War Trauma and Literature

This study explores the profound impact of World War II on post-war creativity in literature, culture, and popular media, with a particular focus on the mediating role of translation. While the war produced widespread trauma and destruction, it also served as a catalyst for literary and cultural expression, shaping works ranging from Heinrich Böll’s fiction to Anne Frank’s diary, as well as veterans’ memoirs, films, and video games. By adopting a qualitative and descriptive methodology, the paper examines how trauma and memory were transformed into cultural narratives and how these narratives circulated globally. Drawing on theoretical frameworks from translation studies—including Lefevere’s concept of patronage, Toury’s translation norms, and Venuti’s notion of translator invisibility—the research highlights the ideological and cultural functions of translation in transmitting war-related texts beyond their original contexts. The analysis demonstrates that translation was not a neutral transfer but an active practice that shaped the global reception of trauma narratives, amplifying some voices while marginalizing others. Ultimately, the study concludes that post-war creativity cannot be understood without acknowledging the central role of translation as a mediator of memory and ideology. Together, literature, memoirs, films, and their translations illustrate how the cultural afterlife of World War II became part of a shared global memory.

You may just call yourself an introvert. But do you really know what an introvert is?
Not many people know all the differences between introversion and social anxiety disorder (SAD), but they’re important to know. One is feeling drained from social activities, while the other is feeling anxiety and/or fear in public or in social situations.

Published in 1970, Toni Morrison's The Bluest Eye explores the influence of advertising in shaping desires and establishing societal standards of beauty through its strategic use of visual imagery and packaging. The protagonist, Pecola, becomes immersed in a world dominated by consumerist symbols and icons derived from photography, film, and advertising. This leads her to pursue products not out of necessity but rather from a desire to conform to these constructed ideals. This analysis employs a Baudrillardian-Lacanian framework to examine how advertisements promise the allure of blue eyes, symbolizing Pecola's aspirations and desires. The Bluest Eye serves as a poignant commentary on the need to redefine and reconstruct beauty standards, particularly for African Americans, to challenge the dominant white-defined ideals perpetuated by advertising. Morrison's narrative underscores the detrimental effects of these imposed standards, advocating for resistance against the narrow definitions of beauty often dictated by consumer culture. Through this lens, the novel not only critiques the superficiality of advertising but also calls for a broader understanding of beauty that embraces diversity and authenticity.

The article analyzes the archetypal triad of Sherlock Holmes, Dr. Watson, and Mrs. Hudson as a metaphor for human wholeness: Mind, Heart, and Home. Holmes embodies the engine of intellectual inquiry, Watson represents energy, warmth, and loyalty, while Hudson provides flow, space, and support, without which the actions of Mind and Heart lose their power. Key episodes from The Hound of the Baskervilles and The Sign of Four are examined, illustrating the complementarity of these elements. The article demonstrates a universal principle: the true strength of an individual and society manifests only through the harmonious union of Mind, Heart, and Home.

Статья анализирует архетипическую триаду Шерлока Холмса, доктора Ватсона и миссис Хадсон как метафору целостности человека: Разум, Сердце и Дом. Холмс олицетворяет мотор интеллектуального поиска, Ватсон — энергию, тепло и преданность, а Хадсон создаёт поток, пространство и опору, без которых действия Разума и Сердца теряют силу. Рассмотрены ключевые эпизоды из «Собаки Баскервилей» и «Знака четырёх», иллюстрирующие взаимодополнение этих элементов. Статья демонстрирует универсальный закон: истинная сила человека и общества проявляется только через гармоничное соединение Разума, Сердца и Дома.

Toni Morrison, a renowned African American woman author, depicts the predicament of black subaltern women in her writings. African American women's situation was poignant, as they were subjugated by the patriarchal culture. Because of male and white dominance and oppression they were unable to develop their own identity in the society. They have plenty of aspirations, but they never have a place to showcase them. Their hard work and ability are never supported, and society and their community often suppressed their voice. The African American women experienced a variety of conflicting emotions, including hope and gloom, love and dislike, marital turmoil, and male chauvinism. ‘The Bluest Eye’ deals with class conflict, racism, sexism, gender difficulties, and identity crises. Morrison's main theme focus is the struggle of women in African American society. She also feels that it is crucial for people in black culture to recognize their principles and find their own identity in society.

Women make up almost half of the world's population, nearly 49.73 per cent. However, they endure discrimination in multiple ways. They face sex and gender discrimination worldwide. Even with advancements in education, employment, and political representation, women remain victims of systemic inequalities stemming from both gender and sex discrimination. This research paper discusses the marginalisation of women in their homes, schools, and workplaces. It studies the discrimination of women in society through Cho Nam-Joo’s novel Kim Jiyoung, Born 1982, which reflects the lived experiences of numerous women confronting patriarchal systems in modern society. This study employs a qualitative research methodology. It aligns with critical theoretical frameworks, such as genderism, sexism, otherness, and feminism.

The literary works of writers who have directly participated in combat operations occupy a distinctive niche within the realm of military prose. The focal point of our research endeavors lies in the examination of the literary contributions of two distinguished prose writers of the 20th century: Victor Astafiev and Hermann Kant. In their respective works, the authors, who lived through the horrors of World War II, offer reflections on the tragic events of that period. The advent of war brings to the fore all the vices that plague humanity, distorts the perception of the universe, and calls into question the very thesis of human rationality as a species. At the center of this problem is the image of a simple soldier-hero, embodying the author's experience, gained with blood in the Polish trenches. This figure, therefore, can be seen as an embodiment of not only the author's personal history but also of the broader collective experience in the context of war.

John Hersey is a master of capturing historical footprints and nowehere is that better seen than this devastatingly real account of a manmade catastrophe. Hiroshima is an up close and personal account of the devastation of the atomic bomb and the people affected by it.

Pulitzer Prize-winning journalist and bestselling author John Hersey's seminal work of narrative nonfiction which has defined the way we think about nuclear warfare. “One of the great classics of the war" (The New Republic) that tells what happened in Hiroshima during World War II through the memories of the survivors of the first atomic bomb ever dropped on a city.

"The perspective [Hiroshima] offers from the bomb’s actual victims is the mandatory counterpart to any Oppenheimer viewing."
—GQ Magazine

“Nothing can be said about this book that can equal what the book has to say. It speaks for itself, and in an unforgettable way, for humanity.”
—The New York Times

Hiroshima is the story of six human beings who lived through the greatest single manmade disaster in history. John Hersey tells what these six — a clerk, a widowed seamstress, a physician, a Methodist minister, a young surgeon, and a German Catholic priest — were doing at 8:15 a.m. on August 6, 1945, when Hiroshima was destroyed by the first atomic bomb ever dropped on a city. Then he follows the course of their lives hour by hour, day by day.

The New Yorker of August 31, 1946, devoted all its space to this story. The immediate repercussions were vast: newspapers here and abroad reprinted it; during evening half-hours it was read over the network of the American Broadcasting Company; leading editorials were devoted to it in uncounted newspapers.

Almost four decades after the original publication of this celebrated book John Hersey went back to Hiroshima in search of the people whose stories he had told. His account of what he discovered about them — the variety of ways in which they responded to the past and went on with their lives — is now the eloquent and moving final chapter of Hiroshima.

У раду ће бити проблематизоване три збирке прича Момчила Миланкова: Одломци трагања за Мајом (1957), Црвени кровови (1960) и Потонуло острво (1967). Осврнућемо се на поетичке оквире Миланковљеве прозе у првој објављеној збирци, а затим на сличности и отклоне препознате у другим двема збиркама. Иако препознат као писац града, Момчило Миланков на свом приповедном почетку креће од света природе. Покушаћемо да размотримо значења таквог стваралачког лука и да укажемо на јединствену позицију Миланковљевог јунака, односно антијунака, али и на временско-просторне оквире прича који утичу на стварање специфичне поетике недешавања.

How can the poet, confined to the ruins of contemporary history, gain the perspective required to understand it? Perception occurs in time; perspective requires a view that transcends time and place. Eliot's position, discussed in his prose and illustrated in "Gerontion" and The Waste Land, was that art requires a binary perspective. To be true to the moment, the poet needs a perspective within history; to understand it, he needs a perspective that transcends it. In "Gerontion," Eliot draws on the philosophy of F.H. Bradley to generate a platform from which to understand his moment; in The Waste Land, he draws on the work of J.G. Frazer and Jessie Weston to create a timeless reference point.

This article explores the subject of gender roles and analyses how those gender roles are depicted in the society with special reference to Chimamanda Ngozi Adichie's Half of a Yellow Sun. Chimamanda Ngozie Adichie is an acclaimed Nigerian author. Based on the gender roles and behaviour the characters in this novel encounter such situations in their life. This paper also shows the stereotypes that are presented in the society. Gender issues are relevant to variety of fields and that explore the effects of gender in one field which contributes to the understanding of gender in another field.

R edateljsko-dramaturška kom-bina cija Anica Tomić i Jelena Kovačić i po treći put odlučila se na kazališnim daskama dohvatiti tematike rata i tra uma koje ostaju nakon ratnih stra danja. Nakon dviju predstava nasta lih u Teatru &TD, tre-ći dio ove svoje vrsne trilogije izveden je u produkciji ZKM-a. I dok su se u prvim dvjema predstavama (podsjeti-mo: Imitatori glasova po motivima Thomasa Bern harda te Kučkini sino-vi po motivima Agate Kristof) bavile poslijeratnim sje ćanjima i traumama krvnika i žrtava, moglo bi se reći da predstava Oprostite, mogu li vam is-pričati? naglasak stavlja na često za-ne marivane sudionike svih ratova: civile koji ostaju u pozadini, one koji su rodbina, susjedi, prijatelji onih koji ratuju i onih koji stradavaju. U svojoj opsesiji sindromom PTSP-a te njego-vim učin kom na mikrozajednice, auto rice su probale pronaći artiku-laciju glasa tih kolateralnih žrtava ratnih razdoblja. Hrvatsko kazalište se u svom poslijeratnom razdoblju tematikom rata i ratnog...

In the last few decades, writing disability autobiography has emerged as a field of inquiry (especially of women with disability) in the field of humanities. The re behind writing about personal history of the disabled women sexuality of a woman with disability explore the present scenario of disability in India on the basis of life and experien two women Shivani Gupta and Malini Chib; and foreground the need to reconceptualise the relation between gender and disability. The paper looks at disability as a social, cultural, and political phenomenon; and the need of the shift from 'charity' t These autobiographies show like never before the insights into identity of a woman living with crippling disability. I have chosen two disability autobiographies as a valuable and liberatory medium to introspect the "self". These women defy all to emerge victorious inspite of their crippling disability. The story either of Shivani or Malini is not only about the search for independence but also about identity and zeal to live a meaningful life despite their lifelong disability. The pape considers the disabled as 'incomplete' or 'less autonomous'/ dependent; what people meant when they use the word "Disabled" and what (Dis)ability implied because the biased stereotypical prejudices that has kept shaping our lives part in deciding our status as an individual. It also tries to interrogate a fresh notion of selfhood, a challenge to normative idea manage disability based on the lives of these women w looks at how these authors make a shift from body to rights as the locus of self and individuation.

The play Hasanaginica by Ljubomir Simović transposes the basic constitutive elements of the folk ballad, placing them in a new framework with discursive practices that are determined by the tradition to which they are associated, as well as according to their own modernity, which is attempted by re-writing tradition. The most discussed methods are present in the language of the drama action. The holders of dramatic events thus gain different positions in invoking, or destroying the mythical structure, which is a pretext of drama. In this paper, the specificity of the authorial approach to the parent text is analyzed by breaking up the elementary language elements from which the basic text is removed. Particular attention is paid to the synchronized use of various functional styles, which in the drama acquires a narrower and wider meaning -both in terms of terms and content.

The play Hasanaginica by Ljubomir Simović transposes the basic constitutive elements of the folk ballad, placing them in a new framework with discursive practices that are determined by the tradition to which they are associated, as well as according to their own modernity, which is attempted by re-writing tradition. The most discussed methods are present in the language of the drama action. The holders of dramatic events thus gain different positions in invoking, or destroying the mythical structure, which is a pretext of drama. In this paper, the specificity of the authorial approach to the parent text is analyzed by breaking up the elementary language elements from which the basic text is removed. Particular attention is paid to the synchronized use of various functional styles, which in the drama acquires a narrower and wider meaning -both in terms of terms and content.

The play Hasanaginica by Ljubomir Simović transposes the basic constitutive elements of the folk ballad, placing them in a new framework with discursive practices that are determined by the tradition to which they are associated, as well as according to their own modernity, which is attempted by re-writing tradition. The most discussed methods are present in the language of the drama action. The holders of dramatic events thus gain different positions in invoking, or destroying the mythical structure, which is a pretext of drama. In this paper, the specificity of the authorial approach to the parent text is analyzed by breaking up the elementary language elements from which the basic text is removed. Particular attention is paid to the synchronized use of various functional styles, which in the drama acquires a narrower and wider meaning -both in terms of terms and content.

The narratives of war often overvalue masculine power over female capacity. Women's contribution goes unacknowledged, unnoticed and unnamed. Wars valorize men's valiance as soldiers and decision makers while women take the backseat as mere survivors amidst chaos. This paper focuses on the gendered narratives around war and throws light on what it is to be a woman in the times of war. It brings women on the frontline and rethinks War narratives including the experiences and contributions of a number of women who came out of their cocoon and took the challenges head on. The issues like Anti-Semitism, rape, mother-child relationship, and trauma that the war results in forms the base of the study. It showcases women as rebellious and passionate, having a steel exterior, and protecting a candyfloss heart. They are a testament of hope and resilience. The present paper underscores the narratives' depiction of women strength amidst three kinds of violence-psychological, physical and sexual and their complex societal re-entry. It is a voice against hyper masculinity and celebrates the 'invisible women' in war.

In 1926, when he was 51, Jung  had a dream about being stuck in the seventeenth century. Thomas Willard links this dream to Jung's future interest in alchemy as if the dream were precognitive. I have a different approach: this dream was about Jung's state of his cognitive functions development. It warned him he was going backwards.

Рад полази од крижевноисторијски утврђеног места које је одређено прози Милутина Ускоковића. С обзиром на то да је Ускоковићева проза у целини виђена као синтеза реалистичких и модернистичких литерарних сажимања, запажа се да се превиђају они успели модерни поступци на плану појединачних књижевних целина какве су приповетке. Стога, овај рад за истраживање узима оне поступке који су модернистички интонирани и потентни за савремено читање. На примерима из одабраних приповедака они ће бити боље осветљени и интерпретирани. Најучесталији и најуспешнији вид модернистичких
обележја запажа се поводом индивидуализације ликова, њихове психологизације и начина на који је приказана унутрашња криза идентитета. У непосредној вези са тим је чињеница да тематско-мотивски круг о љубави постаје један од битних модалитета спознаје личне егзистенције, те је тек препуштање љубавној тематици за писца важан облик самопотврђивања његових ликова.

The paper starts from a literary-historically established place that is determined by Milutin Uskoković’s prose. Given that Uskoković’s prose as a whole was seen as a synthesis of realistic and modernist literary summaries, it is noticeable that those successful modern practices on the plan of individual literary units such as short stories are overlooked. Therefore, this research paper takes those procedures that are modernist intoned and potent for contemporary reading. They will be illuminated and interpreted with examples from selected stories. The most frequent and most successful type of modernist features is observed in connection with the individualization of the characters, their psychologization and the way in
which the internal crisis of identity is shown. Directly related to that is the fact that the thematic-motive circle about love becomes one of the important modalities of the realization of personal existence, and only surrendering to the theme of love is for the writer an important form of self-affirmation of his characters.

"Voices from the Trenches: The Portrayal of the Great War in Literature" studies the diverse literary productions during and after World War I. The evaluation focuses mainly on the voices and experiences of troops in the trenches and the effects of war at home. This will give a whole understanding of the major impacts of war on individuals and groups. Through a careful survey of novels, poems, memoirs, and letters, the research paper reveals the psychological and emotional experience of trench warfare. The research paper questions countries' struggle, fear, and brotherhood for soldiers that show the dire consequences of the war on their lives and minds. It also showcases how the subject matter dealt with the home front as well, and how the people had to cope with anxieties, losses, and societal shifts that occurred when everyone was going through all that chaos. By extending stylistic innovations of revolutionary representation by writers that show chaotic horror during the World War I period, the research indicates means of uncovering complexity and futility in narration associated with the chaos experienced during the war. The paper highlights how these works remain relevant and in keeping with the remembrance and experience of those who suffered through this war. This is literature as an act of defiance against unimaginable evil.

Play The Return by Zlata Kolarić Kišur was rewarded by the Croatian Theatrical Volunteers Matrix on an anonymous competition for folk acting on March 30th 1940. The narrative text in the play has intrigued Branko Gavella who soon after staged it. The play was performed in Croatian National Theatre on the day of the 80th Anniversary of the use of Croatian Language in Theatre, November 24th 1940. And although it was predicted to be a huge success, the play was taken off the repertoire after the 10th performance. Subject of research will be the corpus of newspaper articles which were published after the premiere in periodicals in 1940 (Jutarnji list, Hrvatski list, Hrvatski dnevnik, Omladinski list, Zagrebački list, Novosti, Večer, Hrvatska straža and Obzor). A review of critical reviews on the genius directing by Branko Gavella, and acting and setting will be given. Due to this show, the people then had a chance to see The Return by Zlata Kolarić Kišur in theatre, unlike the reading a...

This research paper explores the themes of war, responsibility, and the human condition in Arthur Miller's All My Sons. Set in the aftermath of World War II, the play delves into the moral dilemmas faced by individuals in times of crisis, particularly focusing on the consequences of war on both the public and private spheres. The paper examines how the war acts as a backdrop to the characters' personal and moral failings, particularly Joe Keller's actions, which bring about devastating consequences for his family and society at large. Through the lens of responsibility, the paper discusses the tension between self-interest and social obligation, reflecting on how Miller critiques the capitalist mindset that prioritizes profit over human life.

В статье рассматриваются примеры советских гражданских ритуалов 1960 х годов, в которых погибший на фронте солдат наделялся личным голосом для обращения к живым. В атеистическом государстве голоса мертвых должны были быть очевидной условностью, своего рода театральным приемом, но формат советской коммеморативной драмы не предполагал возможности артикуляции этой условности. Основным сюжетом статьи стала история трех писем в будущее, созданных для новороссийской «капсулы времени» 1967 года. Письма были написаны членами подросткового клуба «Шхуна ровесников» от имени подростков, ушедших добровольцами на войну и погибших на фронте. Эти тексты должны были служить медиа тором между уже умершими комсомольцами 1940 х годов и еще не родившимися подростками 2010 х. Статья рассматривает их как пример ритуальной речи. Опираясь на теорию «социального голоса» Ирвина Гофмана, авторы помещают практики говорения от имени мертвых в более широкий контекст практик государственной политики памяти 1960 х годов, строившейся на освоении живыми идеи своего неоплатного долга перед мертвыми.
The article deals with a pattern of Soviet civil rituals of the 1960s where a soldier killed at the WWII was “given” a personal voice to address the living. In an atheist state, listening to the voices of the dead should not have been a conventional metaphor; however, the organizers of these ritual performances took what was happening as seriously as possible. The article focuses upon the story of three such “letters to the future” written for the so called “time capsule” in 1967. These letters were created by members of the Novorossiysk teenage club “Schooner of Peers” on behalf of the teenagers who volunteered for the WWII and died there. These letters offer a frame of communication between the deceased teenagers of the 1940s and the yet to be born teenagers of the 2010s. The paper considers the case as an example of Soviet ritualized speech. Drawing on Erwing Goffman’s theory of “social voice”, the article places the practices of speaking on behalf of the dead in the broader context of late Soviet state building practices that used the figures of dead young volunteers to promote the concept of the “unpaid debt of the living to the dead.”

Après avoir brièvement retracé l'étymologie du mot gui (démon, revenant) et évoqué la riche tradition chinoise des histoires de fantômes, ce chapitre évalue l'importance culturelle et politique du thème du fantôme dans la Chine moderne et contemporaine.

Аннотация: Статья посвящена каноническому стихотворению Н. Некрасова «Внимая ужасам войны…». Рассматривая текст на фоне поэзии о Крымской кампании 1853–1856 гг., статья описывает его место на дискурсивной карте эпохи. Авторы приходят к выводу, что поэт изобразил нового субъекта военного времени XIX в. и открыл новый для своего времени антропологический опыт эмоционального переживания военного конфликта. Как показано в работе, стихи Некрасова пересобирали литературную традиции и изменяли повседневные практики восприятия военного столкновения.

Abstract: The article is devoted to N. Nekrasov's canonical poem Listening to the Horrors of War…. Considering the text against the background of the 1853–1856 Crimean campaign’s poetry, the article describes the place of Nekrasov’s text on the discursive map of the era. The authors conclude that the poet invented the new wartime self of 19th century and discovered a new for his time anthropological experience of the emotional understanding of military conflict. As the paper shows, Nekrasov’s poem reassembled the literary tradition and changed everyday practices of war perception.

Filozofski fakultet Osijek Odsjek za hrvatski jezik i književnost Studij Filozofije i hrvatskog jezika i književnosti Marijana Josipović Dramska trilogija Zero Milka Valenta Diplomski rad Znanstveno područje Humanističke znanosti, znanstveno polje Filologija, znanstvena grana kroatistika Mentor: izv. prof. dr. sc. Ivan Trojan Osijek, 2018.

In this paper we analyse the literary modelling of the war, e.g. war experience, as well as trauma on examples of novels Quietly flows Mississippi by Vladimir Tabašević (2015), Catch the rabbit by Lana Bastašić (2018) and Why do you sleep on the floor by Darko Cvijetić (2020). In these three novels various narrative perspectives (children's perspective, past-present perspective and multifocalization) influence the impression and literary representations of the civil war in Yugoslavia (1991‒1995), as well as the psychological consequences of this experience by generating different traumas. The question of hybrid identity is motivated in a twofold manner: by the linguistic, national, ethical and emotional ambivalence of protagonists of the novels, and by the national background of these three authors. After the introduction, the methodological setting of the research and theoretical explications of terms trauma, identity, memory and postmemory, we interpret these aspects on various examples from the novels. The analysis shows that the literary perspective and fictional responses based on real or imaginary experiences of war participators, or those who had been on the periphery of the conflict during the war years, share a number of qualities, but in some aspects differ from one another. The main difference is in the narrative strategy choice: Quietly flows Mississippi is narrated from a child’s perspective, where the protagonist Deni attains knowledge of himself and the allarmingly changing world he’s sourrounded with. This is accomplished through Deni’s playing in the discoursive and everchanging space of language. The trauma rendered by the loss of his father and the country, which Deni identifies as one, is multiplied. Catch the rabbit is situated in a wholly different context, since the narrator Sara finds herself in the exile in the beginning of the narrative. It is discovered both through the retrospective and contemporary moment chapters that her exile is as much an outer as it is an inner one, driven by the run from the aggressor and trauma embodied in her childhood former best friend Lejla, whom she identifies with Bosnia, Yugoslavia, post-war Bosnian space and post-yugoslav depression. Re-encounter with Lejla and Bosnia brings back the ambivalence and hybridity of Sara’s national, linguistic and personal identity. Why do you sleep on the floor, on the other hand, solely contains direct descriptions of horrors experienced at the battlefield, which produce intense posttraumatic experiences in its characters. By intertwining the dramatic, the epic and the lyrical, the author establishes an entity of a dissociated and devastated people, language and the world in which the war is a winner, and continues to win even in the upcoming decades. These novels represent an articulation of fear, pain and restlessness that change and widen the human experience through the immediate closeness of the real, not just imaginary death caused by the war. Keywords: Quietly flows Mississippi, Catch the rabbit, Why do you sleep on the floor, war, war experience, trauma, civil war in Yugoslavia, identity, narrative perspectives, language, postmemory.

Originally published in French this work by C.G. Jung gives a very good introduction to the basis for his analytical psychology. I wish I had read this book first when I began my journey into Jungian psychology. In it Jung gives value to the sedimentation layers of the psyche's unfolding in humanity.

Michael Ondaatje’s Anil’s Ghost deals with the exhumation and identification of bones in the context of the civil war in Sri Lanka. Sent by a human rights group to investigate mass burials, Sri Lankan-born and North American-educated Anil Tissera returns to her native island as a forensic anthropologist after 15 years away. Invested as she is in her job, Anil needs time to authorize herself to be affected by what she uncovers. The reconstruction of her relationship with the excruciating history of the island takes unusual narrative shapes in the novel, which has been criticized for meandering along too many digressions and for “drifting […] away from the book’s essential business” (Maslin 11). As I investigate what can be referred to as literary drifting, I offer the hypothesis that such drifting is the route the novel takes to steer the protagonist and the readers from desolation to consolation. I argue that, far from diverting us from the main forensic purpose of the book, Ondaatje’s literary drifting contributes to creating a new space and time for the desolate and the inconsolable, as if solace could only be found in the relational engagement with a community.

Problem and aim. For the technical translation learner, a particular challenge is to render technical
collocations that lack full equivalents and depend on the context. Despite significant development, machine
translation, which is often resorted to by learners, does not always solve the problems of translating words of
broad semantics and multicomponent terms. The aim of the article is to identify perspective lexical-semantic
transformations, whose application will ensure finely accurate translation of terminological collocations, and
to propose a methodology for teaching students of technical universities to use these techniques.
Materials and methods. The research methodology is based on contextual, component, comparative
analyses and the extrapolation method. The research used examples of English-Russian translations of fiction
texts from monographs by famous Russian authors concerning the problem and parallel technical texts from
open sources. In order to duly master lexical transformations, a method of visual-graphic representation of
information is suggested as part of technical translation training.
Results. The comparative analysis of Russian-language translations of texts of fiction and scientific and
technical literature has shown that such transformations as differentiation/concretization, generalization,
antonymic translation, semantic development, integral transformation, addition, subtraction and adequate
substitution are effective for achieving equivalent technical translation at the lexical level. The identified
limitation on the use of the compensation technique is related to the logic of the technical text.
Conclusion. The research contributes to the development of engineering students' translator competences
through the use of logic-oriented approach to the translation of scientific and technical genre texts. The
method of visual-graphic representation of the mechanism of lexical-semantic transformations developed
by the author has the necessary didactic potential and can be used in the course of teaching professionaloriented translation and improving machine translation algorithms.

В статье рассматриваются лингвистические (антропоцентричность современной научной парадигмы, «неупорядоченность нарратива»,  отсутствие междисциплинарной терминологической преемственности и т.д.) и экстралингвистические причины (геополитическая нестабильность и т.д.), сложности и перспективы (расширение представлений о когнитивных и коллективных мнемических процессах) изучения мнемического нарратива. Установлена модифицированная структурно-семантическая организация мнемического нарратива очевидцев хатынской трагедии в сопоставлении с описанной У. Лабовым структурой нарратива личного опыта. Выявлены перманентно реализуемые элементы структуры мнемического нарратива о хатынской трагедии – последующие события и разрешение ситуации. Определено, что ориентация как элемент структурной организации нарратива не имеет четкой локализации, а дисперсно представлена во всем тексте; оценка происшедшего нарратором  не выделена в отдельный структурный элемент. Выявлено, что наличие адресата стимулирует диалогизацию мнемического нарратива и приводит к вербализации коды и тезиса в структуре нарратива.

Tko su naši suvremeni pučki tribuni? Kakva je njihova zastupnička namjera? U čije točno ime govore zastupnici naroda? I kakav ih odaziv zajednice prati? Zastupaju li u istoj mjeri »elitne«, »svenarodske« i vlastite interese unutar šire interpretativne zajednice? Stvara li svako uzimanje zastupničkog ili reprezentacijskog prava ujedno i osobit socijalni otpor (neuključenih ili prozvanih glasova), baš kao i s njime povezane političke progone? Tekst tumači javnu sferu kao dinamičko polje ideologijskih i estetičkih sučeljavanja, s posebnim naglaskom na umjetničko stvaralaštvo Olivera Frljića i Mate Matišića kao aktualnih pučkih tribuna. Obojicu prati licemjerna optužnica za »manjak patriotizma«, premda upravo napor navedenih umjetnika za uvažavanjem socijalno najranjivijih skupina i pojedinaca svjedoči u prilog osobite etike skrbi, samim time i povišene brižnosti prema zajednici kojoj se obraćaju. Tekst također sadrži i kratke razgovore s obojicom umjetnika na temu umjetnosti kao javnog zastupništva i njegovih kriza. Ključne riječi: Oliver Frljić; Mate Matišić; progon javnih intelektualaca; zastupništvo; javna sfera; povijesna i narativna trauma; odgovornost za političke zločine brought to you by CORE View metadata, citation and similar papers at core.ac.uk

The Bluest Eye (1970) is an eye-opening novel that deals with the tremendous oppression of African-Americans. Toni Morrison brings out the conception that the appetence of having white skin devours the African-Americans and their self-esteem gradually becomes self-loathing. The illusions of white beauty and the politics of color are compatible. The keenness of having white skin originates from being a victim of the politics of color. Morrison traces Pecola, the protagonist of this novel, as the scapegoat of an inter-racial society. Her extreme struggle because of having a dark complexion ultimately drives her to be an insane psyche. All the individuals also endure the agitations and agony of the racial society. Pauline Breedlove, Cholly Breedlove, Geraldine, Frieda MacTeer and Claudia MacTeer-all of them become the victim of racism along with Pecola. This paper particularly focuses on the reprimand of the African-Americans for being black and their eagerness of having white skin for escaping those social stigmas in The Bluest Eye. The prejudice against western standards of beauty as well as the illusions of white beauty and its effects on the lives of African-Americans are thoroughly depicted here.

The article is focused on analysing linguistic deformations in translating modern Ukrainian war fiction into English. The research material is the novel "Інтернат"/ The Orphanage by Serhiy Zhadan and its translation into English. Translation deformations, or "deforming tendencies" (Berman, 2000), are viewed as systemic psycholinguistic distortions, arbitrary and non-arbitrary, of formal and content source text characteristics. Three main groups of translation deformations have been identified in the text under analysislexical, stylistic, and grammatical. Lexical deformations include calque translation, concretisation and modulation. Due to their low frequency, they are not viewed as typical. Stylistic deformations fall into synonymous substitution, logisation, explication, expressivation, modernisation, antonymous translation, and compensation. Synonymous substitution and logisation are the most frequent types; therefore, they may be considered prototypical. They are mainly concerned with reproducing characters' names and descriptions, names or descriptions of military and civil vehicles and tools, colloquial expressions and 'surzhyk'. Grammatical deformations constitute the most significant group. They comprise substitutions and permutations of different types, deletion of words/phrases/sentences, addition of words/phrases, and changes in punctuation. The style of Serhiy Zhadan is characterised by specific syntactical-stylistic features, such as the tendency to use extremely long sentences, high frequency of repetitions of different types, and specific punctuation. Therefore, deleting repetitions, intensifiers, discourse markers, and even sentences is the most recurrent type of grammatical deformation, followed by substitution-division of sentences, which may be treated as prototypical grammatical deformations in the analysed text. The results of the psycholinguistic analysis show the availability of normalisation, implicitation, emotional amplification, levelling-out, and simplification in the target version of the novel.

There  has  been  a  notable  shift  in  the  subject  matter  of Pakistani    Literary    Writers    after    the    9/11    attacks    and subsequent  War-on-Terror  in  many areas  of  Pakistan.  In  the aftermath  of  these  incidents,  majority  areas  of  the  country were  severely  affected.  Like  some  other  parts  of  the  country, many  regions  of  Khyber  Pakhtunkhwa  and  FATA  turned  into active  battlegrounds  where  many  people  lost  their  properties and  livelihood  while  compelled  others  on  migration  to  alien regions.  It  also  cost  them  great  physical,  economic,  and mental losses. During this era of absurdity, mental depression, and chaos writers felt the urge to express the new experiences andrealities  in  new  ways  and  thus  war  became  a  dominant theme  in  the  writings  of  many  writers.  The  war  driven landscape  was  reflected  in  a  grim,  nostalgic,  and  fragmented language.  Although,  these  themes  and  approaches  were adopted by a variety of writers indifferent genres of literature, the current study investigates the reflection of these traumatic and  chaotic  events  in  Pashto  poetry  popular  on  social  media. The  sample  of  this  study  consists  of  various  poems  and stanzas  from  poets  such  as  Israr  Atal,  Rahmat  Shah  Sayel, and some young poets who are known as social media poets. The  current  study  is  conducted  through  the  theoretical perspective  adopted  from  multiple  theorists  such  as  Cathy Caruth,  Melvin  Seeman,  Fritz  Pappenheim,  Jean  Paul  Sarte and  Albert  Camus  by  mainly  focusing  on  different  aspects  of disrupting  memories  of  war,  alienation,  and  absurdity.  The main  objective  of  this  study  is  to  highlight  that  how  war  and conflict  affected  people  mentally  and  is  still  remembered  in unpleasant memorie

For more than the obvious reasons, the First World War was a devastating experience for Europe. As the first war in history in which the death toll would be immense-due to the extensive use of weapons of mass destruction-it was a traumatic experience even for those who were not directly involved in the armed conflict. The dehumanization introduced by the war caused disillusionment regarding the ideals of enlightenment and the progress myth of the Modernity Project. One of the preeminent writers of the period, Virginia Woolf was among those writers who were deeply traumatized and disillusioned by the experience, even though she was not an active participant in the conflict. In her novels Jacob's Room, Mrs Dalloway and To The Lighthouse she offers a depiction of gender polarization and women as traumatized victims of the war. This paper, thus, aims to evaluate the First World War and the trauma and disillusionment caused by it as experienced by women through the novels of Virginia Woolf.