The Ministry of Education of Azerbaijan Republic Baku Slavic University Azerbaijan Comparative Literature Association 2-nd International Conference The Comparative Study of Literature "Literature in Context ..." Baku 2006 ______________________________________________________________________ |
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ABSTRACTS *** A. Humesku USA , The University of Michigan The Idea of Withdrawal from the World in Pushkin and Ivan Franko The ideas of asceticism and withdrawal from the world fascinated both Pushkin and Franko. Maybe it was because of the contrast to their own active natures, or, perhaps deep within they felt a certain affinity with such characters as Pimen and Ivan Vyshensky- the two monks they depicted with such artistic power and conviction. A close reading of their works helps to shed some light on this dilemma, and, at the same time, elucidates possible reasons behind the differences in the portrayal of the two monks. The paper begins by tracing the image of the monk in Pushkin's work-from the early humorous depiction in such poems as " The Monk" ," Confession of a Poor Versificator",and "Mermaid", through the more serious and perceptive images in "Song about the Seer Oleg","There Once Lived a Poor Knight", and down to the most celebrated image of the monk Pimen in "Boris Godunov". Parallel to these images Pushkin often turned to the theme of withdrawal from the world-something he himself experienced as a poet, when he felt the need to withdraw to nature. At the same time the idea of the need - the obligation- to serve the people- "narod" emerges in his poetry as something opposed to those mentioned above. In the image of Pimen all those ideas somehow merge and find a peaceful resolution. The second part of the paper deals with Ivan Franko's poetry where the same ideas of seclusion and monasticism appear sometimes in a manner similar to that used by Pushkin but eventually evolve in a different direction. Franko was fascinated by Pushkin's poetry and has translated many of his verses as well as his drama "Boris Godunov". Like Pushkin who researched the historical data surrounding the times of Godunov, Franko too delved into the period of Vyshensky and even wrote a treatise about it. It is important to note, that Vyshensky was a real historical figure unlike Pushkin's Pimen - something which some of Pushkin's critics pointed out as the reason of that image's lack of authenticity. The idea of "narod" also prominently features in Franko's poetry, and eventually leads to a different treatment of the image of the monk Vyshensky as opposed to Pushkin's Pimen. Finally, the personal search of meaning of life, the idea of futility of everything which we found in Pushkin is also found in Franko, so that the comparison between the two poets leads to a conclusion that indeed they had much in common, yet, at the same time they differed substantially. *** Magdalena J. Zaborowska Erotics of Place in James Baldwin's Writings, 1962-72 From slave ships and auction blocks, through cabins ?back of the big house, Jim Crow South, to inner city housing projects and prisons, Blacks have been emplaced in the color-coded spaces of the nation. They have also become hyper-visible symbols of racialized sexuality in the white-and-black imagination, while their bodies and lives as citizens have been erased, ghettoized, and violated, as evidenced by the painful history of segregation, rape, and lynching. James Baldwin's prophetic remark in ?My Dungeon Shook (1962) expresses the magnitude of African American resistance and repeated challenges to this spatial predicament: ?the black man has functioned in the white man's world - as an immovable pillar: and as he moves out of his place, heaven and earth are shaken to their foundation. James Baldwin (1924-87) may have been one of the best-known African American intellectuals in the 1960s, but, unlike his focus on race, his linking of architecture and black gay and queer identities have been unexplored. This paper examines this important contribution in the context of Baldwin's little-known residence in Istanbul, Turkey, where he spent most of the 1960-s and wrote some of his most important works, from his acclaimed third novel, Another Country (1962), to his fourth book of essays, No Name in the Street (1972). Seen from the West, Istanbul/Constantinople appears as an ?orientalized and ?(homo)eroticized city. As a black gay figure, Baldwin has been cast according to racist and homophobic stereotypes by many of his readers and scholars, some of whom considered his trips to Turkey escapes from the problems plaguing the United States throughout the 1960s. This paper argues against such approaches. By bringing the city of Istanbul and the black queer writer together, it demonstrates intricate reciprocities between literature-- or metaphorical constructions of space-- and architecture-- or material realities of space. A brilliant and often misunderstood artist, one whose writing style was as much under scrutiny as his life style , Baldwin pioneered approaches to identity and social space that have only recently been undertaken by critical race studies and queer theory. These approaches must also be undertaken by architecture as the core humanities discipline that provides the meeting ground for diverse critiques of spatial practices and representations. This project is interdisciplinary in approach, methodology, and goals. It targets audiences interested in literature and in the production and dissemination of architectural culture. It employs extensive critical and visual, biographical, archival, and architectural material?much of it new-- gathered in Turkey
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Uygur scholar's significant discovery: Ancient Uygur historian says Xiongnu are TurksIzabella Horvath Chicago , USA and Hangzhou PRC , CHINA For over a century, there ha ve been heated arguments and disagreements as to the ethnic and linguistics identity of the Huns. Opinions and conclusions have pointed to diverse, often diametrically opposed directions. Scholars have considered ethnographic, linguistic, anthropological, and archeological data as well as ancient documents written about the Huns , yet no consensus has been reached . However, just recently Yassin Ashuri an Uygur Chinese scholar at the Institute of Ethnology of the Chinese Academy of Social Sciences, Beijing , has uncovered ancient Uygur documents (written by Sinqu Sali 10 th century) which shed new light on the question of Hun identity (2006) . Unique is the fact that while scholars have sought the answers in Chinese, Arab, Persian, and many western chronicles, Ashuri is first to have examined Uygur documents from the Tang dynasty written in Uygur, a Turkic language. So the question remains: Based only on scanty linguistic items as well as uncertain physical characteristics, how could these scholars make the above conclusion regarding the ethnic identity of the Huns? First of all, a great many problems exist with the linguistic analyses , not to mention that assuming the Huns to be a single ethnos is begging the question . There are only a few attested lexical items gleaned from ancient manuscripts that can be called Xiong nu or Hun. These were written down by Chinese scholar of the Han dynasty (200BC—200AD) according to contemporary pronunciation, in Chinese characters , hardly a representative sample of any language to be studied . A further problem is that no more than 20 of these words have attested meanings . It is according to these few words the scholars have allocated the Huns into the above-mentioned ethnic groups of today: Mongol, Turk, Slav, or Finn. In the west, it was popular in the 19 th century to allocate the Hun's language to the Mongolian linguistic branch. In the 20 th century scholars started to classify the Hun language as Turkic. Some even thought that there was another language branch in the Altaic language family into which we can classify the Hun's language, but this language became extinct . Fang Zhuangq iu studied the Hun vocabulary and concluded that 11 items are n ear Turkic, 12 are close to Manzhu Tungus, and 20 close to Mongol. Only 10 % of this vocabulary is shared. Thus, according to him, the Huns were Mongo ls (Wu 2005:10) . Yang Jin x in, on the other hand , thin k s maybe because of Fang's results, that the Hun ' s language can be called Proto-Altaic , the three languages —Manzhu, Tungus, and Mongol-- have not yet separated (Wu 2005:10). Dr. Ashuri is a specialist in studying ancient Uygur manuscripts. He has discovered a 10 th century translation of the Uygur Buddhist monk, Sinqu Sali. It is the account of the Tang monk, Xuan Zhuang, who was sent by the Tang emperor in the 7 th century to go to India to bring back the Buddhist sutras to China . When Xuan Zhuang returned to China , his student wrote a book about him, called Biography of the Great Xuan Zhuang, teacher of the Great Ci'en Temple . In this book the student carefully recorded Xuan's life and activities in India ca. 629-645. In the 10 th century, the Uygur monk, Sinqu Sali translated this book into Uygur. Sinqu Sali ‘s homeland was located in the north of Xinjiang, which is noteworthy, since it means he was familiar with the history of the people-- his ancestors, as we discover-- beyond the Great Wall. Ashuri's work contributes to the research on the distribution, movement, and social organization of the peoples of the Xiongnu Empire. His finding also highlights the dangers of relying solely on scanty and tenuous linguistic material to draw conclusions about the ethnicity of the Xiongnu, while ignoring other data. Furthermore, it confirms that claims of Xiongnu descent by contemporary populations can be substantiated on the basis of much stronger than tenuous linguistic evidence. This evidence comprise of not only oral tradition and keeping genealogical records, but also of written historical data, physical anthropological evidence, and the most recent DNA analysis. ********************************************** Г . М . ВасильеваНовосибирский государственный институт международных отношений и права (Россия) Трагедия И.В. Гете «Фауст» на рубеже XX - XXI веков (испытание поэтической энергии слова) Поэты описывают парадоксальные, странные ситуации – или, если сама ситуация привычна, тем более парадоксальным оказывается ее развитие. Сленг, нарочитые речевые неправильности включены в программные высказывания. Возникает ощущение, что это манифесты скорее нового эмоционального строя, нежели новой поэтики. Дано указание на то, что трудно заранее «спроектировать» какую бы то ни было законченную стилистику. Можно только необычайной структурой текста выразить новые возможности эмоционального восприятия мира. «Цыганки моют ноги в унитазе. / Уборщица, за этим их накрыв, катая клубни “о” во всякой фразе, им в лица – шваброй /…О, великий Гёте! / Какой бы ты целебный чернослив сумел извлечь из этого компота, / Невозмутим и царственно красив?» («Монолог», А.Добрович). Характерна неоднородность сюжета: он составлен из двух разных частей, так что в середине возникает внезапная смысловая переакцентировка, «шов». Первая часть – почти жерминалевская зарисовка. Злободневный антураж, женское и влажное месиво быта, в образном и идио-матическом фонде которого жаргон занял выдающееся место. Смысловая кульминация – «величание» Гете - не подготовлена предыдущим изложением: происходит неожиданное разрешение, казалось бы, сугубо бытового сюжета. Рифменные спутники: чернослив – красив, Гете – компота. Связь частей напоминает эстетику коллажа. Отрывок изоритмичен (междометие, восклицание, разговорная эллиптичность). В качестве первоначального впечат-ления мы ощущаем только необыкновенный комизм этой сцены. Раз начавшись, ассоциативная работа продолжается (сознательно или интуитивно). Комический эффект по принципу обратной связи переносится уже на произведения Гете. Но не следует усматривать здесь пародию на официальную канонизация классика, осмеяние патетической театральности. Такое толкование было бы чересчур прямолинейным. С образом Гете связаны патернальные символы всесилия и всезнания. В мире, где больше нет истории, не может быть никакого другого Гете с его гномическим глубокомыслием, в котором слышится примирение умудренного опытом долгой жизни. В изображении А. Добровича быт не лишен самообеспеченного великолепия. Урбанистическая топография эротизирована так, что она вся становится сплошным интимным местом коллективной жизни. Поэт делает зримой этику коммунальных отношений, низового демократизма, охлократических (не в уничижительном значении слова) обычаев, густое варево новой социальности. Возникает некий смысловой симбиоз: Россия-Запад.
***** Проблема перевода как область компаративистики Маданова Маргарита, Казахская Академия наук, Казахстан
*** Литературный дискурс и проблемы его теоретического обоснования
Ираида Кротенко Кутаисcкий университет, Грузия Система понятий, ориентирования на изучение литературного дискурса, до сих пор остаётся предметом дискуссии. В докладе даётся обзор современного состояния теоретических школ литературного дискурса, представлены противоположные и взаимоисключающие точки зрения на проблему. Особое внимание уделяется генезису термина и смысла, вложенного в него представителями различных западноевропейских и русских школ. Литературный дискурс рассматривается в сопоставлении с лингвистическими дискурсами и их направлениями. Отмечаются факты современной трансформации понятий, пути и методы исследований, намечены парадигматические сдвиги в теориях текста и смежных дисциплинах (аксиологии, социологии, теориях межличностных общений и т.п.). Проблема рассматривается на широком фоне лингвистических и литературоведческих исканий отдельных исследований в контексте русского морфологического литературоведения в сопоставлении с постмодернистскими теориями. Отмечены новации современных литературоведческих трудов в связи с определением литературного дискурса. Терминологический аппарат и базовые термины литературного дискурса рассматриваются на фоне новейших лингвистических терминов, а также с опорой на термины литературных теорий, создавших методическую основу теоретических исследований в области гуманитарных наук. Уделяется внимание вводу в активную практику высшей школы лингвистических, литературоведческих, культурологических, философских дискурсов; ставится задача обновления терминологической методологии в контексте микро- и метадискурсивных теорий. Даётся обзор различных теоретических направлений современных гуманитарных сфер, определены тенденции культурологического дискурса полицентричекого единства. ********************************************** КИНОСЦЕНАРИИ – ЛИТЕРАТУРНЫЙ ЖАНР?
Георгий Бранев, писатель, журналист (Франция-Болгария) Киносценарий – это литературный текст, но в какой степени он сам является литературой? Это вопрос, требующий более или менее научно го определения. Сценарий можно назвать литературным жанром, но у этого жанра очень странная особенность –он годится для чтения только для узкого профессионального круга – для тех людей, которые решают, организуют, и реализируют прозводство кинокартин. Однако они не только читают, литературно обрабатывают сценарий, и иногда в такой степени, что потом сам сценарист не может узнать своего текста.. В плане текста, у киносценария тоже своя специфика, отличающаяся от всех других литературных жанров. С другой стороны фильм и литература имеют глубокую, традиционную практическую связь - транскрибирование беллетристических произведении в кино. Каковы основные принципы литературных киноадаптации, в какой степени сценарий может уходит от сюжета и персонажей литературного произведения – это тоже вопросы, которые представляют интерес для литературоведения. Другая особеность киносценария на базе литературной прозы – это практика работать в команде, т.е. очень часто над экранизации одной книги работают несколько сценаристов. И это представляется нам правильным. В данном выступлений все эти вопросы будут анализированы не только на основании уже существующих экранизаций известных литературных произведений,но и на базе гораздо менее известных произведений .Будет рассматриваться работа выступающего над экранизаций очень состоятельного литературного произведения одной из малознакомых в мировой литературе произведений – а именно из литературы Болгарии. Выступающий познакомит участников конференции и с некоторым актуальным вопросам киноадаптации литературы, связанные с его настоящей работой. над проектом экранизации известных литературных произведении современной Франции. ************************************************* MALE CHARACTERS IN CONTEXT OF SOCIETY'S MORAL VALUES
Sara Abdullazade Baku Slavic University
In various periods of time the context of a society's moral values was reflected in the Azerbaijan literature in different ways. In spite of various approaches to the issue, approaching Azerbaijani literary masterpieces, our attention has always been drawn firstly by female characters. The only reason for that are serious principles put before women by our society, i.e. the main difference between the men trampling on moral values and the women doing the same thing is that the society can absolve men from such a mistake, nevertheless women have always been deprived of such a privilege. Examples are the Azerbaijani literary masterpieces reflecting the society existing from the ancient times up today. After looking through these works we decided to conduct our research in the context of a society's moral values from quite a different aspect. It should be noted that in our researches the focus will be not on male, but female characters. A wrong and unjust position taken by the society's moral values in the person of men are shown in a number of Azerbaijani literary works. As an example in our literature we can cite such male characters as Jahandar agha (I.Shykhly), which is considered to be an ideal character of our society as well, Muslum kishi (R.Rovshan), Mukush and Yagub (A.Aylisli). Among the above mentioned characters the most attractive one is Jahandar agha, main hero of the Turbulent Kura by I.Shykhly. The aim at starting our research from this character could be explained by our attempt to thoroughly analyse an ideal Azerbaijani man like Jahandar agha, and to clarify a number of issues, which have not yet been taken into consideration both by the society and literary criticism. Thus, looking through the male characters in the context of the society's moral values in our research we aim to bring to attention the moral values, which existed within the society, but have never been taken into consideration. We think such a new approach to male characters in literature can open new opportunities for future scientific works. **************************************** Евгений Болховитинов о грузинском языке и письменности Иринэ Чачанидзе Кутаисский государственный университет, Грузия Историк, филолог и библиограф Евгений Алексеивич Болховитинов (1767-1837 гг.) - первый русский исследователь, превративший Грузию в объект основательного изучения. Изданная им в 1802 г. на русском языке книга "Историческое изображение Грузии в политическом, церковном и учебном её состоянии" и теперь удивляет читателей точными сведениями и знанием материала. Эта книга долго служила одним из основных источников изучения Грузии как в России, так и в Европе. Книга Болховитинова охватывает 104 страниц и состоит из семи глав; для нас особенно ценным является четвёртая глава под названием: "О языке и письменах Грузинских". В докладе мы приводим сведения о происхождении грузинского языка, письма, а также о видах алфавита. В упомянутой главе автор осведомляет читателей о характере восточных языков, и соответственно, даёт их социолингвистические характеристики. Несмотря на некоторые проблемы, неточности, ошибки, вызванные незнанием автором грузинского языка, книга сохраняет своё историческое и научное значение, ибо в ней впервые на русском языке приводятся обширные сведения о грузинском народе и его культуре. Не оставил без внимания Болховитинов и многовековые богатые литературные традиции Грузии. В книге особое значение имеют его суждения о "Витязе в тигровой шкуре" Шота Руставели. Болховитинов был первым учёным, который познакомил Россию (а потом и Европу) с его именем. "Историческое изображение Грузии" сыграло особую роль в становлении научного интереса к Грузии не только в России, но и на Западе. Эта книга привлекла внимание тех учёных западной Европы, которые раньше никогда не писали о Грузии. Таким образом внес вклад в сравнительное литературоведение, привлекая изучение традиций грузинской литературы в эту область. ********************************************* RETHINKING AND MYTHOLOGISATION OF ТНЕ HISTORY OF ТНЕ TURKIC PEOPLES АТ THE CIS Anuar GALIEV Kazakhstan
************************************************ New Directions of Pedagogical Theory: A New Colonialism? Geri Henderson (USA) and Jerilyn Sambrooke (Canada) LCC International University Klaipeda , Lithuania
As English continues its growth as a global language, a global canon may soon follow. Having taught internationally in the Middle East, Eastern Europe, Canada, and the United States, it is becoming clear that the current English language literature canon will be (and is being) formed and informed by the varieties of English spoken around the world. Departments of Literature cannot avoid the changes that will come. To ignore the need for change is to impose another form of colonialism, a literary and cultural colonialism on our students. Our attempts to answer questions of what to include in the limited number of courses available must be focused first on student needs in a global context. This paper opens a discussion on the future of literature studies connected with the teaching of English in English departments found in the universities of Braj Kachru's outer and expanding circles. One central question addresses the relevance and benefit of the language and literature of Medieval, Renaissance English literatures for students anxious to become good speakers of Standard English. In 1997 David Graddol made the assumption that English language teaching would necessarily emanate from Great Britain . Such an assumption seems naive now, at the very least, and patently false in reality. By 2005 a publication of The British Council, David Graddol, ed., makes very clear that most teachers, learners, and speakers of English are non-native. The possibility that non-native speakers will interpret and pass on the cultural heritage of the language in the same way a native-speaker will interpret and pass on the cultural heritage of the language unlikely and even unnecessary. What exactly, then, does an education in Global English require. It is not a questions that can be ignored indefinitely. A new pedagogical theory and philosophy about the ways that a canon of literature is formed will accept the continual change of a living language and the ongoing additions and subtractions to standard works of International Literature courses. Without an intentional philosophy, formulated to reflect the changing English-speaking world, academics will find their departments offering courses of decreasing relevance. ********************************************* Глобализация как прогрессивная составляющая этносознания карачаево-балкарских поэтов Ф.Т.Узденова Нальчик, КБИГИ, Россия
Статья посвящена проблемам глобализации явлений эстетического порядка в карачаево-балкарской поэзии, формирования эстетического мышления, литературного контекста, адаптированного к современности и в то же время сохраняющего национальную специфику. Изучение на современном этапе основных тенденций развития национальных литератур, в частности северокавказского региона, их этнической базы, процессов взаимодействия и взаимовлияния, этических нормалей, связанных с формированием мировоззренческой модели, представляется задачей, решение которой может привести к пониманию фундаментальных закономерностей процессов изменения не только направлений литературного развития, но и к появлению адекватной стратегии в последующем формировании эстетического мышления, литературного контекста, адаптированного к современности и в то же время сохраняющего национальную специфику. В концептуальном отношении - это актуализация и глобализация основной проблемы: личность и мир. Сопараллель «жизнь – судьба» в контексте «океанического» мировидения становится философской формулой. Сравнительная характеристика подается в двухвариантном соотношении: как соответствие по переносному значению, и по выражаемому образу. Большинство соотносимых сравнений того или иного языка представляют собой в системе лексических изобразительных средств общие явления. Тем не менее, компоненты сравнений, их лексическая наполняемость в каждом языке специфична, поскольку в изобразительных средствах находят отражение, как правило, национальные особенности, психология народа. ********************************************** The Image of the Religion Syndrom in the Balkans
Jasmina Mojsieva-Gusheva Institute of Macedonian Literature, Ss. Cyril and Methodius University This article presents numerous examples from the Balkan literatures. Throught thouse examples we would like to emphasize the significance of the problem of the religious syndrom in the Balkans and its distortion throughout the 20 th century. All positive universal messages of religion, such as religious ethics and patience, today have been lost and given way to the Western logic of nonexistence of limits and of overcoming obstructions by means of violence. Due to its specific location, the Balkans is very convenient for the implementation of the Western logic and for the ignition of religious conflicts. With this paper we would like to point out the fact that discarding the positive impact of religions has also been a practice on the Balkans in the 20 th century, where there are only a few real believers, as compared to unbelievers, who use the cover of religion only to justify their egotistic conduct. ********************************************
Ethno-Psychological Paradigm of the Northern Caucasia in a Context of Artistic Traditions Kazieva A.M. Piatigorsk State Linguistic University, Russia
This article concerns the question of the North Caucasian cultural-historic orientation type – specific, open, incorporating, and some paradigmatic properties which are modeling the peculiar ethno-psychological complex. From one side – targeting the primary Eurasian Centre which happens to be Russia , which culture works as a translator to the secondary European centre, which happens to be the culture of the Western Europe . From the other side the North-Caucasian type of culture in its genesis finds its foundation in the Asian forms of ethnic culture, accepted from the Muslim East and partially Greek-Byzantine tradition. In the process of the historical evolution those forms are been thought over and are adapted to the model of the North-Caucasian culture. The North-Caucasian culture reached with indigenous traditions, features the unique peculiarities and deeply original content. The foundation of the North-Caucasian poetical artistic form is without a doubt traditional and traditions as a historical experience of the preceding generations form the vital part of any socium. Tradition is one of the elements of the kin connection between the different culture development stages. The adequate understanding of the substance and functional peculiarity of the tradition is vital for conceptual culture model, as well as for the understanding of its separate forms in their historical past and predictable future. ****************************************
V.S.Naipaul : An Unbeliever's Islamic Journey to Pakistan Kumar Parag University of Allahabad , India
V.S.Naipaul is one of the prolific expatriate writers in today's English writing. He is better known as travelogue writer than a novelist particularly after the publication of his two travelogues on Islamic countries, Among the Believers : An Islamic Journey and Beyond Belief . Both the travelogues are based on his visits in 1979 and 1995 to Iran , Pakistan , Malaysia and Indonesia . But the cynosure of my paper is his visit to Pakistan only. His first travelogue is an investigation of Islamic faith, conduct and characters of Muslims in the light of essence of Islamic theology. The travelogue is an empirical study of Islam through the situations and characters he encounters in Pakistan . It examines various aspects of Islamic society, the first modern state to define itself from its inception in 1947 as an Islamic state. Here Naipaul does not view Islam as an abstract ideology, he visualizes Islam as a religion related to social order and legal concepts. The technique used in this travelogue is by creating a network of characters and speaking through them whom he has met in his travels through arranged interviews or had an encounter while traveling. Through his visit he tries to understand the basic essence of Islam. The travelogue has autobiographical elements too. His second travelogue is a close scrutiny and investigation of the history and cultural traditions of Pakistani Civilization. Naipaul focuses his attention on religious faith, social organization, belief – system and political institutions in relation to Islam. He analyses Islamic faith and its complex relation with technology. Here Naipaul is more of a reporter than a inquirer and he lets people to speak their own stories and their ideas of Islam. My paper tries to analyze Naipaul's assessment of Muslims in general, the faith in particular, Islamic fundamentalism and the pragmatic aspect of Islam as a religion. The paper also tries to explore whether Naipaul has a correct knowledge of the basic tenets of Islam or not when he passes his subjective or critical opinion on Islam. *********************************************
THE CAUCASUS IN LATVIAN AND SOME OTHER NATIONAL LITERATURES AT THE BEGINNING OF THE 20 TH CENTURY Maija Burima , Daugavpils University
The theme of the Caucasus has been often singled out at the beginning of the 20 th century in Latvian and foreign (Russian, Norwegian) literature. It is connected with romantic expression (with exotic, searching for new impression) and going to the Caucasus under of social and economic circumstances (for the writers of this group the Caucasus realistic description is predominant). In the Caucasus thematic works special attention is laid on the comparison between the own and the alien culture with the aim to point out the features of ones own culture in the alien culture. Great significance is dedicated to the description of nature and the religion and customs of local inhabitants. There are several typical characters with special semantic contents in the Caucasus thematic works, such as oil, mountains, etc. The theme of the Caucasus is closely connected with representation of spatial knowledge in the mind of human being, with the formation of individual and collective mental map. *********************************************
Leila Ahmed: Unveiling Muslim Identity in America
Michaela Mudure Babes-Bolyai University, Cluj, Romania Leila Ahmed, professor at Harvard Divinity School , is one of the rising stars of Arab-American literature. Her moving memoir “A Border Passage” presents her childhood in a traditional Islamic milieu and then her efforts to come to terms with her new identity as an Arab feminist living in the USA . Trying to define herself, Leila Ahmed also poignantly reflects upon issues of language, race, nationality, and nationalism in transnational contexts.
Our approach will connect issues of gender and ethnicity through the close reading of Leila Ahmed's autobiographical piece. At another level, we shall also theorize upon the meaning and consequences of “unveiling” in connection with power. In Euro-Atlantic milieus, the unveiling of Muslim women is perceived as liberatory and empowering. But for a Muslim woman, the veil usually offers the empowering position of being able to observe everything without being observed. Leila Ahmed's negotiates with both these positions and deconstructs the fascination of the veil as a national and identitary symbol. ************************************************* Milli ədəbiyyat termini və kanonları Rəhilə Qeybullayeva Bakı Slavyan Universiteti Muxtəlif ədəbi terminlər və kateqoriyalar zaman-zaman dəyisiklərə ugrayır. Elə ədəbiyyat, ədəbi arasdırmaların predmeti kimi fundamental anlayısların da periodik olaraq dəqiqləsməyə ehtiyacı var. Muqayisəli ədəbiyyatın əsas terminlərindən olan “milli ədəbiyyat” bu trasformasiyalara ən cox məruz qalan anlayıslardandır. Zənnimizcə, bu məsələ iki əsas istiqamətdə təqdid edilməlidir. Birinci, “milli”, “millət” anlayısı nədir. ikinci sual “ədəbiyyat” deyiləndə nə nəzərdə tutulur, yəni ədəbi arasdırma nəyi arasdırır. Ilk baxısda bir nov bayagı və mubahisələrdən kənar hesab edilə bilən “milli ədəbiyyat” termini, milli, ədəbiyyat, bədii mətn ifadələri kimi, tarixin muxtəlif dovrlərində fərqli xususiyyətlərə ugrayır. Təqdim etdiyimiz məruzədə bu rakursda millət və ədəbiyyat terminlərinin tarixinə muraciət edilir, lakin əsas vurgu millət anlayısının transformasiyalarına yonəldilir. Həm Qərb, həm də Sovet ədəbiyyatsunaslıgında adətən birmənalı qarsılanan milli ədəbiyyat məfhumunun əslində muxtəlif dickussiyalara səbəb olur. Məruzədə millət sozunun Fransada, Avstriyada və indiki dovrdə dəyisilən mənaları, qəbilədən etnosa, etnosdan millətə kecid mərhələləri, etnos və millətlərin qarısma və ya ayrilma dovrləri və səbəbləri aratdirilir. Yəni istər Sərq, istər Qərbdə milli ədəbiyyatların sərhədləri tək muasirliklə, sinxroniyada deyil, həm də millətlərin formalasması prosesi, diaxroniya ilə izah olunur, milli kimlik məsələsi kontekstində arasdırılır. Milli ədəbiyyat probleminin indiki dovrdə aktuallasması fenomeni son 20 ildə SSRI, Yugoslaviya kimi multimilli dovlətlərin parcalanması milli kimlik və milli mədəniyyət problemlərinin yenidən dərki fonunda genis vusət alır, hətta orta əsrlər dovrundən hec də geri qalmayaraq muharibələrə səbəb olur. Tarixə nəzər salsaq gorərik ki, XIX, XX, XXI əsrlərin əvvəllərində milli kimlik məsələsi həm Sərq, həm də Qərb ucun xarakterik olmusdur. Bu arasdırmaların nəticəsi kimi dord kanon irəli surulur: muəllifin milli mənsubiyyəti (millətlərin formalasması dovru və ya etnos və ya ortaq genetik dovr); olkə sərhədləri (muəllifin yasadıgı və ya yaratdigi olkə və ya indiki sərhədlərə); bədii mətnin kulturoloji məkanı (eyni dovrdə yaranmıs əsərlərlə muqayisə kontekstində); bədii mətnin yazıldıgı dil (muhacirət ədəbiyyatı? yoxsa Britaniya, Amerika ədəbiyyatlarındakı, Ispandilli ədəbiyyatlardakı kimi milli ədəbiyyatın “milli” saxələri?). Bu kanonlar sərti xarakter dasısa da, millətlərin tərkibi kimi, milli ədəbiyyat konturlarının da tarix boyu dəyisməsini izləyir. Bu transformasiyalar ədəbi arasmaların da predmetinə, problemlərinə təsir edir, ədəbiyyatın muxtəlif kontekstlərdə - tarixi, genetik, mədəni, sosioloji, fəlsəfi-dini-ideoloji və s. - oyrənilməsinə xususi ehtiyac oldugunu gostərir. Beləliklə, muqayisəli ədəbiyyatsunaslıgın əsas terminlərindən biri olan “milli ədəbiyyatın arasdırılması ucun basqa humanitar elmlərlə (qeyd etdiyimiz kontekstlər) sıx baglılıq bu elmin yeni tədqiqat sahələrinə gətirib cıxarır.
**************************************** Diversity of Contemporary American Women Writings (Women Writers of Color)
Sahiba Gafarova Baku Slavic University
Today the American feministic school of literary criticism actively develops su categories as "a woman author", "female identity", "female activity". The main task of t authors of these books is finding and interpreting the features of female manner of writing, wa of text formation in the female prose, representation in the text of the woman-author and other less important matters related to differential characteristics of the literature, created by women. For well over a century women of color (Latinas, African American, Native America and Asian American ) have been writing themselves into US. history, continuously redefining their political, cultural, and social locations within the discourses of American identity. This narrative practices - poems, essays, novels, and short stories- help us to understand the ways which ethnic, racial, class, gender differences shape conceptions of American identity. T choice of writers given below reflects an attempt to evoke a wide range of female identity a: to assemble of some of the finest storytellers and prose stylists of the American Woman Write] Helena Maria Viramontes is a widely known Chicana writer who has publish* short stories and novels. The major themes of her stories can be traced to her childhood experiences as she grew up in East Los Angeles . Viramontes' stories, in essence communicate the overwhelming trials and tribulations that Chicana mothers, wives and daughters face. They utilize stream-of-consciousness narrative, magic as symbols, and multiple narrators to depict the thoughts and emotions of these beautify and haunted women. Still other issues portrayed in her works include politics, religion and sexuality. Leslie Marmon Silko is a Native American Women Writer whose work primarily concerned with the relations between different cultures and between human beings and the natural world. Leslie Marmon Silko demonstrates that storytelling is n only alive but still imbued with the power to move and deeply affect us. She weaves magical spell as she re-creates the ancient stories in prose and poetry infused with sense of tradition and love of place, yet filled too with the harsh realities of hunger poverty, and injustice. Alice Walker is one of the foremost contemporary American writers. Her works a known for their portrayals of the African American woman's life. She depicts vividly the sexual racism and poverty that make that life often a struggle. Many of her novels depict women other periods of history than our own. Just as with non-fiction women's history writing, sue portrayals give a sense of the differences and similarities of women's condition today and in the other time. Amy Tan is part of a movement of Asian-American writers. A large part of Tar contribution to the modern Asian-American literary boom is her widespread popularity. Tar writing relies heavily on flashbacks, storytelling, and mysticism. The connection of the past and the present is typical of Tan's style. Critics have said that her works are not necessarily "Chinese in nature, but are instead stories with universal themes (generational conflicts, war of the sexes etc.) that have an added dimension of being told through narrators that are constantly searching for a balance between their Chinese heritage and American lifestyles. Thus, these writers groped together not because they are women but rather because the are especially fine examples of American Women Literature. Each of these writers offers distinct approach to her craft, tells her story in a distinctive, confident voice. For all tl differences of class, ethnicity, religion, region, and profession reflected in their narratives, or hears a common note - women writers are able to express both universal and peculiar fem outlook on life which is of value owing to its specificity.
*********************************** The functions of the fool in Bulgakov's novel Master and MargaritaSevinj Bakhyshova University College of London , UK Modern culture and literature, particularly for many centuries exploit the image of the fool in different genres and for different reasons. This figure became archetypical incorporating various types sometimes quite contradistinct. This paper will consider several types of personage of fool existing in past and present of various cultures and literature. On basis of this analysis I will argue that M.Bulgakov in his novel Master and Margarita showed three variations of one type of fool, the mediator and also a coalescence of separate models, a jester, a trickster and a clown. Finally, the method of a binary opposition served as a useful tool in the impartation of ideas of the author. The personage of the fool as universal phenomena is known in different models and roles, which depend, dividing roughly on Western and Eastern tradition. Although sometimes these traditions infiltrate each other, for Western tradition most characteristic was the existence of the fool as a jester, a court jester or a clown. These types despite having own distinguish features nevertheless retained two distinctly common characteristics. First, all of them mostly showed artificial folly. Second, these persons were ridiculed and jeered by circumambient people. And furthermore the main reason of the daftness was to make people to laugh. Artificial foolishness allowed person assuming this role have a freedom of speech otherwise impossible in these times. One of the most known in England court jesters was Will Sommers employed by Henry VIII who mocked not only cardinal Wolsey, his main enemy, but the king himself. Witty jesters often with biting tongue followed after mentally deficient fools, especially in early stages of appearing these kinds in royal courts beginning from Ancient Egypt until Medieval Ages. In the novel Master and Margarita two types of the fool were given: the artificial, or professional, fool, and the fool as a mediator. On one hand, jesters, tricksters and clowns as the artificial part opposed to mediators. One the other hand, Bulgakov emphasised the idea that they both opposed to the power of authority, repeating the situation of the antagonism of a person and the power in biblical and modern levels of the novel. Yeshua in a conversation with Pontius Pilate mentioned “всякая власть является насилием над людьми” [any authority is a violence towards people] .The main reason of execution of Yeshua for Pilate was the antecedent statement of Yeshua. Being the opposite parts of the one process, Woland with his suit and Yeshua with his “followers”, at the end both did good (inferred from the epigraph of the novel). The differentiation of personages in two opposite sides could be considered artificial as usually scholars did with structuralism analyses, if one would not be aware of the fact that this was an ancient tradition of eastern philosophy and culture, with most famous example of ying and yang. Torah, Bible, Qur'an referred to opposite worlds, and before them Buddhism and Zoroastrism described the eternal battle between Good and Evil. The theory of binary opposition followed this pattern and in this particular subject was a useful tool to analyse the novel and deeper penetrate the essence of Bulgakov's thoughts.
************************************** A READING OF ARTHUR MILLER'S THE CRUCIBLE IN THE LIGHT OF JEAN BAUDRILLARD'S DISCOURSE ON SIMULATION
Wisam Mansour Fatih University Faculty of Arts and Sciences The condition of the girls' bewitchment in The Crucible is not a mere pretence or psychotic dissimulation by a bunch of wicked minded, lecherous young girls as seen by many of Miller's scholars. The girls are neither liars nor pretenders but rather perfect simulators. This assumption implies that these girls, regardless of their intentions and personal agendas, have seen, felt and experienced, what they claim to have encountered and consequently produced the right symptoms of bewitchment. Significantly, the simulators are minors and young girls who are demonized by a society controlled by stringent moral codes. It becomes quite normal for those girls to produce new realities of their own to displace, or colonize the current realities established by the puritan society of Salem . ************************************ Николай Чернышевский и Мирза Ибрагимов (к вопросу перевода и рецепции идейного наследия)
З.И. Рустамова Бакинский славянский университет Один из важных моментов, относящихся к рецепции творчества Чернышевского в Азербайджане, связан с переводом его романа «Что делать?», который был осуществлен в середине ХХ века народным писателем Азербайджана Мирзой Ибрагимовым. Он дал роману новую жизнь. Критика тепло принята работу Ибрагимова, увидев его заслугу в том, что он не стал рабом оригинала и отказался от механического перевода. В своем романе «Перване» (1970) Ибрагимов создал образ Чернышевского и развил его идеи о свободном человеке, пытающемся изменить обстоятельства, добиться улучшения своей жизни, нашедшем свое любимое дело. Мысли русского писателя о самовоспитании и женской эмансипации также получили преломление и развитие в романе. Герои Чернышевского дают отпор людям, посягающим на их свободу, и Хури, героиня романа «Перване», оставшаяся без защиты после гибели мужа, служившего русскому царю, приходит к ясному осознанию того, что надеяться теперь можно только на себя. Автор романа показывает, как мусульманка, задавленная шариатом, пытается защитить свои права и права сына, не позволяет растоптать себя, как в ней просыпается личность и чувство собственного достоинства. Важное место в творчестве Чернышевского занимал вопрос о роли наставника в процессе становления личности. Хури оказывается для сына Сахиба (будущего учителя Н.Нариманова), который поступает в Петербургский университет, «не только любящей и заботливой матерью, но и наставником, собеседником, другом…». Она, подобно героиням Чернышевского, активна в жизни, стремится к самообразованию. И если Вера Павловна решилась держать экзамен на врача, то Хури смогла получить «звание учительницы». Вопрос об отношение человека к своему делу, занимавший в творчестве Чернышевского важное место, также получает развитие в романе М.Ибрагимова через образы кузнеца Вафадара и Джафара, нашедшего свое призвание в ковроткачестве. Труд перестает быть для них подневольным и становится радостным делом их жизни. В романе «Перване» М.Ибрагимов приводит своих героев Хури с Сахибом на гражданскую казнь Чернышевского. Строя его описание на контрасте, автор хочет показать значимость нравственной основы и духовной силы в человеке: «…внешне он совершенно не был похож на героя», но «привлекал к себе, очаровывал и потрясал людеей
сосредоточенностью, своего рода душевной неприступностью, душевным величием, и
Хури почувствовала, что за таким вожаком можно пойти без боязни…».
****
Е.С. Шевченко (Самара, Россия)
***** Концепт «город» в литературе: от эвристики к аппликации Наджафалиева Гюнель, Задача данной методологической статьи - разработать процедуру аналитического использования категории «концепт», осознавая ее эвристичность и продуктивную корреляцию с реальными социогуманитарными проблемами. |