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Cf. Hankovszky, op. cit. Nous adhérons donc aux critiques qui voient une certaine évolution dans l'æuvre de Camus. Di Méglio, 10. K. Rahner

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In this essay the author proposes a hypothesis: „sin and prayer” constitute one of the most complex metaphors of János Pilinszky's poetry. The study has a double structure: the vertical dimension is given by the examination of the dialogues coming from Pilinszky's poetry and Dostoievstky's, Kafka's and Camus' works, meanwhile the horizontal one places this intertextual analysis in the context of the poems, revealing the basic role of „sin and prayer”.

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This paper deals with the opposition between French passé composé and passé simple in fictional and some other texts. The author focuses on two questions in relation to the notions of island/isolation , namely the function and interpretation of the passé simple inserted into a discoursive context, and the use of the passé composé as a narrative tense, by commenting examples from Camus, Rousseau and Proust. It is argued that such phenomena are closely connected with psychological distance in the case of the passé simple , and with narrative disjunction in the case of the passé composé .

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French prose exerted various influences on the Hungarian writer, Miklós Mészöly. The present study focuses on the impact of Albert Camus. The paper interprets the parallelisms of their world-views apparent in their writings, along the lines of the ‘light’ motif analysis in The Romanticism of Clarity , an essay by Mészöly on Camus. The light motif guiding the descriptions, based on an accurate perception of the factual world of Mészöly and Camus, does not only shed a light on the possible interpretations of the time concepts the two authors have but also, through the connection of referential representation and ontological/absurd present time, it enables us to gain a deeper insight into the poetics of prose of Mészöly.

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Der wilde osten—Der Politische Blick und Seine Literarische Reflexion

Ein Versuch über Imre Kertész ErzählungProtokoll

Neohelicon
Author: Heinz Drügh

Zusammenfassung  

Imre Kertsz ErzhlungProtokoll ist von der westlichen Rezeption als realistischer Schreckenstext ber das post-kommunistische Ungarn, als Darstellungpurer Wirklich-keit rezipiert worden. Dagegen vertritt meine Untersuchung die These, da Kertsz Text die von ihm vermeintlich geleistete Versprachlichung des Realen als Erwartung des westlichen Leserblicks an die Adresse des osteuropischen Intellektuellen decouvriert und dadurch unterluft. Kertsz intertextuelles Geflecht lt dabei die Stimmen von Augustinus, Dante, Nietzsche, Proust, Salvador Dal, Albert Camus und Pter Esterhzy mitsprechen, aus deren Dialog sich die Mglichkeit einer Vermessung des symbolischen Raums ergibt, der die Rezeptionsbedingungen eines Textes ‘auf dem Weg von Osten nach Westen’ bildet.

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Harms's case "The Blue Notebook No 10", which is a cisfinite miniature about the infinity of human non-existence, is seen by the author as an a-rational (IT = NON/IT) creative inovation: the defictionalisation of the narrative convention of the character, up to the point of cisfinite zero.      Particular attention is drawn to the polemical intertextual "collisions" (The OBERIU Declaration) of Harms's reddish-brown man with a canonized pattern of the classic Russian realistic (and socrealistic) characterisation (the 'outer' and the 'inner portrait'; procedures, actions). Simultaneously, the 'demimesis' of the reddish-brown man destroys the traditional mimetic model of character structuralisation of the European romanesque production. Naturally, with a strong emphasis on the realistic model, which has already become an object of destruction - in the dadadistic avant-garde palimpsests (poeme simultane, dadaistic collage and photomontage, ready-made) as in the romanesque fiction of, for example, F. Kaf-ka, J. Joyce, W. Faulkner, J. P. Sartre, A. Camus.         As the defictionalisation of the character the universal epic literary convention in "The Blue Notebook No 10" becomes metapoetic DEFICTION/DEMIMESIS of the character as described by Aristotle in his Poetics.

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Summary  

Ghandi's satyagraha, passive resistance, initiated in 1906 and Mandela's armed resistance championed by Umhkonto we Sizwe begun in 1961 very probably marked the opposite extremes of the anti-apartheid struggle. The chasm between these two strategies points in the direction of dramatic unfolding of historical events in the racist enclave necessitating a sober reappraisal in tactics. In the cultural onslaught against apartheid in which literature had a focal position the debate was not only about the authentic mode of resistance but also fundamentally about the authentic form of anti-apartheid literature itself. Apartheid South African theatre, polarised by the institutionalised inequalities of the system in white and black communities, inhibited in both by ruthless censorship laws, acknowledging different, even contrasted, philosophical and technical inspiration, offered varying spectacles of the South African experience. If Fugard's (early) drama, demonstrably indebted to Camus's The Myth of Sisyphus, valorises an essentially passive form of resistance, Nkosi's attraction to and anxiety about Fanonian revolutionary violence on the other hand respond to South African history itself.

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Camus M, Siemiatycki J, Meek B 1998: Nonoccupational Exposure to Chrysotile Asbestos and the Risk of Lung Cancer. International Programme on Chemical Safety (IPCS), Vol. 338. CHAPD (Chemical Hazards and Poisons Division) 1995

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