Poetics

The subject of semiotics is not to answer the questions such as what does the text says, who says the text, or what are the possible external— societal, individual, and historical—effects on the text. Instead, it is mainly interested in how signs are created, how they are articulated with each other to create the meaning in the text, and in what ways the meaning is created in different semantic layers within its system. The study necessitates focusing on the relations of the formative elements in the text which leads us to reach the narrative syntax that makes it possible to observe the underlying structures in different semantic strata of the text. Moreover, the approach helps us to analyze the meaning production process, as well as to observe the ways of the articulation process of meaningful items with each other to create the whole text.  The main purpose of this study is to figure out the semantic organization of George Orwell’s Nineteen Eighty-Four narrative within the scope of Greimas's semiotic trajectory.

Based on the author's artistic research on migration, contemporary urban experience, and sonic alienation, The Nomadic Listener is composed of a series of texts stemming from psychogeographic explorations of contemporary cities, including Copenhagen, Berlin, Kolkata, Vienna, Delhi, Hong Kong, Mumbai, and New York, among others.
Each text is an act of listening, where the author records his surrounding environment and attunes to the sonic fluctuations of movement and the passing of events. What surfaces is a collection of meditations on the occurrences of life movingly interwoven with memories, associations, desires, and reflections. Readers are brought into a tender map of contemporary urban experience and the often lonely, surprising, and random interactions found in traveling. The Nomadic Listener includes parallel drawings based on the original audio recordings and appears as ghostly renderings of the corresponding experiences. The recordings are published by Gruenrekorder and accessed through a QR code in the book.

The Review article discusses four new scholarly volumes focused on various problematic issues related to Russian Modernism. The essay debates major points of methodology and research topicality with respect to Russian Symbolism and the Avant-Garde.
- Martha M.F. Kelly, Unorthodox Beauty. Russian Modernism and Its New
Religious Aesthetic. Evanston, 2016.
- Jonathan Stone, The Institutions of Russian Modernism. Conceptualizing, Publishing, and Reading Symbolism. Evanston, 2017.
- Katherine Lahti, The Russian Revival of the Dithyramb. A Modernist Use of Antiquity. Evanston, 2018.
- Reframing Russian Modernism. Edited by Irina Shevelenko. Madison, 2018.

W.H. Auden’s “New Year Letter” (or The Double Man as it was titled in the U.S.) was published in 1941 to generally negative reviews. Reviewers judged the poem’s neoclassical form to be too abstract and even a “renunciation of modernism”. But the poem’s conceptual ambition, its subtleties of poetic voice, constant shifting of styles and tonal registers, and the texture of the world mapped by the poem all seem to belie its neoclassical formal surface. “New Year Letter” is most striking in its dialectical flow of ideas and the relationship this flow forges with its potential readers. With the dialectical complexity, tonal variation, and stylistic discontinuities in “New Year Letter”, Auden imposes on his readers a new reading regime. The demanding new reading regime and the challenging stylistic features of his poem represent Auden’s bequest to contemporary poets in the face of modern catastrophe.

Perché il teatro occupa una posizione centrale nella civiltà letteraria inglese? Come nasce il romanzo e quali forme specifiche assume nell’isola? Come evolve la poesia inglese da quando gli elisabettiani importano il sonetto dall’Italia? Il volume fornisce una risposta a queste e altre domande, proponendosi come utile avviamento all’analisi del testo letterario inglese e offrendo una panoramica dello sviluppo dei principali generi: poesia, romanzo e teatro. Ogni capitolo è corredato di numerosi esempi distribuiti su un arco temporale che va dal Cinquecento al secondo Novecento. Insieme al tradizionale manuale di storia letteraria, questa guida presenta gli strumenti critico-metodologici indispensabili e le coordinate essenziali per lo studio della letteratura inglese.

Eighteenth-century Britain saw the emergence of a new poetic genre, the “work” poem which took various forms of labor as its subject and was often written by laborers themselves. Several of these working class poets found their lives transformed due to the success of their verse (Stephen Duck most famously), but most faded into literary obscurity. However, a substantial body of “work” poems was produced by a diverse group of poets throughout the century, each manifesting divergent concerns and attitudes about the experience of work. This chapter assesses the formal connections uniting this poetic genre, particularly the frequent use of such literary devices as ironic distancing, litotes, and mock-georgic description. Instead of solely classifying “work” poems on the basis of their subject matter, this chapter demonstrates that such poetry (indeed the genre itself) lends itself to sophisticated literary techniques often associated with other poetic genres. In this fashion the full measure of eighteenth-century working class poetry can be evaluated more fairly, particularly by analyzing the formation of a new genre designed expressly by the poets themselves. The chapter ultimately seeks to demonstrate the connectedness, rather than the alienation, of working class poetry to the eighteenth-century British poetic tradition.

Accelerationism, in its Landian formulation, has always mobilised a diachronic coupling of techonomic velocity and occult methodology as its propulsive dynamo. Land's declaration that 'poetry is invasion and not expression' invites the examination of occultation at the level of poetic form and the concurrent identification of an aesthetic sensibility by which a peculiar set of technologically embedded twenty-first century literary practices might be grasped as an accelerationist poetics. Hyperstition, camouflage, ( )hole complex, cryptography, cybertextuality and algorithmic processing are indicative of an arsenal of occult formal technologies that have acquired new possibilities in the context of ubiquitous digital communication. If you rub semantics hard enough, the data begins shows through. In its reckless adherence to the modernist dictum that novelty is to be generated at all costs, accelerationist poetics privileges formal experimentation over human preservation, locking technique onto an inhuman vector of runaway automatisation that, for better or worse, charts the decline of human values as modernity hands the latter over to its machinic successor in final, fatal phase shift. This text proposes a dark celebration of twenty-first century poetics as it rides the digital death drive into terminal data night.

Full text online: https://www.urbanomic.com/document/poememenon/

Video: https://vimeo.com/139684251

[in French]
L’étude du fragment et de l’écriture fragmentaire s’est développée depuis quelques années, sans que pour autant des réponses consensuelles ne surgissent. Si cette pratique est devenue courante après la Seconde Guerre mondiale, elle a pourtant des pionniers. Dans l’univers francophone littéraire européen non français, Charles-Albert Cingria (Genève, 1883-1954) et Paul Nougé (Bruxelles, 1895-1967) sont deux auteurs représentatifs de cette modalité d’écriture, ayant introduit de nombreuses stratégies qui seraient explorées postérieurement. Se concentrant sur l’œuvre publiée et inédite des deux auteurs, la présente étude cherche à dégager les axes d’une pensée littéraire qui s’actualise en pratiques d’écriture fragmentaire, dans des espaces génologiques et thématiques de frontière. Dans ce cadre, le lecteur, expérimentant constamment la violence métamorphique textuelle, joue un rôle primordial.

[in English]
The study of the fragment and of fragmentary writing has increased in recent years. However, consensual answers have been difficult to find. If this practice has become regular since the Second World War, it certainly had precursors. In the francophone non French literary European world, Charles-Albert Cingria (Geneva, 1883-1954) and Paul Nougé (Brussels, 1895-1967) are two outstanding authors of this writing modality, who introduced several strategies that were subsequently to be developed. The present study, based in the published and unpublished work of both authors, aims to identify the guidelines of a literary conception materialised in practices of fragmentary writing, in generic and thematic spaces of frontier. Within this context, the reader, permanently experiencing metamorphic textual violence, plays a major role.

[in Portuguese]
O estudo do fragmento e da escrita fragmentária tem vindo a desenvolver-se nos últimos anos, sem que no entanto respostas consensuais apareçam. Se esta prática se tornou muito comum depois da Segunda Guerra Mundial, ela tem pioneiros. No universo literário francófono europeu não francês, Charles-Albert Cingria (Genebra, 1883-1954) e Paul Nougé (Bruxelas, 1895-1967) são autores marcantes desta prática de escrita, tendo introduzido várias estratégias que viriam a ser desenvolvidas posteriormente. Centrando-se na obra publicada e inédita dos dois autores, este estudo procura identificar as linhas mestras de um pensamento literário que se actualiza em práticas de escrita fragmentária, em espaços genológicos e temáticos de fronteira. Neste contexto, o leitor, experimentando permanentemente a violência metamórfica textual, assume um papel determinante.

3e édition revue et augmentée de l'anthologie de la poésie ukrainienne regroupant une cinquantaine de poètes à commencer par le fondateur de la littérature moderne Taras Chevtchenko jusque dans les années 2010. Présenté, taduit en français et annoté par le Prof.Dmytro Tchystiak.

À partir de la lecture que la cinéaste fait de La Terre et les rêveries du repos (1948) de Bachelard dans le film Les Plages d’Agnès (2008), ce texte explique dans quelle mesure le paysage des plages dans le cinéma d’Agnès Varda constitue un espace cinématographique que la cinéaste habite et qui habite en retour la cinéaste. Que ce soit la cinéaste elle-même ou les personnages de ses films qui les empreignent, les plages figurent le travail de son imaginaire qui poétise les images littéraires dont les personnages incarnent les métamorphoses.

Estetik, en genel anlamıyla güzelin bilimidir. Her ne kadar bir bilim olarak estetik, 18. yüzyılda bir disiplin hâlini almış olsa da güzel mefhumuna dair felsefi sorgulamalar, ilk çağlardan beri yapılagelmiştir. Güzele ve estetiğe dair ilk genel ve tutarlı düşünceler Platon’un yazdıklarıyla elimize ulaşmıştır. Onun Devlet, Büyük Hyppias ve Şölen gibi kitap ve diyaloglarında dile getirdikleri hem estetik hem de ontolojik yönü ağır basan felsefi metinlerdir de. Onun öğrencisi ve muhalifi Aristoteles’in Poetika adlı eseriyse felsefi olmanın ötesinde şiirbilimsel bir kitaptır. Bu yüzden söz konusu eser, “estetik”in bir koluna yön vermiş görünmektedir. İkisinden de etkilenmiş ve ikisini de eleştirmiş fakat felsefi olarak Platon’a daha yakın duran Plotinos’un Enneadlar’ıysa hem felsefi hem estetik özellikleri aynı anda baskın olup İslam başta olmak üzere dinî gelenekleri çokça etkilemiş bir metin hüviyetindedir. Bu yüzdendir ki İslam felsefesi
ve sanatı, çoğu araştırmacı tarafından Yeni-Platoncu addedilmektedir.

Bu çalışmanın amacı Osmanlı edebiyatının estetik ve poetik temellerini araştırmak ve Osmanlı şiirinin estetik düşüncesine neler katmış olduğunu tespit etmeye çalışmaktır. Bunun için yukarıda çizilen tarihsel
gelişimin ana duraklarını geçmek, aradaki bağları ve kopuklukları sıkıca çözümlemek gerekmektedir. Metin boyunca Osmanlı edebiyatının, daha doğru bir ifadeyle Osmanlı şiirinin, felsefi ve akidevî temellerinin
nasıl bir poetikaya dönüştüğü birkaç önemli ismin eserleri üzerinden muvakkaten oluşturulmaya çalışılacaktır. Bu bağlamda Âşık Çelebi, Latifî, Fuzûlî, Nef ’î ve Şeyh Gâlib gibi isimler yol gösterici olacaktır.
Söz konusu şair ve eleştirmenlerin şiiri nasıl değerlendirdiklerini, bunun için ne gibi kavramlar kullandıklarını ve bunun “estetik”in temeli sayılabilecek bir poetikaya dönüşüp dönüşmediğini sorgulamak
yazının ana hedefidir.

On altıncı yüzyıl, Klasik Türk Edebiyatımızın sanat anlayışı, şiir zevki ve biçim güzelliği bakımından doruk noktasına ulaştığı dönemdir. Klasik Türk Edebiyatının on altıncı yüzyılda yaşamış en önemli şairi kabul edilen ve devrinin Sultanüş'şuâra'sı (şairler sultanı) olarak anılan Baki, gazellerinde ideal sevgilinin öngörülen güzellik unsurlarını en iyi biçimde yansıtmıştır. Bu dönemde yaşamış devrinin şairler sultanı Baki, ideal sevgilinin tüm özelliklerini içinde barındıran gazelleriyle ününü günümüze kadar taşımış ve adından söz ettirmiştir. Bilindiği üzere bu dönemde mazmun adı verilen kalıplaşmış söz ve anlatımlar şairler tarafından sıkça kullanılarak şiir zevkinin en üst seviyeye ulaştığı şiirler yazılmıştır. Mazmunun edebiyatımızdaki terim anlamı "bir şeyin, özelliklerini çağrıştıracak kelime grupları içinde gizlemek" tir. Öyle ki şairler, şiirlerinde sıkça mazmun kullanmışlar ve şiirlerinin anlamlarını mümkün olduğunca kapalı ve sanatlı kılmaya çalışmışlardır. Baki de, on altıncı yüzyıl Klasik Türk Edebiyatımızda mazmunları kendisine has üslubuyla kullanmıştır. Kapalı anlam içeren beyitlerinde bütün güzelliğinden çok, parça güzelliğine önem vererek Klasik Türk Edebiyatımızın şiir anlayışını sürdürmüştür. Klasik Türk Edebiyatımızda ideal sevgili çeşitli isimler ve sıfatlarla adlandırılır. Sevgili; zalim oluşu, vefa göstermemesi, acımasızlığı ve taş gönüllü olmasıyla dile getirilir. Âşık, yine de bir gün olsun onu sevmekten vazgeçmez ve her fırsatta bu acımasızlığın devam etmesini ister. Bakinin beyitlerinde en çok kullandığı mazmunlardan biri olan zülf, sevgilinin en önemli güzellik unsurlarından biri olan saç için kullanılmıştır. Saç, âşığı sevgiliye bağlayan ve onu çok fazla etkileyen bir özelliğe sahiptir. Saçlar, âşığı cezbeden aynı zamanda da eziyet eden özellikleriyle karşımıza çıkar. Âşıklar için saçlar yakalanmaktan, bağlanmaktan kaçılamayacak bir güzelliktedir. Âşıkların hem saça bağlanmak istedikleri hem de bağlanmaktan dolayı şikâyet ettikleri görülür. Klasik Türk Edebiyatımızda saç, şekli itibariyle çembere, çevgâna, zincire, uzunluğu ve parlaklığı dolayısıyla yılana ve kemende, siyah rengiyle de geceye, karanlığa ve gölgeye benzetilmiştir. Bu yazımda Baki'nin gazellerindeki beyitlerde geçen zülf mazmununun şeklini, uzunluğunu, parlaklığını ve rengini benzetilme bakımından inceleyeceğim.

The author presents ars criteria (the art of criteria) poems as a re-entry into the dialogue about rigor and quality in
qualitative research using arts-based research, and poetry in particular. This piece uses found poetry to address questions
of critical rigor and vigorous application of criteria in qualitative research. She argues that we need to continue to dialogue
about applying criteria with rigor or adopting vigorous criteria and believes that “flexible criteria” exist and should be used
when evaluating poetic inquiry.

The purpose of this brief note is to present a discussion of the first two sessions of a poetry group conducted with moderately to severely cognitively impaired adults in a nursing home. Exercises and techniques used with this population are discussed. Poetry groups such as this may provide joy those who suffer, a chance to re-experience memories, to connect to others, and the creation of moments of increased value and meaning.

Статья посвящена лингвостилистическому анализу первой книги романа-тетралогии русского советского писателя Василия Александровича Смирнова (1905–1979) «Открытие мира».  Рассмотрены различные формы субъективации повествования и лингвостилистические средства формирования речевых портретов персонажей, отражающих определенный спектр проявлений русской речи первых десятилетий XX в. Методологической основой анализа послужили разработки в области стилистики художественной прозы акад. В. В. Виноградова, В. В. Одинцова., А. И. Горшкова / The paper is devoted to the linguistic analysis of the novel-tetralogy of the Russian writer Vasily Aleksandrovich Smirnov (1905–1979) “The Discovery of the World”. Various forms of narrative subjectification and linguistic-stylistic means of forming speech portraits of characters reflecting a certain spectrum of manifestations of Russian speech of the first decades of the 20th century are considered. Methodologically the paper is based on the works of Russian scholars in stylistics. V. V. Vinogradova, V. V. Odintsov, A. I. Gorshkov

This is a book about contemporary literary and artistic entanglements: word and image, media and materiality, inscription and illustration. It proposes a vulnerable, fugitive mode of reading poetry, which defies disciplinary categorizations, embracing the open-endedness and provisionality of forms. This manifests itself interactively in the six case studies, which have been chosen for their distinctness and diversity across the long twentieth century: the book begins with the early-twentieth-century work of writer and artist Djuna Barnes, exploring her re-animation of sculptural and dramatic sources. It then turns to the late modernist artist and poet David Jones, considering his use of the graphic and plastic arts in The Anathemata, and next, to the underappreciated mid-century poet F.T. Prince, whose work uncannily reactivates Michelangelo's poetry and sculpture. The second half of the book explores the collaborations of the canonical poet Ted Hughes with the publisher and artist Leonard Baskin during the 1970s; the innovative late-twentieth-century poetry of Denise Riley, who uses page space and embodied sound as a form of address; and, finally, the contemporary poet Paul Muldoon, who has collaborated with photographers and artists, as well as ventriloquizing nonhuman phenomena. The resulting unique study offers contemporary writers and readers a new understanding of literary, artistic, and nonhuman practices and shows the cultural importance of engaging with their messy co-dependencies. The book challenges critical methodologies that make a sharp division between the textual work and the extra-literary, and raises urgent questions about the status and autonomy of art and its social role.

This Foreword, about robots, written in both poetry as well as prose, introduces the edited collection _Androids, Cyborgs, and Robots in Contemporary Culture and Society_, edited by Steven J. Thompson (IGI Global, 2018). The link on the thumbnail cover at
https://www.igi-global.com/book/_/179222 will take you directly to the published Foreword, which is open access. The attached PDF, sent directly to me from IGI-Global to use here, is presented with written permission of the publisher.

Prezentowana praca stanowi próbę opisu poetyki opowiadań Gustawa Herlinga-Grudzińskiego. Istniejące w tym przedmiocie opracowania – w postaci artykułów, recenzji oraz fragmentów książek – mają charakter cząstkowy. W rozprawie tej poddaję analizie całość dotychczasowego dorobku pisarza: utwory powstałe na przestrzeni ponad czterech dziesięcioleci, od opublikowanego w 1956 roku "Księcia Niezłomnego" po wydrukowany w roku 1999 "Odlot i powrót Gołubowa". Traktowanie licznych przecież opowiadań en gros znajduje usprawiedliwienie w często wyrażanej przez krytyków opinii stwierdzającej, iż utwory Herlinga są „jakby zbiorem rozmaitych redakcji tego samego opowiadania” (R.K. Przybylski), że pisarz „często powraca do wcześniej rozpoczętych tematów” (W. Bolecki), że „w swoich opowiadaniach pisze kolejne rozdziały wielkiego dzieła” (Z. Kudelski). Wszelako podkreśla się również, iż wraz z kolejnymi dokonaniami wzrasta stopień uniwersalności rozpoznań dotyczących ludzkiej kondycji, że poszczególne wątki tematyczne ujmowane są w nowej perspektywie i że dopiero odczytywane razem – opowiadania dopełniają się wzajemnie.
Książka niniejsza składa się z trzech części. W pierwszej z nich – na marginesie rozważań na temat publikacji utworów Herlinga, ich recepcji, a także podjętej przeze mnie krytycznej prezentacji ważniejszych ustaleń dotyczących opowiadań pisarza – zakreślam bliżej przedmiot pracy (poddawany analizie obszar twórczości Herlinga), dokonuję w jego zakresie wstępnych rozpoznań oraz formułuję niektóre założenia badawcze.
Dalsze, zasadnicze kwestie metodologiczne podejmuję w rozdziale pierwszym części drugiej, w którym staram się sprecyzować zawarty w temacie termin „opowiadanie” oraz sprawdzić, na ile okazuje się on adekwatny w stosunku do wyodrębnionego przeze mnie wstępnie korpusu tekstów pisarza. W rozdziale tym – poprzez wskazanie najistotniejszych gatunków współkonstytuujących uprawianą przez Herlinga formę, mianowicie reportażu, eseju i przypowieści – wyodrębniam, wyprowadzone z nich, kategorie porządkująco-interpretacyjne: autentyzm, dyskursywność i paraboliczność, służące wskazaniu najważniejszych cech konstrukcyjnych utworów. Zawartość semantyczna owych kategorii definiowana jest w wyznaczanych przez nie trzech kolejnych rozdziałach, stanowiących meritum sformułowanego w tytule pracy zagadnienia. Analiza konstrukcji opowiadań ujawnia jednocześnie zakres podejmowanej w nich przez pisarza problematyki, a także wpisany w nie filozoficzno-pisarski projekt.
W części trzeciej – na którą składają się interpretacje "Drugiego Przyjścia", "Gasnącego Antychrysta", "Gorącego oddechu pustyni" i "Błogosławionej, świętej" – proponuję bliższe przyjrzenie się ważniejszym z wątków problemowych podejmowanych w opowiadaniach. Oczywiście każdy wybór spośród kilkudziesięciu utworów wydawać się może arbitralny, niemniej starałem się kierować wymogiem reprezentatywności tekstów. Nie znajdziemy tu wprawdzie odczytania tak ważnej dla zrozumienia pisarstwa Herlinga dylogii "Skrzydła ołtarza", jednakże poświęcam jej sporo uwagi w części drugiej pracy. Tam też – podkreślę – zarysowana została problematyka wielu innych, istotnych w dorobku pisarza utworów. Ostatecznie więc w części trzeciej poddaję interpretacji teksty powstałe między rokiem 1961 a 1994, dwa z okresu emigracyjnego i dwa opublikowane po zniesieniu (nie tylko literackiego) podziału na kraj i emigrację. Przede wszystkim jednak w tekstach tych znajdujemy wątki faktycznie najistotniejsze, najczęściej podejmowane, kształtujące swoistą filozofię tego pisarstwa. Analizowane utwory eksponują też różnorodność aktualizowanej w opowiadaniach Herlinga problematyki. Ponadto poszczególne interpretacje stanowić mają – w moim zamyśle – ilustrację i ukonkretnienie ustaleń dotyczących konstrukcji opowiadań formułowanych w części drugiej, w szczególności zaś mają egzemplifikować przejawianie się w utworach pisarza, w różnej konfiguracji, kategorii autentyzmu, dyskursywności i paraboliczności.
Tak zatem praca niniejsza, skupiona zasadniczo na zagadnieniu konstrukcji opowiadań, podejmuje również kwestię „przystawalności” zastosowanej techniki pisarskiej do realizowanej w utworach szeroko pojętej problematyki światopoglądowej.

This article attempts to reinstate the inherent rigor of “image” as a literary
term by addressing the theoretical issues related to the image that W. J. T. Mitchell discusses
in his encyclopedia entry and his articles on the concept. The image is usually
considered an overly psychological concept that lacks the rigor of rhetorical devices such
as metaphor. This article clarifies the relationship between the image and metaphor by
arguing that, while an image may not be immediately considered a metaphor, a metaphor
may be thought of as a composite and relational proposition-image. It underscores
the futility of insisting on the concrete sensual (or visual) aspect of the image, arguing
that, before any sensual attribution, the image must primarily be thought of as a reference
or picture, which may at times be obscure, indefinite, or even empty. It also raises
some objections to the conceptualization of the mental picture as private by arguing that
the word on which the mental image is based cannot be less private or “mental.”
Keywords: image, W. J. T. Mitchell, metaphor, figure, rhetoric, privacy, sensuality

Curated colloquy with an initial cluster of contributions by Jason Crawford, Walter Melion and Bart M. Ramakers, Michael Silk, and Nicolette Zeeman. // "What has allegory to do with personification, and personification with allegory? Are we justified in speaking, as we often do, of 'allegorical personifications' and 'personification allegory,' or does such usage, however widespread, obscure fundamental differences between the two? Why is it that the notion of allegory emerges already with some of the earliest known readers of Greek mythological poetry in the sixth century BCE, whereas full-scale personification narrative does not seem to appear until Prudentius' _Psychomachia_ in the fifth century CE? Can the histories of these concepts be brought into meaningful alignment? Can the premise of their close interrelatedness withstand rigorous theoretical scrutiny? In revisiting such questions, this colloquy hopes to spark fresh debate on what is not merely an unresolved terminological issue, but a fundamental conceptual problem with immense implications for our understanding of Western art and literature from classical antiquity to the present day."

One of the main reasons for embedding literary studies within the broader field of Cultural Studies was the wish for contextualization. A growing awareness of social, political, and cultural power structures at play in literary texts and their interpretation urged scholars to investigate the literary text in relation to its context instead of conceiving it as an independent, isolated entity. However, in attempting to contextualize literary texts one runs the risk of artificially maintaining binary oppositions like text/context, autonomous/heteronomous, internal/external. Drawing on the notion 'relational aesthetics' coined by Nicolas Bourriaud, I would like to investigate the possibility of understanding the literary work not in relation to its contextual factors, but as being itself a relational space.

Open access via: https://ep.liu.se/en/conference-article.aspx?series=ecp&issue=62&Article_No=46

The present article investigates the poetics and politics of the new canon feminist critical dystopia and addresses its potential for creating a space for activism and rebellion in The Water Cure and Before She Sleeps. Accordingly, the works sheds light on the issue of female oppression in enclosed patriarchal societies and highlights the possibility of escape from the dystopian nightmare. Thus,the paper relies on feminist criticism to analyze the various methods of female objectification as depicted in the novels under study, namely: confinement, surveillance, and sexual dominion. The article hypothesises that the dystopian atmosphere assists writers in creating an authentic image of the genderbiased attitudes and their impact on women, as well as, it proves that women writers of dystopia contribute, positively, in fighting against female oppression begot by patriarchal norms.

Пятнадцать лет жизни С. Т. Аксакова были отданы службе на разных постах и в разных ведомствах. Несколько раз за время своей служебной деятельности у него возникали в конфликты с руководством, которые во многом были следствием представлений о долге и сословной дворянской этике, культивировавшихся в семье Аксаковых. В переписке с сыном Иваном, посвященной его службе, вырабатывался баланс допустимого и запретного в высказывании, определявшей особенности использования фигуры умолчания в мемуарных произведениях С. Т. Аксакова.  В итоге он нашел такую форму рассказа о своей службе, которую можно рассматривать как разновидность риторической фигуры умолчания – паралипсис. Благодаря ей описываемые конфликты смягчаются, переводятся в план личных взаимоотношений, а исторически значимые явления, например, дискуссия по поводу цензурного устава, утрачивают свою самоценность и становятся средством характеристики персонажей.

S. T. Aksakov devoted 15 years to civil service in different departments. During his career, he had several conflicts with his supervisors, which were originated from ideas of duty and noble ethics being cultivated in the Aksakovs' family. In correspondence with his son Ivan, he worked out the balance of permissible and forbidden, which determined the usage of the figure of silence (apophasis) in the memoirs of S. T. Aksakov.  As a result, he found a form for writing about his service, which can be considered as a kind of the rhetorical figure paralipsis. Thanks to it in his memoirs those conflicts are mitigated and shifted into the personal relationships area, and historically significant phenomena, like Censorship charter discussion, lose their worth and become a characterization means.

Передмова до видання книги архиєпископа Мелетія Смотрицького "Apologia" (1627) з паралельним перекладом українською мовою розглядає твір як зламний етап у творчій еволюції полеміста, простежуючи передумови цього зламу та його вияви на рівні трансформації образної мови.

Vera Kotelevskaya’s Review of Susanne Strätling’s Book "Die Hand am Werk: Poetik der Poiesis in der russischen Avantgarde". München: Wilhelm Fink Verlag 2017, 531 S., ISBN: 978-3-7705-6092-9

Ключевые слова: Велимир Хлебников; Всеволод Мейерхольд; Сергей Третьяков; русский авангард; русский формализм; русский конструктивизм; биомеханика; показ/рассказ; гаптическая поэтика; поэтология; карпалистика; жест; рука; интермедиальность

Keywords: Russian avant-garde; Russian formalism; haptic poetic; poetology; gesture; hand; Daniil Kharms; Alexey Gastev; Velimir Khlebnikov; Petr Miturich; Vsevolod Meyerhold; Sergey Tret’iyakov

Schlagwörter: Russische Avantgarde; Russischer Formalismus; haptische Poetik; Poetologie; Geste; Hand; Daniil Charms; Alexey Gastev; Welimir Chlebnikow; Petr Mituritsch; Wsewolod Meyerhold; Sergey Tret’ijakov

These poems, composed in Somali and in English, provide a poetic reflection of the recently emerged debate on the theme of Caddaan Studies which means "White Studies". The criticism and counter-criticism contained in the debate dug so deep into life nerve of Somali Studies that over a thousand people participated. The poems, under the title "Inaugurating Caddaan Studies" were composed with a critical observation of the debate.

The Italian edition of the work by Eleazar M. Meletinsky on the historical poetics of the novella – recently edited and translated by M. Bonafin and L. Sestri ‒ gives us the opportunity to revise the theoretical model by which the Russian scholar explained the origins of this narrative genre in Europe and Asia from various folkloric forms, i.e. myth, fairy and realistic tale, anecdote: in particular the analysis is carried out through the comparison with the similar reflections on novel and epic available in other Meletinsky’s books and with the theory of the “converging streams” developed by A.N. Veselovsky. Some corrections to the model of historical poetics are proposed, in order to conciliate typology and contingent elements, poetics and philology.