There exists an evident and organic connection between the various arts (for example, painting, sculpture, music, dance, literature, film etc.), which can be expressed with the term
. This paper will be concerned with the relation between music and literature, more precisely, it examines the manifestation and the parallels of individual musical forms and renderings in literary text. The selected prose—Marguerite Yourcenar’s
—will be the focus of this textual-musical analysis, concentrating on those stylistic characteristics and text formatting tools that exhibit musical features in their properties and their structure. Even up to the present, analyses of literary texts have employed musical terms, for instance, polyphony, rhythm, cadence, pedal point, etc. This study will explore the textual manifestation of the following musical terms: rhythm, upbeat, non legato, imitation, tempo, lento, accelerando, retardation, polyphony, a cappella, soloist and figuration.
Most of the contemporary scholarships of both literature and law categorize the coincidences and overlaps between an author’s literary work and his or her legal career, a given literary period and the same historical era of law and jurisprudence or between innumerable pieces of literature and the texts of the law merely as things of no real interest, curious facts that are not worthy of detailed academic analysis. While a point of view of this kind has its reasons the aim of the following paper is to change this attitude to a certain extent. In my opinion instead of talking about the “death of law and literature” we should consider the possibilites of (re)opening new ways of research for law and literature studies that may provide mutual benefits to both the representatives of legal and literary sciences. Hereinafter I will try to show why and how exploring the intertextual connections between the texts of law and those of literature seems to me the most fruitful endeavour to connect law and literature to each other.
Literature 1919–1989. Szombathely 2003.
I consulted the following editions: Eseji. Knjiga 1. Zagreb 1932; Glembajevi, Proza – Glembajevi, Drama. Zagreb 1954; Sabrana djela 4–5; Povratak Filipa Latinovicza. Zagreb 1973; Eseji
What happens when we consider “poetics,” a term and concept well-known from Aristotle’s philosophical treatment of Greek epic
and tragic drama, in the larger context of world literature as we understand it today? What would be the essential elements
in the definition of poetics? What sort of critical issues it can address, and what resources it may draw on in the world’s
various literary traditions? In the ancient world, East Asia and South Asia all have distinct traditions of literary expression
with emphasis and critical conceptualizations rather different from those of the Greek-Roman tradition. What would the consideration
of poetics in a broad cross-cultural perspective lead us to? In this presentation, these are the theoretical issues to be
explored to arrive at a better understanding of poetics not only in the Western tradition, but truly of the world, with the
richness of content and critical functions considered with relation to a global concept of world literature.
The concept of meaning is often treated as if it were a unitary concept, also when it is used about literature. Yet literary
meaning is not all of a kind, and hence one cannot generalize about its overall characteristics. What is commonly called meaning
in literature comprises a number of separate phenomena. A simple distinction between linguistic meaning, applicatory meaning,
and critical meaning is introduced with the help of a literary example, Edith Södergran’s poem “My Childhood Trees” (“Min
barndoms träd”, 1922). The dangers of treating literary meaning as a homogeneous phenomenon are then illustrated by considering
the standpoints of two theorists: Jonathan Culler, who describes literary meaning as indeterminate, and Robert Stecker, who
portrays it as determinate. In reality, linguistic meaning will have to be understood as being determinate, applicatory meaning
as indeterminate, and critical meaning, existing in many varieties, as sometimes the one, sometimes the other. Problems analogous
to those besetting the concept of meaning also arise in connection with the critical use of several other key literary-theoretical
notions, such as “literature”, “text”, “form”, and “genre”.
" Novels: Problems of "Modernization" and "Archaization". In: Bauer, R., Fokkema, D. & De Graat, M. (eds.) Proceedings of the XIIth Congress of the International Comparative Literature Association / Actes Du XIIe Congrès De L'association Internationale De
The concept of “world literature” subordinates literature to space. Both a critique of the spatial presuppositions involved
in accounts of the “world” offered by world-literature studies and an endorsement of the resistance to spatial determination
common to much imaginative literature suggest that this subordination should be controversial.