Literatūra

Journal Information
ISSN / EISSN : 02580802 / 16481143
Current Publisher: Vilnius University Press (10.15388)
Total articles ≅ 735
Current Coverage
DOAJ
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SHERPA/ROMEO
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Latest articles in this journal

Gražina Kelmelytė
Published: 20 December 2019
Literatūra, Volume 61, pp 58-74; doi:10.15388/litera.2019.3.5

Abstract:
This article discusses the translation problems of theological and philosophical concepts in the apocryphal Gospel according to Philip. This text attributed to Valentinian Gnosticism originally was written in ancient Greek language, although now it is extant only in Coptic. The translation history of this gospel allows glancing at the transformation of theological and philosophical concepts in the texts of Early Christianity and their usage in heterodox contexts. The uniqueness of the Gospel according to Philip is revealed in its fragmentary character, lack of narrative and clear structure. All these aspects raise the question about the coherence of the theological and philosophical concepts used in the text. At first sight, it is not evident if the concept translated from Greek to Coptic reflects the identical concept or if concept gains additional connotation.
Dainora Pociūtė
Published: 20 December 2019
Literatūra, Volume 61, pp 110-114; doi:10.15388/litera.2019.1.6

Abstract:
Camaioni, Michele. 2018. Il Vangelo e L’Anticristo: Bernardino Ochino tra francescanesimo ed eresia (1487–1547). Istituto italiano per gli studi storici di Napoli. Bologna: Società Editrice il Mulino, 601 p. ISBN 978-88-15-27853-1 [„Evangelija ir Antikristas. Bernardinas Ochinas: nuo pranciškonybės iki erezijos (1487–1547)“]
Edyta Sacharewicz
Published: 20 December 2019
Literatūra, Volume 61, pp 44-53; doi:10.15388/litera.2019.4.3

Abstract:
The analysis of the place that music occupies in the works of Ken Bugul is the main purpose of this article. The author will try to present how this art manifests in her novels paying attention to the unique character of literary language. The rhythm, the intensity, the repetitions that appear in the Bugul’s texts become inseparables elements of her creation and show the musicality of her work.
Viktorija Šeina
Published: 20 December 2019
Literatūra, Volume 61, pp 11-24; doi:10.15388/litera.2019.1.1

Abstract:
The 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.
Eleonora Buožytė
Published: 20 December 2019
Literatūra, Volume 61, pp 115-118; doi:10.15388/litera.2019.1.7

Abstract:
Kauko, Mikko, Miika Norro, Kirsi-Maria Nummila, Tanja Toropainen & Tuomo Fonsén, eds. 2019. Languages in the Lutheran Reformation. Textual Networks and the Spread of Ideas. Amsterdam: Amsterdam University Press, 303 p. ISBN 978 94 6298 155 3.
Inga Bartkuvienė
Published: 20 December 2019
Literatūra, Volume 61, pp 27-43; doi:10.15388/litera.2019.4.2

Abstract:
The poetry of Paul Celan has a reflected intention to ask about the temporal determination of human being and simultaneously questions the term and definition of time. In may of his works he reflects he the catastrophic transformation, the reflection also includes the revision of the conventional conception of time. He tries to show, that beside the usual forms of historical, causal und linear time, individuals also perceive timelessness. Paradoxically, the accomplishment of a historical event (Holocaust) evokes a consciousness of the historical caesura, and thus of the untold and the inhospitable. In his perception, for the poet, writing (after holocaust) means writing after apocalyptic break, where history does not exist, in other words surrounded by the timelessness. The task of preserving the memory of what happened in poetry goes hand in hand with the awareness of a disorder and often borders on the impossibility of verbalizing what has happened or even being able to express itself verbally. The experience of disconnection from the temporal sequence of events (through trauma) coincides with the moments of speechlessness, emptiness in consciousness, verbal utterance, and time experience overlap. This tendency is radicalized especially in his late work. In this article late works of Paul Celan, that deal with the questions of timelessness and manifestations of it are analysed (“Zeitlücke”, “Die Trombonestelle” “Largo” and others).
Małgorzata Kamecka
Published: 20 December 2019
Literatūra, Volume 61, pp 54-66; doi:10.15388/litera.2019.4.4

Abstract:
Leila 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.
Tomas Riklius
Published: 20 December 2019
Literatūra, Volume 61, pp 98-108; doi:10.15388/litera.2019.3.8

Abstract:
This paper discusses the quotation frequency and reference strategies of Leon Battista Alberti, Federico Borromeo, and Gabriele Paleotti. These three Catholic art theoreticians of Early Modern period engaged Classical texts as the point of reference and expertly manipulated the Classical sources to provide contextual arguments in the formation of their own artistic theories. Alberti, Borromeo, and Paleotti directly alluded or referred to Pliny the Elder, Plutarch, Xenophon, Strabo, Aulus Gellius, and other Classical sources rather extensively. This can be noticed from various quotation strategies applied in Alberti, Borromeo, and Paleotti treatises and by statistical data on quotation frequency in Alberti’s De pictura, Paleotti’s Discorso intorno alle immagini sacre e profane, and Borromeo’s De pictura sacra.
Inga Bartkuvienė
Published: 20 December 2019
Literatūra, Volume 61, pp 138-166; doi:10.15388/litera.2019.4.10

Vytautas Bikulčius
Published: 20 December 2019
Literatūra, Volume 61, pp 94-100; doi:10.15388/litera.2019.4.7

Abstract:
Michel 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.
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