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Abstract  

Christopher Okigbo (Nigeria) and Edward Kamau Brathwaite (Barbados)are two poets of the African post-colonial experience who, in their works,display a keen awareness of the intricate histories of their people. Theycombine the autobiographical, social, and vatic dimensions of poetry to evokedeep historical and imaginative perspectives in their studied allegorizationof the predicament of the black race through their individual journeys ofself-discovery. They are the cultural and spiritual exiles who, on the onehand, engage in a ritual search for the recovery of a communal African authenticityand, on the other, who undertake what would seem to the reader as an ambiguousadventure, in which the poetic soul attempts a discovery and understandingof itself as it simultaneously examines the flaws inherent in Africa and theAfricans to which one could attribute the continent’s historical predicament.

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The much-cited theorist of autobiography, Philippe Lejeune, uses the term autobiographical pact to describe the silent contract between the author and reader, in which textual (and extra-textual) signals about referential and autobiographical nature of a narrative are understood as coming from the author and are accepted by the reader (Lejeune, 1989, 3–30). Autobiographical themes, connections and concrete allusions have always been present in Péter Esterházy’s fiction (e.g., Termelési regény, 1979; Helping Verbs of the Heart—A szív segédigéi, 1985; The Book of Hrabal—Hrabal könyve, 1990; Celestial Harmonies—Harmonia cælestis, 2000; Not Art—Semmi művészet, 2008). In this context, the text Revised Edition (Javított kiadás, 2002), written in the form of a diary, which describes a real event in the form of one of the most authentic autobiographical genres, signifies not only a change in the author’s understanding of the relationship between autobiography and literature, but also changes the reader’s expectations, i.e. the aforementioned silent covenant between him and the author. I will attempt to explicate the character of Esterházy’s autobiographical writing (understood on the one hand as autobiographical referentiality and on the other as an autobiographical way of writing) on the basis of the texts Celestial Harmonies and Revised Edition.

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Irodalom Atchley , P. , & Hoffman , L. ( 2004 ). Aging and visual masking: Sensory and attentional factors . Psychology and Aging , 19 , 57 – 67

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Hölzl, R., Neidig, C. W., Erasmus, L.-P., Möltner, A. (1998) Somatovisceral interactions in visceral perception: Abdominal masking of colonic stimuli. Integr. Physiol. Behav. Sci. 33 , 264-279. Somatovisceral interactions in

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[Magyarfalu toponyms]. Magyar Névtani Dolgozatok 19. Budapest. Halász , Péter 1992: Adatok a moldvai magyarok kecskemaszkos játékához [Data on the goat mask mumming of the Moldavian Csangos]. In: Viga , Gyula (ed

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., Braff, D. L. (1996) Backward versus forward visual masking deficits in schizophrenic patients: centrally, not peripherally mediated? American Journal of Psychiatry 153 , 15 64-1570. Backward versus forward visual masking

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, Arnavielhe S, Bedbrook A, et al. MASK 2017: ARIA digitally-enabled, integrated, person-centred care for rhinitis and asthma multimorbidity using real-world-evidence. Clin Transl Allergy 2018; 8: 45

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used progressive increases in inspiratory flow produced by increasing the respiratory rate using a mask ventilator as an incremental-resistive loading of other skeletal muscles. To minimize risks to participants, this study framed a voluntary rapid

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