диссертация разделена на несколько блоков: Вводную главу, в которой утверждаются теоретико-методологические рамки настоящей диссертации, определяется материал и объект исследования и объясняется выбор и заглавие темы; за ней следуют три главы, образующие собой сердцевину настоящей диссертации: (1) Лирическое «я» в поэзии Бориса Поплавского, где анализируется позиция лирического субъекта/лирического героя в хаотическом, негэнтропическом поэтическом мире данного поэта, с обращением внимания на историческое развитие субъективности в поэзии, в степени достаточной для понятия этой проблемы в творчестве Бориса Поплавского; (2) От футуристических экспериментов к эстетике «маски Медузы», где анализируется эволюция поэтических мотивов, образов, метафор, аллегорий и, частично, форм в сравнении с предыдущими литературными традициями (прежде всего с романизмом) и с периодом русского модернизма (с 90-х гг. XIX века по 30-е гг. ХХ века, включительно); (3) Хронотоп в поэзии Бориса Поплавского – глава, где внимание обращается на группу семантически близких мотивов (концептов), которые до этого не были предметом анализа в рамках творчества данного поэта, но которые являются важными для определения ключевых моментов поэтики Бориса Поплавского, как молодого эмигранта. Красной нитью, связывающей все три главы настоящей диссертации, помимо общего поэтического материала – предмета анализа – является тип лирического героя в поэзии Бориса Поплавского, который одновременно и архаичен (уходящий корнями в романтизм и преромантические традиции) и пронизан модернистскими влияниями (построен на основах новых модернистских течений, в первую очередь русской, но и европейской поэзии последних десятилетий XIX века и первых десятилетий ХХ века). В Заключении изложены основные выводы, к которым мы пришли в рамках настоящего исследования. В конце диссертации прилагается список использованной литературы. Основным методом исследования поэзии Бориса Поплавского является интертекстуальный анализ поэтического материала, основанный на работах таких ученых как К. Тарановский, М. Йованович, И. Смирнов, Н. Фатеева, А. Жолковский и др.У докторској дисертацији „Песничка уметност Бориса Поплавског“ анализира се поетско стваралаштво песника првог таласа руске емиграције – Бориса Јулиановича Поплавског (1903-1935). Објекат истраживања јесте поезија Бориса Поплавског објављивана у различитим часописима („Радио“, „Числа“ – ср. Бројеви и др.) у песничким збиркама објављеним за живота песника („Флаги“ 1931. – ср. Заставе), као и у постхумно објављеним песничким збиркама („Снежный час“ 1936 – ср. Снежни трен, „Дирижабль неизвестного направления“ 1965 – ср. Дирижабл непознате усмерености и др.), те поезија објављена у издањима сабраних дêла Бориса Поплавског као и она која је штампана у различитим збиркама од 90-х година ХХ века до наших дана. Приликом анализе поезије Бориса Поплавског аутор је такође користио Поетички поткорпус Националног корпуса руског језика. Дисертација је подељена у тематске блокове: на Уводна разматрања, у оквиру којих се поставља теоријско-методолошки оквир дисертације, одређује се материјал и објекат истраживања и образлаже избор и сâм назив теме, иза чега следе три главе, које представљају централни део ове дисертације: (1) Лирско „ја“ у поезији Бориса Поплавског, где се разматра позиција лирског субјекта/лирског јунака у хаотичном и негентропијском свету поезије овог песника, уз обраћање пажње на историјски развој субјективитета у поезији, у мери потребној за схватање тог проблема у делу самог Бориса Поплавског; (2) Од футуристичких експеримената ка естетици „маске Медузе“, где се анализира еволуција песничких мотива, слика, метафора, алегорија и, делимично, форме у односу на претходне књижевне традиције (првенствено романтизам) и на период руског модернизма (од 90-их година XIX века закључно са 30-им годинама ХХ века); (3) Хронотоп у поезији Бориса Поплавског, где се пажња усмерава на групу семантички блиских мотива (концепата), који нису раније били предмет анализе у стваралаштву овог песника, а који су важни за дефинисање кључних момената поетике Бориса Поплавског, као младог емигранта. Црвена нит која спаја све три главе ове дисертације, поред истоветног песничког материјала који се анализира, јесте тип лирског јунака у поезији Бориса Поплавског који је истовремено и архаичан (укорењен у романтизму и преромантичарској традицији) и истовремено прожет модернистичким нитима (изграђен на основама нових модернистичких токова превасходно руске, али и европске поезије последњих деценија XIX и првих деценија ХХ века). У Закључку су представљени основни резултати до којих смо дошли током истраживања, а на крају рада је приложен списак коришћене литературе. Основни метод анализе поезије Бориса Поплавског, који се примењује у овој дисертацији, јесте међу и интертекстуална анализа поетског материјала, која се темељи на теоријским радовима научника као што су К. Тарановски, М. Јовановић, И. Смирнов, Н. Фатејева, А. Жолковски и др