History of Literary Criticism

Se sia Giacomo Leopardi che Giuseppe Mazzini sono da lungo noti al pubblico di lingua portoghese (fra i primi traduttori di Leopardi ci fu persino Fernando Pessoa, mentre I doveri dell'uomo di Mazzini fu tradotto già nel 1861 col titolo Os Deveres do Homem), tra XIX e XX secolo è vissuto in Italia un poeta che ha provato a condensare, in originalissima sintesi, i loro messaggi, pure all'apparenza tanto diversi. Parliamo di Clemente Rebora (1885-1957), uno dei più abili ed efficienti scrittori del tempo. Leopardi lascerà la sua impronta indelebile sul Rebora artista, e Mazzini sul Rebora uomo (conducendolo al Cristianesimo). Nella stesura del saggio ci si è avvalsi delle opere tanto dell'autore che dei suoi due maestri, ma soprattutto del prezioso epistolario (pubblicato in tre volumi per le edizioni Dehoniane di Bologna, a cura dello studioso e sacerdote Carmelo Giovannini), insostituibile strumento per ricostruire la biografia, il pensiero e il sentire del poeta.

This article examines a key methodological principle in Erich Auerbach's theorization of literary realism and explores its significance in relation to his conception of history. By tracing a terminological and conceptual trajectory within Auerbach's own writings-from his early study on Dante to his magnum opus Mimesis-and situating it within the broader framework of the German philosophical tradition, particularly Hegel's Aesthetics, the study identifies what may be termed the principle of immersive insertion [das Prinzip des Hineinsenkens] as a foundational aspect of realism. This principle refers to the process by which individual, concrete life stories are deeply embedded within a larger horizon of meaning. Finally, the essay investigates the connection between realism and historicism, highlighting both the scientific and ethical motivations underpinning Auerbach's methodological approach.

In the course of the study, this paper tries to make a justification of the revolutionary zeal which is prevalent throughout two legendary lyrics "Ode to the West Wind" and "The Rebel (Bidrohi)". Percy Bysshe Shelley's "Ode to the West Wind" and Kazi Nazrul Islam's "The Rebel (Bidrohi)" demonstrate the role of the poet as the voice of change and revolution. The two poems are superbly fabricated on their creators' credo "destruction" and "creation" revolting against old customs, society and authority, and vice versa ushering in the new establishments. Both poets rebelled against British rule. One did this against his own nation and another was against colonials. They are rebels and visionaries of change through the spirit of revolution, though it is not expressed in same ways. The rebel in "The Rebel (Bidrohi)", is a powerful young man and the reformer, in "Ode to the West Wind", the focus is an old man who is seeking help. Both use much imagery and metaphors from nature, religious books, myths and history to visualize the spirit of revolution which is the weapon of freedom against individual, political, economic and religious slavery. They were actually harbingers of Renaissance humanism. Hence, their voice of revolution and change have been universalized for all people of all ages who are deprived of their rights.

https://aevum.vitaepensiero.it/
Wolfenbüttel, Herzog August Bibliothek, 145. 2 Helmst. contains a breviary copied around 1300 for Mechthild von Warberg, prioress of the Augustinian nunnery of Marienberg, near Helmstedt. At ff. 9ra-10ra it contains a rather curious poem on the Cross without a title (inc. «Religiose bone, qui ferues religione); it is divided into quatrains and composed of Leonine hexameters and goliardic metres. This compositional peculiarity is due to the fact that the poem is actually a conflation of two texts, belonging to a similar, yet distinct, context: the «De doctrina religiosorum» and the «De vita et passione Christi». Of both poems, dated to the 13th
century, the Wolfenbüttel codex is one of the oldest “indirect” witnesses: their reuse within another mixed composition demonstrates the vitality of this type of work. This article provides an edition of the poem, investigating the anonymous author’s use of the two sources and placing the text in the broader context of the literary genre.

La fama literària de Francesc Vicent Garcia, el «Rector de Vallfogona», ja ha sobrepassat els tres segles i mig. Al llarg d'aquest temps, el seu nom i la seva obra no han cessat d'influir sobre la cultura catalana, tant en l'àmbit literari culte com en el camp de la cultura popular. £s cert, amb tot, que la consideració en què se l'ha tingut ha patit extraordinàries fluctuacions, passant d'ésser el protagonista indiscutit de la millor poesia catalana al culpable d'haver-la enfonsat dins la més abjecta mediocritat. L'anàlisi de les referències bibliogràfiques a l'obra del nostre autor ' ens permetrà detectar les causes de la davallada del prestigi literari de Garcia. Cal advertir, però, que la gran abundancia de textos referents al rector m'ha obligat a ser selectiu en els escrits de la Renaixença ençà: la bibliografia esmentada en la nota anterior m'estalvia de citar molts articles i llibres que fan referència de passada al nostre poeta.' He d'afegir, finalment, que no m'he proposat * Una anterior versió d'aquest estudi, molt resumida i sense notes, aparegué, sota el títol La fortuna literària de Francesc Vicent Garcia, dins l'opuscle de DIVERSOS AUTORS, IV Cen- tenari del Naixement del

Philology, as the scholarly discipline dedicated to the study of language in written historical sources, represents one of the foundational approaches to understanding human civilization through textual analysis. This comprehensive study examines the evolution of philological methods from ancient Alexandria to contemporary digital humanities, analyzing how the discipline's core components-textual criticism, historical linguistics, paleography, and cultural analysis-contribute to our understanding of linguistic and cultural development. The interdisciplinary nature of modern philology demonstrates its continued relevance in bridging traditional scholarship with technological innovation. Through examination of classical traditions, methodological developments, and contemporary case studies, this paper argues that philology's multifaceted approach provides essential insights into the transmission, preservation, and interpretation of human knowledge across cultures and centuries. The integration of digital technologies with traditional philological methods represents not merely a technological upgrade but a fundamental expansion of the discipline's capacity to illuminate textual relationships and cultural patterns previously inaccessible to scholarly investigation.

Teaching a form of Syrian dialect is documented in a manuscript by Ottoman poet and writer Ḥassān ibn Naṣūḥ ar-Rūmī al-Balāṭī dating back to around 1445. He aimed to instruct individuals interested in travelling to Arab countries in spoken Arabic. In his introduction, al-Balāṭī explains his motivation for writing this book, emphasizing his intention to move away from the traditional grammatical approach commonly used in Arabic language instruction. Instead, he employed communicative strategies; his work demonstrates his recognition of the contextual requirements for second language learners within an immersive setting. Additionally, al-Balāṭī utilised Ottoman Turkish as a medium language in teaching the Arabic dialects. The manuscript sheds light on the author's methodology for teaching the dialects spoken in northern Syria some 600 years ago. Furthermore, this paper will delve into his approach to grammar presentation, incorporation of cultural nuances and values, topic selection, and other aspects highlighted within the text.

Savinio ha inseguito Leopardi per quasi tutta la
vita. Lo ha letto, annotato, imitato. Ha sentito
una profonda simpatia per la sua persona
e per la sua scrittura, affidandola a tre testi
indimenticabili: Drammaticità di Leopardi, Il
sorbetto di Leopardi e All’insegna dello Starita
grande. Un saggio, un articolo di giornale e
un racconto. Uno studio critico in anticipo sui
tempi, un ritratto dissacrante ma innamorato,
una storia di fantasmi e trattorie maledette.
Come fil rouge la città di Napoli, luogo di una
conferenza sul teatro dialogico del recanatese,
sfondo delle passeggiate in discesa del
“contino” appassionato di gelati, infine dimora
delle sue peregrinazioni da ectoplasma.
E se per Savinio le carte napoletane del grande
poeta racchiudono la fuga straordinaria di
chi «tutto vuole pensare, tutto vedere, tutto
notare, prima di arrivare alla libertà», le tre carte
leopardiane qui raccolte – come nel celebre
gioco truffaldino – nascondono e palesano
freneticamente un rispecchiamento che va oltre
il tributo.

This essay introduces the concept of “authorialism” to characterise the critical orientation that sees literary works primarily as actions on the part of their authors rather than as linguistic objects, using the early reception of Oscar Wilde’s works as a case study. It is argued that authorialism was the dominant tendency in 1875-1900 Anglophone criticism, and that it has characterised assessments of Wilde’s works to this day. The method has the advantage of finding coherence in literary works, which is useful in assessing matters of value; the textual features of Wilde’s writings, however, resist authorialist readings by not featuring the expected coherence.

Human life is shaped by the dynamic interplay of cosmic forces, with Saturn, Rahu, Ketu, the Sun, and the Moon influencing physical constitution, mental patterns, emotional tendencies, and karmic trajectories. Their effects are highly individualized, determined by the precise time of birth, which imprints a unique resonance pattern on the body-mind complex. Saturn governs discipline and karmic lessons, Rahu and Ketu act as resonance points in the Sun-Moon-Earth system, and the Sun and Moon dictate constitutional types-Vata, Pitta, Kapha-modulating metabolic balance, acidity, alkalinity, and emotional rhythms. Time serves as a cosmic memory, with saṁskāras encoding impressions and karma unfolding consequences, creating a personalized framework in which planetary and luminary positions interact with individual constitution to shape destiny. This integrated perspective highlights how universal cosmic forces manifest uniquely in each human life, revealing the interplay of biology, psychology, energetics, and karmic history.

This article reconsiders the early critical reception of Algernon Charles Swinburne’s 1866 collection Poems and Ballads with a view to articulating the extent to which the critical hostility that famously greeted the book upon publication was mediated by the category of ‘boyishness’. I show that the complaint that the 29-year-old Swinburne wrote, and by implication thought and felt, too much like a boy and not enough like an adult man lay at the core of the critical onslaught and contributed to underpin critics’ various complaints of obscenity, blasphemy, bad taste and so on. After considering the nature of the connection between the boyish quality often associated with Swinburne as a person throughout his life and the poetical ‘boyishness’ critics perceived in his work, I propose a taxonomy of three main meanings of boyishness that emerge from the early critics’ attacks: boyishness as lack of virility, boyishness as lack of self-restraint, and boyishness as lack of intellectual maturity. By analysing these critical readings in the context of various medical, pedagogical and more broadly cultural discourses of the time, I make the case that Swinburne found himself cast as someone who presented precisely the characteristics of boyhood of which a functioning adult man was supposed to rid himself. The broader argument is that by giving close attention to age-based slurs, we can gain a more fine-grained account of mid-Victorian attitudes to childhood and maturity, and society’s self-image more generally.

Anche Il risorgimento di Leopardi si rifà al naturalista e poeta Giuseppe Olivi di Chioggia (1769-24 agosto 1795, oggi sono duecentotrent'anni), in particolare a taluni suoi componimenti. A lui sono da ricondurre in parte anche la scelta della canzonetta, da sempre vera e propria crux per gli studiosi, della cui precisa forma metrica in realtà era sfuggita la presenza tra i versi leopardiani dell'adolescenza.

The study examines the issue of shaping the modern discourse on literary description. The research is carried out on the most recognised and influential texts directly referring to this form of expression (e.g., by Gotthold E. Lessing, Émile Zola, György Lukács, Alain Robbe-Grillet). Special attention is devoted to the negative evaluation of description. This attitude, strengthened by Lukács, developed mostly around a series of oppositions: deep versus surface, autonomy versus subordination, action versus stagnation, anthropocentric versus non-anthropocentric. Additionally, the paper states that the categories traditionally linked to description as a threat to the work’s coherence, the position of the protagonist, and the clarity and purposefulness of communication served the writers and critics of the nouveau roman as justification to employ it as a tool for deconstructing the classical form of the novel.

Literary criticism is the play of mind on the work of literature and in asking questions and answering them. The purpose is better understanding and appreciation of the pleasure. Inquiry helps us think rightly about literature. In this way is built up a theory of literature. The inquiry may be directed towards a particular work of literature and distinctive qualities may be examined. The matter, manner, technique and language are assessed. Certain rules may be formed and literary work tested against them, with reference to other similar works of literature. Thus, reader is helped by critic in formation of idea of literary merit. This study deals with the movement of different phases and to examine theses phases in details. Besides the impact of ages on literary criticism according to ideas of different critics.

Hausa proverbs, just like proverbs in other languages, are cultural expressions in the form of set phrases that originate in oral tradition. In this article I analyze the content, meanings, and functions of proverbs encapsulating Hausa traditional views on marriage. I apply the paradigm of ethnolinguistics, specifically the linguistic worldview conception (LWV) (Bartmiński 2019, 2012), to the analysis of the lexis and meaning of the proverbs in order to uncover the conceptualization of the cultural concept of marriage in the Hausa language and culture-specific ways of thinking about marriage in the Hausaspeaking community. The data for the analysis cover twenty-five Hausa proverbs that refer to the conceptual domain of marriage. These proverbs contain numerous cultural keywords (see Wierzbicka 1997) as exponents of cultural codes. Deciphering these codes allows for the proper interpretation of the proverbs' meanings and functions. Additionally, the interpretation is supported by grouping the data into thematic categories.

The Journal of Romanian Literary Studies is an international online journal published by the ALPHA Institute for Multicultural Studies in partnership with Arhipelag XXI Press. It is an academic publication open to academics, literary critics, theoreticians or researchers who are interested in the study of Romanian literature, as well as the Humanities. Our essential goal is to set communication paths between Romanian literary and humanistic research and the contemporary European cultural discourse, bringing the most valuable phenomena recorded in the Romanian culture into a beneficial dialogue with the other European cultures.

The Journal of Romanian Literary Studies is an international online journal published by the ALPHA Institute for Multicultural Studies in partnership with Arhipelag XXI Press. It is an academic publication open to academics, literary critics, theoreticians or researchers who are interested in the study of Romanian literature, as well as the Humanities. Our essential goal is to set communication paths between Romanian literary and humanistic research and the contemporary European cultural discourse, bringing the most valuable phenomena recorded in the Romanian culture into a beneficial dialogue with the other European cultures.

Race in Irish Literature and Culture provides an in-depth understanding of intersections between Irish literature, culture, and questions of race, racialization, and racism. Covering a vast historical terrain from the sixteenth century to the present, it spotlights the work of canonical, understudied, and contemporary authors in Ireland, Northern Ireland, and among diasporic Irish communities. By focusing on questions related to Black Irish identities, Irish whiteness, Irish racial sciences, postcolonial solidarities, and decolonial strategies to address racialization, the volume moves beyond the familiar frameworks of British/Irish and Catholic/ Protestant binarisms and demonstrates methods for Irish Studies scholars to engage with the question of race from a contemporary perspective.

Resumen
La Razón de América Latina. La filosofía política de la Ilustración latinoamericana es una especie de continuación del anterior trabajo de Mario Ruiz Sotelo, Crítica de la Razón Imperial. La filosofía política de Bartolomé de Las Casas (México, Siglo XXI, 2010). Quizá suene muy retumbante, pero me parece que este libro marca una nueva etapa en la historia de la filosofía colonial en América Latina. Así de fuerte. Ruiz Sotelo advierte la diversidad del movimiento, donde reconoce cuatro corrientes ilustradas a las que define y pone nombre. Ahora bien, realmente, no está tratando sólo la lustración: está dando una inversión a todas las historias de la filosofía de la época colonial escritas hasta ahora, incluyéndome. Ha logrado un lenguaje novedoso en la línea de la descolonización epistemológica, siendo quizá el primero que aplica esta metodología. Enrique Dussel.
Abstract
The Reason of Latin America. The Political Philosophy of the Latin American Enlightenment is a sort of continuation of Mario Ruiz Sotelo's previous work, Critique of Imperial Reason. The Political Philosophy of Bartolomé de Las Casas (Mexico, Siglo XXI, 2010). It may sound too resounding, but it seems to me that this book marks a new stage in the history of colonial philosophy in Latin America. That's how powerful it is. Ruiz Sotelo emphasizes the diversity of the movement, where he recognizes four Enlightenment currents, which he defines and names. Now, in reality, he's not just dealing with Enlightenment: he's inverting all the histories of colonial-era philosophy written to date, including my own. He has achieved a novel language along the lines of epistemological decolonization, perhaps being the first to apply this methodology. Enrique Dussel.

Краснобородько Т. И., Турчаненко В. В. Дни Бориса Львовича Модзалевского в Пушкинском Доме // Русская литература. 2025. № 2. С. 258–267.

Хроника мемориальных «Дней Бориса Львовича Модзалевского» (29–31 мая 2024 года), приуроченных к 150-летию со дня рождения основателя Института русской литературы (Пушкинского Дома) Российской Академии наук.

Who is it that can tell me who I am?"-William Shakespeare, King Lear (I.4) The journey from respected playwright to prophetic genius, from man to myth, was neither linear nor inevitable. It was shaped by seismic shifts in cultural sensibility: first by the rise of sentimentalism, which reoriented aesthetics toward feeling, authenticity, and moral immediacy; and then by the surge of Romanticism, which elevated individual imagination, nature, and the sublime as vehicles of transcendence. In this intellectual and emotional climate, Shakespeare was rediscovered-not as a relic of the Elizabethan stage, but as a visionary ahead of his time. This paper traces how Shakespeare's reputation was transformed in the second half of the 18th century and the early 19th, as writers, critics, philosophers, and artists reinterpreted his works through the lenses of emerging cultural ideals. Far from being static, the Shakespeare we know today is the product of powerful cultural reimaginings-shaped by the needs and desires of the ages that appropriated him. The goal here is not merely to recount the growing reverence for Shakespeare, but to understand how aesthetic sensibility, philosophical longing, and national identity converged in the creation of a literary cult. Shakespeare, in this context, was not only read-he was believed in. And that belief, more than any individual reading, is what transformed a playwright into a monument.

From the fertile soil of Kerala-where monsoon myths mingle with the roar of resistance-Nigitha John rises as a bilingual storyteller in Malayalam and English. Her words are not mere reflections; they are interventions-piercing silences, unsettling comforts, and forging a language that remembers, resists, and reimagines. Her Derrida in JNU: A Novel (2025) is such a legacy that repels narrative obviousness, linear ideology, and even genre boundaries. Knitting together the political, intellectual, and emotional landscapes of JNU-Jawaharlal Nehru University-she presents not just a narrative but a textual experiment, a poetic provocation, and a tribute to the philosophical hauntings of Jacques Derrida that attracts the readers towards it as the flowers do to the bees. Through silence, fragmentation, irony, and detour, it carves out a space where deconstruction meets dissent, and theory becomes a lived reality. Blessed with literary depth and emotional resonance in magical realism, the pages of the book stimulate bibliophiles to deconstruct the philosophy of deconstruction, which explores the inherent contradictions and instabilities within language and thought. As a novel, it does not follow the rules-it deconstructs them, reveals them, and brings them to light through one hundred and seventy-three pages with the help of Magic Moon Publishers Pvt-Ltd in May 2025.

From the fertile soil of Kerala-where monsoon myths mingle with the roar of resistance-Nigitha John rises as a bilingual storyteller in Malayalam and English. Her words are not mere reflections; they are interventions-piercing silences, unsettling comforts, and forging a language that remembers, resists, and reimagines. Her Derrida in JNU: A Novel (2025) is such a legacy that repels narrative obviousness, linear ideology, and even genre boundaries. Knitting together the political, intellectual, and emotional landscapes of JNU-Jawaharlal Nehru University-she presents not just a narrative but a textual experiment, a poetic provocation, and a tribute to the philosophical hauntings of Jacques Derrida that attracts the readers towards it as the flowers do to the bees. Through silence, fragmentation, irony, and detour, it carves out a space where deconstruction meets dissent, and theory becomes a lived reality. Blessed with literary depth and emotional resonance in magical realism, the pages of the book stimulate bibliophiles to deconstruct the philosophy of deconstruction, which explores the inherent contradictions and instabilities within language and thought. As a novel, it does not follow the rules-it deconstructs them, reveals them, and brings them to light through one hundred and seventy-three pages with the help of Magic Moon Publishers Pvt-Ltd in May 2025.

20 GIUGNO 2024 -Ciclo XXXVII Aula DSU3, via Porta di Massa 1 ore 9.30-11 presiede prof. GIULIO MASSIMILLA MATTIA AURIEMMA, Per un'edizione critica delle "hypotheseis" tragiche: il caso delle "hypotheseis" alla triade euripidea ADRIANA BENEDUCE, L'"Alessandra" di Licofrone come esperimento di letteratura oracolare DUILIA GIADA GUARINO, Alcuni fitonimi dal "Repertorio storico del lessico botanico napoletano" ore 11.30-13 GIUSEPPE IAZZETTA, La digressione 'scientifica' sulla "pestilentia" di Amida in Ammiano Marcellino (XIX 4, 2-7) FRANCESCO LONGOBARDI, Commento al Libro XI dei "Posthomerica" di Quinto Smirneo SARA NOCERINO, Per una morfologia storica del libro di racconti italiano ore 15-17.30 presiede prof.ssa FRANCESCA DOVETTO CONCETTA MARIA PAGLIUCA, Montage, decoupage, chapitrage nel romanzo figurale

Durante el Siglo de las Luces se desarrolló un intenso
debate acerca de la naturaleza de América, en el que filósofos y
naturalistas europeos pusieron en duda la historiografía hasta entonces
imperante sobre las sociedades prehispánicas y los procesos de
conquista y colonización españoles. Comenzaron a tomar fuerza
tesis basadas en la degeneración, inferioridad e indolencia como
elementos característicos de la naturaleza americana. Ante estas
ideas, provenientes en su mayoría del norte de Europa, pero también
en ocasiones de la España peninsular, los criollos novohispanos
reaccionaron con firmeza y defendieron la riqueza humana y natural de
su territorio. Para profundizar en la participación criolla en la disputa
y las consecuencias ideológicas que tuvo, he analizado la obra
periodística de José Antonio Alzate, un criollo de formación jesuita
y pensamiento ilustrado cuyas publicaciones resultan indispensables
para entender la sociedad de la Nueva España durante el último
tercio del siglo XVIII.

Il contributo illustra alcuni materiali manoscritti provenienti dall’archivio di persona di Francesco Flamini, conservato presso i suoi eredi. In particolar modo, l’archivio restituisce due lezioni universitarie databili entro il 1905, in un periodo in cui Flamini insegnava all’Università di Padova e si stava imponendo nella cultura letteraria italiana l’estetica crociana.

link: https://journals.sns.it/index.php/annalilettere/article/view/6604

L’arrivée du procureur Robert Irwin, arabisant britannique,
a été orchestrée par son éditeur comme l’entrée de la
Reine de la Nuit : « Er kommt ! ». L’édition de poche consacre
le succès d’un titre dont la sortie, l’année précédente, fit
grand bruit : « Une bombe incendiaire dans les flammes de la
discorde... Seul Irwin pouvait la jeter » ; « Neuf parts d’érudition
courtoise, une part de napalm » ; « Rougeoyant de polémique...
» Le vent tourne : le même Times Literary Supplement
qui, le 3 février 1995, publiait de larges extraits de la postface
d’Edward Said à la réédition de L’Orientalisme, s’attache
aujourd’hui les services de Robert Irwin comme « Editor for
the Middle East ».
Ce n’est pas la première fois qu’on instruit le procès du
célèbre ouvrage d’Edward Said, bible des études postcoloniales
et des « cultural studies » parue en 1978, qui présentait
l’orientalisme comme une entreprise de domination pluriséculaire.

(notes d'une présentation faite une première fois à l'UQAM à la journée Politiques de la littérature organisée par Marc Antoine Blais et Jean-François Hamel, le 25 octobre 2024 ; remaniée pour la journée Diaglossie, organisée par Emmanuel Lozerand à l'INALCO, le 16 juin 2025)

Il saggio s’interroga anzitutto sul significato che assume nel tempo il concetto di elegia in Leopardi, dalle traduzioni puerili e dall’Appressamento della morte fino ai Canti e allo Zibaldone del 1826. Si mostrerà dunque come l’attenzione del poeta si sposti progressivamente dal metro al ‹modus› elegiaco, praticato dagli antichi e ancora praticabile dai moderni, perché esito del profondo, universale intreccio tra Amore e Morte, tra «subietti lugubri» (o sepolcrali) e poesia amorosa. È un intreccio, questo, che ha conosciuto forse la sua più vistosa manifestazione negli Elegiarum libri di Properzio, sulle cui tracce certe (indicate da precise citazioni testuali) nell’opera leopardiana muove la seconda parte dell’articolo, che pone l’accento su lemmi, immagini, modalità espressive, motivi e mitologemi comuni ai due poeti, non senza trascurare sostanziali e inevitabili punti di divergenza.

Die Studie befasst sich vor allem mit der Bedeutung, die der Begriff der Elegie mit der Zeit bei Leopardi gewinnt, von den Übersetzungen im Knabenalter und dem Appressamento della morte bis hin zu den Canti und dem Zibaldone von 1826. Dabei wird gezeigt, wie die Aufmerksamkeit des Dichters sich zunehmend vom Metrum auf den modus der Elegie verlagert, wie ihn die Alten anwandten und auch die Modernen noch anwenden können, da er auf die tiefe, universelle Verflechtung von Liebe und Tod zurückgeht, von «traurigen Stoffen» (oder solchen, die den Tod berühren) und Liebesdichtung. Diese Verflechtung hat ihre vielleicht deutlichste Manifestation in Properz̕ Elegiarum libri gefunden, dessen (durch genaue Textzitate belegten) Spuren im Werk Leopardis der zweite Teil des Artikels folgt, der das Augenmerk auf Stichwörter, Bilder, Ausdrucksweisen, Motive und Mythologeme legt, die beiden Dichtern gemein sind, ohne dabei wesentliche und unvermeidliche Abweichungen zu vernachlässigen.

Euripides -"Tragischster der Dichter" oder "Zerstörer der Tragödie"? Es ist eine Banalität zu sagen, dass Dichter zu verschiedenen Zeiten in ihrer literarischen Qualität unterschiedlich eingeschätzt werden. Aber bei kaum einem Dichter der Antike sind die Schwankungen in der Wertschätzung so hoch wie bei Euripides. Vom 4. Jahrhundert v. Chr. bis in die spätbyzantinische Zeit, also etwa 1800 Jahre, galt Euripides als der herausragende griechische Tragiker, dem bestenfalls Sophokles an die Seite zu stellen sei. Dieses Urteil blieb, mit gewissen Abstrichen, sogar bis weit ins 18. Jahrhundert hinein bestehen. 1 Zu Beginn des 19. Jahrhunderts kann man hingegen von August Wilhelm Schlegel hören, die Dramen des Euripides seien ein Verfall der griechischen Dichtkunst, seine Tragödien seien gar nicht mehr tragisch, wer den echten großen Stil kennenlernen wolle, könne sich "mit den älteren Tragikern begnügen und den Euripides ganz überschlagen". 2 Er greift dabei weitestgehend die Ausführungen seines Bruders Friedrich Schlegel auf, der in verschiedenen Studien zum klassischen Altertum ab 1795 (vor allem in seiner Abhandlung Über das Studium der Griechischen Poesie, 1795-1797) 3 Sophokles als den vollendeten antiken, "ästhetischen" Dichter den modernen, "philosophischen" Tragödiendichtern gegenübergesetzt hatte. Bei ihm nahm Euripides die etwas heimatlose Zwischenstellung eines nicht mehr antiken, aber auch noch nicht modernen Dichters ein. August Wilhelm Schlegels Ausführungen in der Geschichte der klassischen Literatur beziehungsweise den Vorlesungen Über dramatische Kunst und Litteratur sind 1 Zum Euripidesbild in der gesamten Antike siehe den ausführlichen Überblick von Funke, Euripides. Zum Einfluss des Euripides von der Antike bis heute vgl. Lucas, Euripides and His Influence; zur Rezeption seit der Antike, unter ständiger Berücksichtigung des Wandels des Euripidesbildes, siehe auch die ausgezeichnete Hinführung zur aktuellen Euripidesforschung von Mastronarde, The Art of Euripides 2-25. Vor allem mit Blick auf die antike Literaturkritik interessant ist Pfeifer, Die antiken Stilurteile; die Kaiserzeit und die Spätantike wird nun thematisiert in Schramm, Euripides-Rezeption in Kaiserzeit und Spätantike. Zum byzantinischen Euripidesbild siehe Irmscher, Antikes Drama in Byzanz 231-233. 2 A. W. Schlegel, Über die dramatische Poesie der Griechen 293.

Il contributo nasce da una riflessione personale sui significati ancora inesplorati dell’opera leopardiana, in particolare del periodo napoletano. Non si tratta di uno studio accademico con ambizioni filologiche, ma di un saggio interpretativo che propone una lettura del materialismo leopardiano alla luce delle urgenze del nostro tempo. L’approccio è soggettivo e militante: Leopardi viene qui considerato come pensatore ancora attuale, capace di parlare alla cultura contemporanea segnata da nuove forme di oscurantismo e da un rapporto acritico con la tecnica. L’obiettivo non è offrire nuove acquisizioni erudite, ma restituire a Leopardi la sua carica rivoluzionaria e scomoda, sottraendolo alle letture addomesticanti e valorizzando la forza delle sue intuizioni come strumento di intervento culturale.

Leopardi e la natura: la vita e le opere Giacomo Leopardi, uno degli scrittori più importanti della letteratura italiana, nasce a Recanati ("il natio borgo selvaggio"), nel 1798. La famiglia è aristocratica, è figlio del conte Monaldo, e della marchesa Adelaide Antici. Fin dall'infanzia riceve un'educazione in diversi campi: dalle lettere classiche alla scienza, grazie anche alla biblioteca paterna. Inizia a comporre versi fin da bambino. Si occupa di filologia, di filosofia illuminista e si dedica alla composizione di testi propri. Inoltre afferma la superiorità dell'immaginario classico su quello romantico. Incomincia a raccogliere i suoi pensieri, le sue annotazioni di carattere letterariofilologico, filosofico in una raccolta che diventerà lo''Zibaldone di pensieri''. Negli anni venti dell'Ottocento pubblica le sue prime raccolte, gli ''Idilli ''(1819-1821) e le ''Canzoni'' (1820-1823). Nel 1824 si dedica a un'opera in prosa, le ''Operette Morali''. Nel 1828 è costretto a tornare a Recanati, a causa di un grave disturbo agli occhi, e rimarrà nel paese natale fino al 1830. In questi due anni Leopardi compose i cosiddetti ''Grandi idilli'': ''A Silvia'', ''Il passero solitario'', ''Il sabato del villaggio'', ''Canto notturno di un pastore errante dell'Asia''. Dal 1830 al 1833 è a Firenze, città dove conosce Antonio Ranieri a cui rimarrà legato fino alla sua morte. Si innamora di una giovane nobile, Fanny Targioni Tozzetti. Passione che si conclude in una delusione, ma che gli ispira le poesie del cosiddetto: ''Ciclo di Aspasia''.

Trente années séparent Barbey d’Aurevilly (né en 1808) et Villiers de l’Isle-Adam (né en 1838), mais les deux écrivains se sont chacun construit un ethos similaire. Baptisés « chevaliers de plume » par La Varende, Barbey et Villiers se présentent dans leurs discours comme des gentilshommes d’épée qui, ne pouvant guerroyer, reportent leur vaillance en une écriture polémique et militante : l’aîné adopte la figure du « chouan des lettres », le cadet celle du « croisé de l’écriture ».

et dans Fin d'un millénaire. Rayonnement de la littérature comparée, Pascal Dethurens et Olivier Bonnerot (dir.), Presses Universitaires de Strasbourg, 2000 (« Littératures (extrême-)orientales et théorie littéraire dans le comparatisme français », p. 131-144). 6. L'initiative en revient à Élise Duclos.

Dcbreczeni Attila: Csokonai, a „bölcs poéta" (Irodalmi szereptudat, egzisztencia, modus vivendi a 19. század legelején) 7-19. Borbély Szilárd: Mitsoda a bölcs? (Ungvárnémeti Tóth László egy episztolájáról) 20-29. Szuromi Lajos: Kölcsey verselése 30-47. Nagy Miklós: Jókai Világos után (Filológia és ízléstörténet) 48-58. Nyilasy Balázs: Beteljesült vágyak ártatlan világa (Arany János és a hősidill kapcsolatához) 59-67. Új Imre Attila: Néhány szó Salamon Ferenc esztétikájáról Petőfi-dolgozata tükrében 68-75. Bényei Miklós: Eötvös József kiadatlan drámatöredéke 76-83. Hauber Károly: Gozsdu Elek levelei Justh Zsigmondhoz 84-97. Varga Pál: A költői hatás néhány megújítója a 19. század végének magyar lírájában 98-117. Dobos István: A magyar századforduló néhány prózapoétikai problémájáról (A „drámai" és az ún. balladisztikus novella) 118-131. Imre László: Fejlődéstörténeti kérdések a századvég magyar irodalmában (Polémikus jegyzetek Bori Imre A magyar irodalom modern irányai című...

After spending almost two decades reading cinematic and theatrical reviews where I was usually told in summary, what was taking place either on the big screen or on stage, I propose to bring forward some key points for consideration when compiling such reviews. The objective shall be in a more technical manner. To achieve this, I hope to bring previously established rules and definitions in a contemporary setting.

Второй том Избранных сочинений А.Е. Махова называется
«О музыке слова».
Но, по словам автора, о музыке здесь «почти ничего не говорится».
Эта книга – «о влечении слова к музыке». О том, как слово и музыка, устремляясь друг к другу, на протяжении всей истории «музыки слова», не встречаются. То идеально-иное, которое они ищут друг в друге, в конце концов обретается ими в самих себе: это «иное» оказывается непознанной стороной их собственной сущности.
Отношения слова и музыки – это и брак (Э. Дешан), и борьба за собственность (П. Валери), и обмен (А.Е. Махов): «Музыка постоянно находится не только в себе, но и “вне себя”; она оказывается причастной к трём огромным сферам бытия — к устройству мира, к внутренней сути человека, к фундаментальным основам искусства…».
Все идеи о музыкальности поэзии — «своего рода ошибки, которые поэзия всегда совершала относительно самой себя» (Дж. Холлендер).
И вся эта книга — «история ошибок». Точнее – «фикций». А её герои — Платон, Дионисий Галикарнасский, Августин, Боэций, Э. Дешан, К. Салутати, Ф. Сидни, У. Шекспир, С. Кьеркегор, Новалис, Ж. Жубер, Ф. Шиллер, брат и сестра Брентано, И.Г. Гердер, Г.Р. Державин, А.С. Пушкин, С. Малларме, Э.Р. Курциус, М.В. Юдина, М.М. Бахтин, К. Леви-Стросс – создатели и/или разоблачители «магии очевидности», благодаря которой, по о мнению А.Е. Махова, и живёт идея словесной музыки.
В основу композиции тома положено движение времени: книга «Musica literariа: Идея словесной музыки в европейской поэтике»
(2005) — докторская диссертация «Система понятий и терминов
в европейской поэтике» (2007) — статьи, начиная со знаменитой «Черёд бросать кости…» (журнал «Апокриф», 1993) — план книги «Поэтика и музыка», которую А.Е. Махов думал закончить в 2024 году. Сложись всё иначе — мы бы сейчас отмечали её выход.
Книга, в том виде, в каком она приходит к читателю, для Автора никогда не существовала — так к нему самому оказался применён
столь любимый им принцип вечной комбинаторной игры.
Или всё-таки существовала?

Licence de Lettres Modernes, 2 e semestre L3 Cours magistral : Initiation à la critique littéraire et artistique Enseignante : Effie Amilitou Contenu des séances : analyse de textes théoriques représentatifs des écoles principales de critique littéraire et artistique et applications dans l'approche de textes littéraires ou dans l'analyse de documents relevant de la culture visuelle.

Tekst je pokušaj revalorizacije ocene i kritike Altiserove filozofije koju su u rasponu od pola veka formulisali korifeji praksis filozofije: Gajo Petrović, Danko Grlić, Rudi Supek, Milan Kangrga i Zagorka Pešić Golubović. Praksis filozofi su bez dvoumljenja Atlisera okarakterisilai i otpisali kao staljinistu. Dokumentujući i analizirajući merodavna mesta, počevši od šezdesetih godina prošlog veka, pa do prvih decenija ovog, nalazim da se kontekst višestruko promenio, počevši od filozofskih stanovišta, država i društvenih uređenja, pa do famoznog duha vremena, ali je ocena ostala ista: Altiser je dogmatski mislilac koji je „staljinizam ogrnuo u naučno ruho“. Staljinizam je za praksisovce neka vrsta rigidnog označitelja koji ne menja smisao u svim mogućim svetovima. Naprotiv, analizirajući „Altiserov staljinizam" branim tezu da praksis filozofi nisu razumeli njegovo ahumanističko stanovište i domet „strukturalističkog" preokreta, te da su ostali daleko od činjenice da je „staljinizam" postao lebdeći označitelj, koji se u zavisnosti od konteksta menja. Vodeće ličnosti praksisa, Milan Kangrga i Rudi Supek, odbili su da uvrste jedan Altiserov tekst u međunarodno izdanje „Praxisa“, propustivši šansu da famoznu kritiku svega postojećeg upotrebe dosledno, tj. da usmere oštricu i prema vlastitom stanovištu. Ono što je u notaciji praksis filozofiji „dogmatsko", u kontekstu Altiserove filozofije označava stvaralačke napore usmerene protiv filozofskog konformizma i malograđanskog humanizma.
Ključne reči: dogmatizam, staljinizam, strukturalizam, staljinistički pozitivizam, recenzija, kritika, praksis filozofija, Luj Altiser, humanizam.

This article explores how the infrastructure of Dutch-language literature-the material, social and organisational basis for the actions of actors in the literary field-could be studied through Actor-Network Theory (ANT). The term infrastructure has occasionally been used in field-theoretical contributions to Dutch Studies, but is usually used only to indicate the place of institutions in the literary field, and not to refer to means of communication, hardware, paperwork and other more material infrastructural phenomena. This article aims to provide a basis for a better description and analysis of that material side of the literary world. We first explore how infrastructure can be defined and investigated; then, using the sociology of critical capacity (Boltanski, Thévenot and Chiapello), we analyse what values are exchanged within the infrastructure of the literary world. We then examine three case studies: the Translation Database of the Dutch Foundation for Literature (Nederlands Letterenfonds), the grant application procedure of this Foundation, and the 28th Budapest International Book Festival (Budapesti Nemzetközi Könyvfesztivál) in which the Netherlands was the guest of honour. Our analysis shows how human and non-human

Zbornik radova "Književnost i revolucije" okuplja radove proizašle iz završne konferencije projekta Hrvatske zaklade za znanost (Književne revolucije IP-01-2018-7020) koja je održana u Zagrebu od 29. XI. do 1. XII. 2022. Radovi su posvećeni istraživanju nasljeđa avangarde u književnom i društvenom polju, polazeći od suvremenog, kritičkog razmatranja historijske avangarde u širem srednjoeuropskom i južnoslavenskom kontekstu. Uzimajući u obzir načine na koje se unutar umjetničkog polja, prije svega kroz književne prakse, generiraju radikalne političke i poetičke promjene, u zborniku su predstavljeni analogni procesi i odnosi u povijesnim revolucionarnim godinama. U skladu s ciljevima projekta postavljena su istraživačka pitanja: u kojem su odnosu književne revolucije i smjene paradigmi kad je riječ o teoriji i povijest književnosti, modelima, tipovima, konceptima jezika i literarnosti, autorskim praksama i poetikama? Je li moguće ponuditi redefinicije i nova čitanja avangarde kao historijskog, transhistorijskog i nadnacionalnog pojma?

Osim razvoja teorijsko-metodološke paradigme za razumijevanje i analizu koncepata književnih revolucija utemeljenih u estetskoj autonomiji književnosti cilj zbornika je evidentirati emancipacijski potencijal književnosti i radikalne promjene u poetskom izrazu, posebno u odnosu prema konceptima utopije i optimalne projekcije prema kojima se razvijaju i pojedinačne autorske hereze.

Nudeći odgovore na naznačena pitanja autori radova u zborniku pred sobom imaju procesualnost i kontinuitet književne revolucije nakon avangarde. U svojim tekstovima objedinjuju teorijski i metodološki interes prema avangardnim prijeporima, revolucijama, školama i utjecajima s interesom prema književnom tekstu, a kroz različite teme i predloške, nudeći nova čitanja i interpretacije. Revalorizacijski impuls zbornika vidljiv je u interpretacijama autorskih zahvata (Krleža, Ujević, Kamov, Cesarec, Ristić, Marinković, Šinko), zakona žanra (drama, roman, poezija), skupnih i pojedinačnih poduhvata u okviru izvedbenih umjetnosti i ekologije, post/jugoslavenske književnosti, postkolonijalizma i kapitalizma, feminizma i queer teorije.

Балакин А. Ю., Турчаненко В. В. Анна Ахматова и Пушкинская комиссия Академии наук СССР // Литературный факт. 2025. № 1 (35). С. 387–417.
Статья проблематизирует взаимоотношения Анны Ахматовой с представителями академического пушкиноведения в 1930-е–1960-е гг. На архивном материале (в т. ч. с привлечением документов из личного фонда А.А. Ахматовой в ОР РНБ) авторы реконструируют историю одной из ключевых отечественных гуманитарных академических институций — Пушкинской комиссии АН СССР в 1940-е–1950-е гг., параллельно заполняя белые пятна в биографии Ахматовой. Особое внимание уделяется выявлению свидетельств ее личных контактов с Д.П. Якубовичем, Ю.Г. Оксманом, В.В. Виноградовым.
Впервые публикуются персональные составы Пушкинской комиссии (1945 и 1958 гг.), письмо Т.Г. Цявловской к Ахматовой от марта 1934 г., посвященное работе над томом «Рукою Пушкина», и др. материалы к биографии Анны Ахматовой; приводятся исчерпывающие сведения о материалах Пушкинской комиссии и сектора (группы) пушкиноведения, отложившихся в личном фонде Ахматовой. Статья завершается атрибуцией группового фотопортрета.