Literary Space

The paper approaches Anita Nair's Ladies Coupe from a feminist point of view to foregrounding women's stereotyping in a male-dominated society regardless of age, religion, and place. It analyses various facets of oppression in the novel due to patriarchy. Ladies Coupe by Anita Nair narrates the story of six women's oppression through the protagonist Akhila, a forty-fiveyear-old spinster, who serves as a string to weave the stories of the other five women, who encounter her in the lady's compartment of the train to Kanyakumari. The paper deals with various aspects of stereotyping in the novel Ladies Coupe. Patriarchal stereotypes reinforce and justify patriarchy, the unequal social system that favors men over women due to their gender. The article shows how the six women suffer at the hands of men in society due to their gender. Every woman has a unique story to share with the rest of the women in the compartment.

Anita Nair is an Indian English author and the leading essayist of this century. She is an innovative craftsman with immense capability and a prominent presence in the academic scene. In her works, Anita Nair, for the most part centers around the genuine human condition on earth. Anita Nair's books show a striking profundity in her portrayal, and the central purpose of her books is simply the encounter between the completion of duties and family responsibilities of the people. Ladies Coupe exhibits the life of six women all caught in the precariousness of custom and social request. Ladies Coupe is an affirmation of the free presence of ladies as well as the autonomy of its perusers to draw answers for female issues and to clear a superior future for ladies. This narrative illustrates trauma and sufferings of six women who are confined by sociocultural norms-Akhila, Janaki, Margaret Shanty, Sheela, Prabha Devi, and Marikolanthu-having different backgrounds and different ways of living yet they suffer in one or another way because of patriarchy and how they all managed to heal from it and turn their sufferings into a source of personal empowerment. This research paper explores the trauma and subjugation faced by different characters using a feminist lens and the ways in which societal norms and expectations shaped their identities. It analyzes the confinement of the women to their traditional roles and their attitude towards the suffering that helped them make the meaningful changes.

In this three-part study we seek to explore the arboreal symbolism in the literary works of Michael D. O’Brien by examining its roots in theological, philosophical, and mythological contexts, noting the influence of J.R.R. Tolkien. By analysing novels such as The Father’s Tale, Voyage to Alpha Centauri, A Cry of Stone, and The Fool of New York City, this essay’s first part examines the tree as a cosmic symbol as it unites the natural and supernatural realms. Highlighting the theological underpinnings of both authors, our study reveals how O’Brien’s narratives reflect Tolkien’s imaginative ethos by employing trees as metaphors for spiritual transformation, sacramental beauty, and the tension between mortality and renewal. The comparative approach illuminates the dynamic interaction between literary imagination, symbolic language, and ultimate truths, thus offering fresh insights into how symbolic artistry bridges temporal and eternal dimensions.

Body has become a subject of serious discussion in the contemporary society where there are stern debates on body shaming, body autonomy, self-objectification, body positivity, fatphobia etc. One's body is closely related to the formation of one's identity. Normally, in literature, female body is always portrayed as 'objects', aiming to please and satisfy the male gaze. Anita Nair in her Ladies Coupe describes how the same body which is intended to satisfy the male gaze can be used to satisfy oneself thereby forming an identity, which is free from the identity constructed by the patriarchal society. Nair describes the life of six fellow travellers in a ladies coupe who disclose various personal incidents in their life. The women in the coupe are from various sections of the society, are in different phases of life, but are victims of patriarchy in one way or another. Nair narrates how these women, who were once victims of male domination, uses their body in order to revenge against the male members under whom they suffered.

Neste artigo, pretendemos analisar, a luz dos Estudos Culturais, o testemunho oral apresentado pela narradora Flora, uma mulher que esta, temporariamente, privada de sua liberdade, cumprindo pena em uma penitenciaria feminina. Para colher esse depoimento, dentro do espaco prisional, escolhemos o metodo proposto pela historia oral; por meio dela, tambem aquele que esta a margem, pode ter a sua historia ouvida, reconhecida e documentada. A partir desta analise, propomos uma reflexao sobre a oralidade, como um espaco pertinente para que as diversas experiencias vividas possam ser trazidas a luz. Ao revisitar a sua historia, a narradora encontra em suas memorias um passado que mescla alegria, angustia e lagrimas. Revela o estigma por ser mulher, pobre e encarcerada, o repudio a violencia fisica e psicologica, a dor da perda, a recusa ao esquecimento. Ao revelar suas memorias, empoderada do falar, Flora torna-se a porta-voz de sua propria trajetoria, e constroi uma identidade possivel pa...

«Λογοτεχνικές αναπαραστάσεις της Αλεξανδρούπολης», στο Κωνσταντίνος Κ. Χατζόπουλος – Θανάσης Β. Κούγκουλος – Δήμητρα Κουκουζίκα (επιμ.), Αλεξανδρούπολη: η ιστορία της πόλης και της περιοχής της. Διεθνές Επιστημονικό Συνέδριο. Πρακτικά, Αλεξανδρούπολη 15-17 Οκτωβρίου 2021, Θρακικά [σειρά δεύτερη] 19 (2023), σσ. 255-274, 554.

Based on the principles of Literary Geography, we examine the milestones of the literary representation of Alexandroupolis ever since its foundation. Literary Alexandroupolis discourses with the social status of the real city but at the same time it deforms it. There are two distinct categories of indigenous writers: in the first one, the city is the protagonist as a literary hero, while in the second it functions as a setting, which could be replaced by any other town. The literary representation of Alexandroupolis by non-indigenous writers has obvious similarities with its post-war social myth. Its toponym refers to a place of exile, harsh borders or to an abandoned military zone. The port and the train station are not symbols of prestige, as is the case with the local writers, but escape areas.

Fiction is a prose narrative in the form of a book, mostly exemplifying the characters and actions with some degree of pragmatism. The Indian novel in English evolved in the last hundred and fifty years and has contributed significantly to world literature through the works of prominent authors who have achieved international recognition. Anita Nair, Indian Author, is one of the prominent contemporary writers of Indian English Literature. She typically edges on issues associated with women's liberation due to the rising consciousness of the significance of distinctiveness. The compact with the quandary of the contemporary woman regarding issues similar to feminism, child sexual abuse, isolation, alienation, identity crisis, or just the existential crisis of struggling to be herself. The present research paper attempts to discuss the social construct of women in an Indian social orthodox scenario in the novel Ladies Coupe. The main character is Akhilandeshwari. She relates her story in fragments while listening to the experiences of the other five ladies in the compartment, trying to find a solution to the dilemma that has troubled her entire life: "Can a woman be happy without a man, or does she need a man to feel complete?" The author uses the literary device of "flashback". The story jumps back and forth between the past and the present, showing us glimpses of women who are humiliated and debased in addition to the five women in the compartment.

The aim of this article is a comparative analysis of the works of two important Central European women writers, Radka Denemarková and Olga Tokarczuk, with a particular focus on their novels "Hodiny z olova" (2018) and "Empuzjon. Horror przyrodoleczniczy" (2022). The introduction juxtaposes the literary agendas and goals that both authors set for their novels, as well as the extra-literary ways of communicating with the readers. The introduction is followed by an analysis of the formal characteristics of their novels, which elude clear genre classification. The plot construction of the works corresponds with the subject matter, which acquires the character of a diagnosis that opens up a discussion on the condition of contemporary societies: Czech, Polish, European and even Chinese. In "Hodiny z olova", Denemarková juxtaposes contemporary Beijing and Prague, she asks about values and human rights in (post)totalitarian societies. Tokarczuk, on the other hand, uses the metaphor of tuberculosis to ask about other human ailments related to identity and co-existence with the natural world.

It's a sad commentary on our age that we find Dystopias a lot easier to believe in than Utopias: Utopias we can only imagine; Dystopias we've already had 1 " Dreams of a perfect society, known as utopia, and its negative counterpart, dystopia, have been enduring subjects of literature, art and cinema for ages. Utopian and dystopian narratives function as cultural artifacts that reflect collective aspirations, hopes and fears regarding future developments of humanity. Modernist discourse frequently characterizes utopias as idealized models which represent a perfect society living in harmony. According to this assumption, utopian impulses are always born from dissatisfaction of the individuals with the present. They symbolize a yearning for a better world, a hopeful vision of what could be. Therefore, the imagination of utopias is a response to reality, offering potential solutions to its societal, economic, enviromental, political and educational issues. In this sense, utopias are conceptualized as idyllic realms and associated with alternative models for constructing superior societies. Despite their aspiration towards perfection, utopias are inextricably linked to the imperfections of reality. Thus, they always end up with corruption. When we associate the concept of utopia with the tradition established by Thomas More's seminal text from 1

Based on Weisgerber (1978) and Durand (1993), we understand that symbolic language allows the unity of a literary text to be sustained. By transfiguring familiar elements for both readers and characters, it seems to bring together narrative components that are scattered throughout the artistic text. The novel to which this work is dedicated, The Father’s Tale (O’Brien, 2011), tells the saga of Alexander Graham who wanders down several tortuous paths in order to find Andrew Graham, his youngest son. During his journey, the character has a series of daydreams which, according to Amorim (2023), are particularly concerned with nostalgia for his hometown. Engendered by the poetic, dreamlike and cosmic aspects of the images of the house, the snow and the igloo, following Durand’s (1993) classification, these fantasies, as we intend to demonstrate in this article, are also linked to ideas of hospitality, reconciliation, communion and thanksgiving. Therefore, we were able to see how literary images can be combined with multiple meanings.

Recent studies on international migrations and human mobility show that migrant and refugee women build an intersectional consciousness at the global level through storytelling and rewriting actions, which contributes to the reconceptualisation of unconventional forms of women’s participation in the construction of decentralized knowledge, in opposition to dominant cultures. This book aims to explore alternative and reflexive forms of knowledge production through migrant women’s literary production and their positioning in the field of human mobility. It explores the boundaries of the autobiographical genre through the literary production and life-histories in migrant women’s lives.

Dieses Buch bietet die erste literatur- und medientheoretisch fundierte Studie zu Blickbewegungen im Bilderbuch. Es begegnet zwei Forschungsdesideraten: Der empirischen Untersuchung geht eine umfassende theoretische Auseinandersetzung mit der Räumlichkeit und Paratextualität des Bilderbuchs voraus, die bislang noch nicht vorliegt. Die Rezeptionsstudie setzt sich in zweierlei Hinsicht von bereits vorliegenden Arbeiten zur Bilderbuchrezeption ab: Anders als in Blickbewegungsstudien aus der experimentellen Psychologie wird die Komplexität des Rezeptionsgegenstandes in die Analyse der Blickbewegungen einbezogen. So setzt die Studie nicht auf bildschirmbasierte Schrift-Bild-Kombinationen oder fragmentierte Ausschnitte, sondern erforscht die Rezeptionsprozesse im Umgang mit authentischen Printbilderbüchern. So gerät auch die Relevanz von Räumlichkeit und Materialität des Mediums für die Rezeption in den Blick. Anders als bereits vorliegende Bilderbuchrezeptionsstudien aus dem literaturdidaktischen Kontext untersucht diese Studie nicht nur post hoc in einem inszenierten Setting erhobene verbale Daten (z.B. Anschlussinterviews), sondern kombiniert die Aufzeichnung von Blickdaten mit der Erhebung flankierender qualitativer Daten in einem möglichst ungesteuerten Rezeptionsprozess.

Prispevek prinaša strnjen pregled raziskav o prostoru češke metropole v kontekstu češke literarnovedne misli. Opira se predvsem na razprave literarne teoretičarke in prozaistke Daniele Hodrove (1946), ki se sistematično ukvarja s teorijo romana in poetiko prostora (mesta). Študija Hodrove s področja poetike prostora nam bo služila kot izhodišče pri premisleku o podobi Prage v romanu Prispevek k zgodovini radosti (2014) češke pisateljice Radke Denemarkove (1968).

En la novela de Hector Tizon titulada La casa y el viento (1984), la nostalgia y la memoria juegan un rol fundamental, que refuerza la idea de la historia del pueblo de donde procede el narrador. Sin embargo, la voluntad del narrador se centra en reconsiderar la memoria como una forma del nostos. A partir de la imaginacion el narrador reconfigura su memoria del lugar, para formular otros lugares que le concedan el sentido que necesita, para reconstruir su existencia agraviada por la historia. El narrador busca borrar su memoria historica, personal, para elaborar otra memoria, compuesta por lo original, por aquello que permanece en estado puro. De esta manera, los suenos son la seguridad que posee el narrador para dar sentido a su existencia, porque en si mismos implican una certeza.

This paper deals primarily with the poetry of Zdravko Malić, one of the most prominent Croatian Polonists of the 20th century, founder of Croatian Polonistics as institutionalised philological discipline, and the author of a comprehensive and far-reaching literary-historic and translator's body of work. Along with his literary-scientific work and work as a translator, as a poet Malić wrote a rather small but, in the composition of the whole of his interests, an indicative poetic contribution, which mirrors his research topics and the depth of their perception. As a Polonist, he covered his own poetic practice with a web of intertextual and citation points that helped him to refer to a foreign culture, Polish, as the starting point of his erudition. As a prolegomenon to the insight into his poetic collection, we will give a brief overview of Malić's body of work and his activities, which supplements his biography as a Polonist.

This paper deals primarily with the poetry of Zdravko Malić, one of the most prominent Croatian Polonists of the 20th century, founder of Croatian Polonistics as institutionalised philological discipline, and the author of a comprehensive and far-reaching literary-historic and translator's body of work. Along with his literary-scientific work and work as a translator, as a poet Malić wrote a rather small but, in the composition of the whole of his interests, an indicative poetic contribution, which mirrors his research topics and the depth of their perception. As a Polonist, he covered his own poetic practice with a web of intertextual and citation points that helped him to refer to a foreign culture, Polish, as the starting point of his erudition. As a prolegomenon to the insight into his poetic collection, we will give a brief overview of Malić's body of work and his activities, which supplements his biography as a Polonist.

Znaczenie symboliczne minojskiej ikonografii morskiej w kontekście indoeuropejskim

The symbolic significance of Minoan maritime iconography in the Indo-European context

Abstract: In Minoan culture, images of sea life are quite common, which in the iconography painted on the surface of vessels
form the marine style and the octopus style. The article seeks to understand the metaphorical meaning of the depicted marine
flora and fauna by relating them to the context of the system of metaphorical meanings that functioned in the Rigveda as the
oldest source of knowledge of Indo-European oral culture.
Key words: iconographic stereotyping, filter, structural metaphors, fire god Agni, god Soma, octopus, snake, poetry.

Marek Jędrasik

Abstrakt: W kulturze minojskiej dosyć często pojawiają się obrazy z życia morza, które w ikonografii malowanej na powierzchni naczyń tworzą styl morski oraz styl ośmiornic. Artykuł stara się zrozumieć znaczenie metaforyczne przedstawionej flory i fauny morskiej poprzez odniesienie ich do kontekstu systemu metaforycznych znaczeń, która funkcjonował w Rygwedzie jako najstarszego źródła wiedzy o indoeuropejskiej kulturze oralnej.

Zeichnung Marcel Reich-Ranicki (ohne Titel) von Peter Rühmkorf. [Nachlass Peter Rühmkorf, Deutsches Literaturarchiv Marbach] Die Rechte liegen ausschließlich für die gedruckte Ausgabe der Zeitschrift vor. Dessin Marcel Reich-Ranicki (sans titre) de Peter Rühmkorf. [Archives Peter Rühmkorf, Deutsches Literaturarchiv Marbach] Nous disposons des droits uniquement pour la version imprimée de la revue et non pour la version en ligne.

Poniższy tekst jest efektem pierwszych prób zmierzenia się autorki z rozległym, wielokierunkowym i skomplikowanym zagadnieniem chorwackiego modernizmu. Stanowi, z konieczności pobieżny jeszcze, przegląd wybranych obszarów tematycznych. Wykorzystane tu teksty wskazują na kierunki dalszych poszukiwań, pomagają wstępnie rozpoznać nowy teren badawczy, ale wywołują też poczucie pewnej niespójności interpretacyjnej i-oczywiście-czytelniczego niedosytu, gdyż są to artykuły i eseje rozproszone po różnych publikacjach (typu tomy pokonferencyjne, zbiory szkiców itp.) głównie z lat sześćdziesiątych, siedemdziesiątych, osiemdziesiątych XX wieku. Tylko nieliczne powstały w latach dziewięćdziesiątych i po 2000 roku. Książkowe opracowanie dotyczące chorwackiej literatury modernistycznej i awangardowej Od mitu do konkretu Juliana Kornhausera ukazało się w 1978 roku 1. 1 Historia kontaktów międzykulturowych i literackich Polski i Chorwacji, choć bardzo długa, nie jest powszechnie w Polsce znana. Ożywienie kontaktów polsko-chorwackich nastąpiło na przełomie XIX i XX wieku i w okresie międzywojennym: na Uniwersytecie Jagiellońskim studiowali Chorwaci i Serbowie, od 1901 roku działał w Krakowie Klub Słowiański, wydający od 1905 roku miesięcznik "Świat Słowiański", M. Zdziechowski wydał książkę Odrodzenie Chorwacji w XIX wieku (1902), prowadził też wykłady z literatury chorwackiej na Uniwersytecie, w tym samym czasie powstało także wiele interesujących publikacji naukowych z zakresu literatury i kultury chorwackiej (np. T.S. Grabowskiego) i sporo tłumaczeń z języka chorwackiego. Propagatorami kultury i literatury jugosłowiańskiej byli J. Benešić, twórca Biblioteki Jugosłowiańskiej oraz Z. Nałkowska, przyjaciółka M. Krležy i tłumaczka jego sztuki Baronowa Lenbach. Nowa fala zainteresowania tą tematyką i ponowne nawiązanie stosunków po zakończeniu II wojny światowej nastąpiło w 1955 roku, wtedy też rozwinęła się polska kroatystyka naukowa. J. Manuszewski w nieco ideologicznym wstępie do książki A. Baraca Literatura narodów Jugosławii (Wrocław 1969) pisał wówczas o "stosunkowo żywym zainteresowaniu" literaturą Jugosławii (por. ibidem, s. 5), a J. Iwaszkiewicz, w równie zaangażowa-023_Proby_06_Vrazic.indd 345 023_Proby_06_Vrazic.

The paper examines George Orwell's Nineteen Eighty-Four as a canonical example of the dystopian novel in an attempt to define the principal features of the dystopian chronotope. Following Mikhail Bakhtin, it treats the chronotope as the structural pivot of the narrative, which integrates and determines other aspects of the text. Dystopia, the paper argues, is a particularly appropriate genre to consider the structural role of the chronotope for two reasons. Firstly, due to utopianism's special relation with space and secondly, due to the structural importance of world-building in the expression of dystopia's philosophical, political and social ideas. The paper identifies the principal features of dystopian spatiality, among which crucial are the oppositions between the individual and the state, the mind and the body, the high and the low, the central and the peripheral, the past and the present, the city and the natural world, false and true signs.

A lbert CamUs, franCUsko-algierski pisarz, dramatUrg i eseista nazywany jest często jednym z najpoważniejszych i najwymowniejszych myślicieli połowy XX w., którzy zajmowali się etyką. Jego nazwisko jest kojarzone z francuskim ruchem oporu, a także z nurtem egzystencjalnym w literaturze 1. Sam A. Camus, choć pragnął przemawiać jako sumienie swojego pokolenia, bez oporów mówił o sobie, że jest ateistą. Jednak nawet przez myśliciela stricte chrześcijańskiego, a takim bez wątpienia jest Thomas Merton, został nazwany "typowym przykładem świeckiej i niereligijnej myśli tak zwanej ery «post-chrześcijańskiej»" 2. Głównymi założeniami tego poglądu jest obrona wartości należących do tradycji zachodniej i chrześcijańskiej przed skutkami załamania zachodniej cywilizacji, to jest przed nihilizmem oraz przemocą. Postać A. Camusa, jako autora Człowieka zbuntowanego, wzbudza pewne skojarzenia rewolucjonistyczne. Jednak jego "rewolucjonizm" bez obaw nazwać można "rewolucjonizmem konserwatywnym" 3 , ponieważ w całym swoim zaangażowaniu "człowieka zbuntowanego" autor głosił potrzebę powrotu do źródeł humanizmu, utrzymując, że ma ono swoje miejsce w naturze człowieka. Twierdził też, że to właśnie ku tej pierwotnej naturze skłaniał się antyczny świat duchowy przedchrześcijańskiej cywilizacji śródziemnomorskiej. Według pisarza, do zubożenia zachodniej cywilizacji i jej kulturowej tragedii przyczyniły się takie zjawiska, jak choćby odejście od greckiego poczucia miary, piękna, harmonii i granic, wyznaczanych przez naturę człowiekowi i każdej obdarzonej życiem rzeczy 4. W Notatnikach A. Camus zapisał: "Nemezis-bogini miary. Wszyscy, którzy przekroczyli miarę, zostaną bezlitośnie zniszczeni" 5. Simone Weil, pisarka, mistyczka i przyjaciółka

Women are an integral part of human society. In every field, the participation of women reflects the emergence of new women. Yet they have been allocated a secondary place in society. Since ancient times, women have been victimized mentally as well as physically because of the patriarchal social order. Further, they are treated as the caretaker of their children, subservient to men. They have no rights or freedom to live as their own will. In Hinduism, Manu the writer of the religious text “Manusmriti” says, “A girl, a young woman or even an old woman should not do anything independently, even in (her own) house. In childhood a woman should be under her father’s control, in youth under husband’s, and when her husband is dead, under her sons.” This indicates the worst treatment given to a female in the ancient era in Indian society. But in the modern perspective, the concept of the traditional role of woman is weakening day by day. Anita Nair, is the eminent Postmodern Indian English writer who has valiantly presented her views on the plight of women in contemporary Indian society through her literary works. Her notable work Ladies Coupe deals with women’s voices against the problems of women, the quest for identity, and self-discovery. Nair portrays different stories of life through her characters in the novel Ladies Coupe. This paper focuses on women’s sufferings, hardships for liberation, the quest for identity, and self-discovery in contemporary Indian society.

Warto podkreślić, że celowa stylizacja czy teatralizacja własnej egzystencji, mnożenie masek, również należy do typowych zachowań związanych z melancholią. Jest efektem odczucia obcości bądź nieautentyczności samego siebie, doświadczenia rozpadu własnego "ja" (M. Bieńczyk, Melancholia. O tych, co nigdy nie odnajdą straty, Warszawa 1998, s. 32-35).

From a language rich in multiple meanings, we performed this study a broad discussion by theories that deal around the mythological world. We note, especially, in Espirito Santo, Reinaldo Santos Neves' work, A ceia dominicana: romance neolatino (2008), the composition of writing is based on mythological matrices. We observed that the novel is part of a trilogy, was written based on various classical authors, national and from Espirito Santo, and freely mix different genres. Given the complexity of the work, we developed the following questions: What are the archetypal images to grasp on Reinaldo Santos Neves literature when they express the feminine universe? Why is the protagonist called biforme, centaur? Thus, we conducted an analysis of Reinaldo Santos Neves' work, A ceia dominicana: romance neolatino, using the insight into the myths and literary archetypes, focusing on the mythic structures, such as the femme fatale, the eternal return the rite of passage and the metamorphosis, etc. Among a range of theories about the mythical universe, we preferably used the theoretical assumptions, as the psychologist Carl Jung with his work Os arquétipos do inconsciente coletivo (2000), the Russian Eliezer Melentinski in A poética do mito (1987) and Os arquétipos literários (2002); Mircea Eliade in O mito do eterno retorno (1992), Tratado de história de las religiones (1974) and Mito e realidade (1972). We will use as consultation and support Dicionário de mitos literários (1974) by French literary critic Pierre Brunel also as Dicionário de Cultura básica from UNESP digital collection written by Salvatore D'onofrio. The result showed that the reinaldiana literary language raises the myths and literary archetypes seen as thematic points of world literature. Thus, we understand that the mythic structures retake the reinaldiana contemporary narrative about worldly events, pointing a subject fragmentation.

Gaston  Bachelard’s  last  book  (or,  rather,  notes  from  1961–1962,  edited  and  published  by Suzanne Bachelard, more than twenty years after they were written) presents analyses of three mythical figures: Prometheus, Phoenix, and Empedocles. The Promethean myth and the myth of Empedocles’s death were earlier addressed in Bachelard’s previous works. In Fragments d’une poétique du feu, he extends and supplements his earlier analyses.The article examines the interpretations of selected myths in Fragments... in the context of the evolution of Bachelard’s philosophy and his key inspirations. It also addresses the following questions:1) what is myth in Bachelard’s late work? 2) which of his main inspirations (psychoanalysis, analytical psychology, phenomeno-logy) are still strongly visible in his late research?

, através das quais tive conhecimento dessas literaturas que tanto me encantam e do autor que me emociona, Luandino Vieira: encontro roseano em terras angolanas. À professora Diva Damato que me apresentou as Literaturas Antilhanas e as obras de Patrick Chamoiseau: encontro roseano em terras antilhanas. Agradeço a contribuição fundamental da professora Rita Chaves. Agradeço a contribuição generosa do professor Nazir Cann. Agradeço a leitura atenta e cuidadosa do professor Antonio Roberto Esteves. Agradecimento carinhoso a minha orientadora, Tania Macêdo, pelo estímulo para entrar na Pós-Graduação e pela orientação paciente. A meus pequeninos alunos do Liceu Pasteur, fonte certa de afeto. Agradeço o apoio generoso da querida Luzia Paraense. A meus amigos pelo grande incentivo e apoio em todos os momentos desse longo processo. A minha querida amiga Fabienne Ferragne, essencial em meu caminho. A meus pais que, mesmo sem entender esses meus caminhos, confiaram em mim. E a meu irmão, ouvinte dos momentos difíceis. Fanon dit qu'il ne veut pas être esclave de l'esclavage. Cela sous-entend pour moi qu'on ne saurait se contenter d'ignorer le phénomène historique de l'esclavage ; qu'il faut ne pas en subir de manière pulsionnelle le trauma persistant. Le dépassement est exploitation projective. L'esclave est d'abord celui qui ne sait pas. L'esclave de l'esclavage est celui qui ne veut pas savoir.

Travelling-it leaves you speechless, then turns you into a story teller "says Ibn Battuta. Travel writing is such a type of story telling. There are some qualities and stereotypes followed in a travel writing. In contrast to those stereotypes Lawrence Durrell's "The bitter lemons of cyprus" published in the year 1957 has got some unique features which makes it a stunning travel memoir comparing it with other memoir. Exploring those features, this article intends to examine it as a political book too, as it also blends with historical facts and cultures.

Literatura impenetrable… ¿Qué rasgos habilitan extender a la literatura la condición de un monte, de una geografía, de un paisaje? ¿Y quienes configuran la comunidad discursiva contemporánea del Chaco que este itinerario propone conocer y reconocer? Los textos reunidos aquí exploran una zona literaria al margen -de lo nacional, del mercado editorial, de las investigaciones académicas-, difícilmente accesible y, sin embargo, tan heterogénea, desbordante y potente como el territorio al que refieren y configuran sus ficciones. La traza se organiza en cuatro momentos: artículos y ensayos, que indagan corpus, poéticas, proyectos estético-literarios y editoriales, se continua en entrevistas a escritores y confluye en la indispensable zona de ficciones. En suma, una mirada que nos estaba haciendo falta.

Ο αρχαιοελληνικός μύθος αποτελεί μια ανεξάντλητη ‘’δεξαμενή υλικού’’ για την παγκόσμια λογοτεχνία, αφού τον αξιοποιεί συστηματικά και πολυπρισματικα, στηριζόμενη, όμως,  στο δεδομένο ότι ανάμεσα στον μύθο και τον αποδεκτή παρεμβάλλεται ο ερμηνευτής/λογοτέχνης που αναλύει, αποδέχεται, απορρίπτει κι άρα ο μύθος ως λογοτεχνική ύλη ανασχηματίζεται, εμπλουτίζεται και συχνά ανατρέπεται για να ανταποκριθεί στην υποκειμενική αναπαράστασή του. Δηλαδή, οι μύθοι αξιοποιούνται  ως ‘’αποθήκη εργαλείων’’, με τρόπο όμως ανοιχτό και ποτέ οριστικό. Αυτή η δυνατότητα μεταμόρφωσης των μύθων οδήγησε και στη διαχρονική παρουσία του αρχαιοελληνικού μύθου στα λογοτεχνικά δρώμενα από όπου συγγραφείς και ποιητές αντλούν μοτίβα, θέματα, αφηγηματικά σχήματα, νοήματα. Στη συγκεκριμένο άρθρο αξιοποιείται το παράδειγμα του διεθνώς καταξιωμένου ποιητή Καβάφη για να δειχθεί ότι ο μύθος αποτελεί  σημαίνουσα δεσπόζουσα στο λογοτεχνικό πεδίο  που συνομιλεί με τις όποιες εποχές κι ουσιαστικά αποτελεί μια κατεξοχήν οικουμενικότητα. Αναλύεται πώς ο Καβάφης διαχειρίζεται τον αρχαίο ελληνικό μύθο κι υποστηρίζεται ότι η εξέταση της παρουσίας μυθολογικών στοιχείων στο σύνολο του έργου του Αλεξανδρινού είναι ακόμη ένας τρόπος για να αναδειχθεί η ποιητική του πορεία από τον Ρομαντισμό ως τον Ρεαλισμό.

The bachelor thesis deals with the question of space in short stories of Brazil writer of the 20th century Clarice Lispector (1920-1977). At first, the author is briefly introduced, then the theoretical part continues to define the concept of space as a literary category. Emphasis is laid mainly on the approach of G. Bachelard and his Poetics of Space (1957), but attention is also paid to findings of Czech scholars. Finally, chosen concepts of the space of home and garden are outlined. Taking into account the semantic aspect, the analytical part looks into archetypical forms of space in the text sof two chosen stories published in the collection of short stories entitled Laços de família (Family Ties), in particular Amor (Love) and Mistério em São Cristóvão (Mystery in São Cristóvão)

Place is essential for understanding Lawrence Durrell's vision of the world-a commonplace which bears repeating-and this is particularly true of his island book, Bitter Lemons (1957). 1 Durrell concludes his stunning memoir of Cyprus with the short poem of the same name, "Bitter Lemons" (p. 252). The poem preceded the publication of the memoir and first appeared, presumably, in his Private Drafts (1955), a small collection of poems privately printed in Nicosia, Cyprus. 2 Durrell lived and worked on Cyprus from 1953 until 1956. In 1955, Cyprus was undergoing the Greek struggle for enosis, the attempt to unify the island with the Greek mainland. During those tumultous years, the island was in political turmoil, as was also Durrell's public and private life. His life was threatened because he worked for the British government, and his marriage to Yvette (Eve) Cohen was breaking up. The amazing poem "Bitter Lemons" encapsulates, without any direct references, his feelings and anxieties in only thirteen lines.

The paper discusses certain motifs common to the novels of Alfred Kubin and Jan Weiss. The author analyses symbolic domains of the plot, referring among others to the gnostic thought, the theory of utopia, or psy cho analy sis. She em pha sises the in tertex tu al ity of the novels discussed, which con sti tutes a kind of a game with the recipient in which the authors dem on strate the de mi ur gi cal aspects of reality. Artykuł przed stawia wspólne motywy powieści Alfreda Kubina i Jana Weissa. Autorka analizuje przestrzenie sym bolic zne fabuły, odwołując się m.in. do myśli gnostyck iej, torii utopii, psy cho anal izy. Zwraca uwagę na in tertekstu al ność omawianych powieści, będącą swego rodzaju grą z odbiorcą, poprzez którą obaj autorzy ukazują de mi ur gic zne wymiary rzec zy wis tości. Lubomír Do ležel, pisząc o li te ra tu rze XX wie ku, stwier dza, iż człowiek nie ży je w świe cie, któ ry sam two rzy, ale oto czo ny jest i zma nipu lo wa ny przez ukry te, nie wi dzia l ne siły. Siły te nie są już, jak w da w nych opo wie ściach i mi tach, o pro we nie ncji nad przy ro dzo nej, bo skiej, czy de mo ni cz nej, sta no wią ra czej re pre zen ta cję na tu ra l nych sił lu dz kiej psyche lub or ga ni za cji społecz nych-w obu tych przy pa dkach mają tak sa mo de spo ty cz ny i niszczący cha ra kter (Do ležel 2008, s. 71-72). Ab so lu tyzm rze czy wi sto ści, w ta kim zna cze niu, o ja kim pisze Hans Blu men berg (Blu men berg 2009, s. 3), zo sta je więc wy pa r ty przez po dej ście czy sto ra cjo na l ne, em pi ry cz ne, wy ni kiem cze go jest 21 22

mujer y rompió con las normas del decoro victoriano. A través de sus personajes femeninos Brontë reivindica la independencia de la mujer, en una sociedad patriarcal en la que el marido tenía la custodia de los hijos y la esposa no tenía protección social, legal ni económica.

Rilke's 1910 Die Aufzeichnungen des Malte Laurids Brigge is fixated on figurations of lost homes which tell of the loss of 'the poetic measure', i.e. the decrepit status of art at the fin de siècle and the dominance of commodification. Malte's viewing of the La Dame à la licorne tapestries is a unique moment of aesthetic plenitude previously unseen in the novel. Through a new reading of the tapestries, this essay investigates medieval precursors to Rilke's poetics, his concept of intransitive love, and the concept of a 'dwelling' in the mind where the psychic traces of the absent object are found.

Both Cypriot history and Yashin's Turkish-Cypriot literary/cultural production are the tangible evidence of E. Said's idea and take on culture. If the Mediterranean Sea can be understood as a history of crossings (I. Chambers), Cyprus is the quintessential product of this process and Yashin's macrotext an aesthetic attempt at attesting it through a sort of deterritorialization of the subject and his/her language, or supposed mother-tongue, be it Greek, Turkish, Arabic or English. Starting from this ground, my attempt will be reading Yashin's poems in a composite space historically dominated by Ottoman and British empires and other cultures, and so traversed by both colonial and imperial difference. Specifically, the main assumption is that Yashin's stubborn "spectral" position of non-belonging and betweenness ("A Ghost") is, at the several levels of identity positionality (ethnic, gender and genre), an implicit resistance to the colonial matrix of power (A. Quijano) informing Modernity, both in the space of colonial difference (P. Chatterjee), due to British colonialism, and in the space of imperial difference (W. Mignolo) due to Byzantine-Ottoman empires.

και οι Εκδόσεις Κέδρος διοργανώνουν Επιστημονικό Συνέδριο με θέμα το συγγραφικό, ιδίως το ποιητικό, έργο του Μανόλη Πρατικάκη. Από τις αρχές της δεκαετίας του 1970 μέχρι σήμερα, ο Μανόλης Πρατικάκης, εκδίδοντας ποιητικά, πεζογραφικά και δοκιμιακά βιβλία, συγκρότησε μια πυκνή, αναγνωρισμένη από την κριτική και το αναγνωστικό κοινό και, κυρίως, διακριτή παρουσία, στην οποία δεσπόζει το ποιητικό έργο του. Ο σχεδιασμός του Συνεδρίου, επιχειρώντας να καλύψει διαφορετικές όψεις τόσο της ερμηνείας του έργου του Πρατικάκη όσο και της πρόσληψής του, αρθρώνεται στις ακόλουθες ενδεικτικές θεματικές περιοχές: