rss_2.0Literary Studies FeedSciendo RSS Feed for Literary Studies Studies Feed Pleasure and Negative Aesthetic Experience in the<abstract> <title style='display:none'>Abstract</title> <p>Drawing on recent research on aesthetic emotions and folk aesthetics, the purpose of this paper is to look into the way aesthetic pleasure and negative aesthetic experience are described and rendered in the <italic>Old English Martyrology</italic> (OEM). Using different Old English lexical tools and an edition of the OEM with a translation, this paper analyses these two aesthetic responses taking into consideration the context of the composition of the text and the possibility that it was aimed towards the emotional education of a particular religious community. It argues that, to a certain extent, the author of the OEM standardises the aesthetic experiences that they narrate, both positive and negative, and associates them with particular religious and doctrinal messages that are aimed at providing sensory inputs through which the conceptualisation of abstract and religious experiences is facilitated.</p> </abstract>ARTICLE2022-09-13T00:00:00.000+00:00The Mitford Voice: A Diachronic Inquiry into the “Upper-Crust” Accent of the Mitford Sisters<abstract> <title style='display:none'>Abstract</title> <p>The present paper sets out to investigate whether the conservative or upper RP accent of selected elderly speakers, namely three of the Mitford sisters, all members of the English aristocracy, manifests change or diachronic stability and uniformity over time. The typical conservative RP features looked for were: the LOT-CLOTH split, absence of the CURE-FORCE merger, SQUARE vowel realised as diphthong /εə/, SMOOTHING, KIT vowel in unstressed ending syllables and TRAP vowel realised as /æ/ instead of /a/. The procedure of the study consisted in the identification of the presence or absence of these specific features in the speech of three selected speakers in recordings made over, at least, a 15-year time span. The individuals studied were: Lady Mosley (née Diana Freeman-Mitford), Jessica Lucy Freeman-Mitford and Deborah Cavendish, Duchess of Devonshire (née Deborah Vivien Freeman-Mitford). The results of these comparisons suggest that elderly upper RP speakers are not highly influenced by changes in pronunciation taking place around them and mostly maintain the preferred pronunciation of their youth. In some cases, however, a general uncertainty amongst speakers of the accent, here detected in the presence of the CURE-FORCE merger, does affect the speech of individuals over the course of time.</p> </abstract>ARTICLE2022-09-13T00:00:00.000+00:00Book Review: Ladislav Vít The Landscapes of W.H. Auden’s Interwar Poetry: Roots and Routes (New York and London: Routledge, 2022). 143 pp Hawthorne’s Ecophilosophy in “Rappaccini’s Daughter”<abstract> <title style='display:none'>Abstract</title> <p>This paper examines Nathaniel Hawthorne’s ecophilosophy in “Rappaccini’s Daughter” by focusing on his various representations of the natural environment and the human relationship to it. It suggests that the story reflects his belief that nature is divinely arranged and that humanity should protect rather than manipulate its systems. From his perspective, the disruption of natural systems would not only cause the extinction of many animal species but also endanger human life and existence on earth. The paper further suggests that Hawthorne promotes a view of nature as a living organism whose entities possess souls and spirits. Their capacity to have feelings and emotions makes them entitled to moral respect and consideration. In its study of the author’s environmental values and ethics, the essay claims that Hawthorne advocates the idea that human beings do not occupy a privileged position in the universe and that they are not superior or more important than nonhumans. In contrast to the Biblical vision of humankind, he portrays humans as weak and flawed creatures that cannot attain divine perfection. For these reasons, the paper asserts that “Rappaccini’s Daughter” exhibits Hawthorne’s deep ecological awareness and underlines his stature as a pioneer of American literary environmentalism.</p> </abstract>ARTICLE2022-09-13T00:00:00.000+00:00Naomi Alderman’s : A Speculative Feminist Dystopian Fiction Mirroring the Here and Now<abstract> <title style='display:none'>Abstract</title> <p>Speculative fiction, containing speculative elements based on supposition and imagination, changes the dynamics of what is real or possible as we perceive them in our current world and then surmises the likely consequences. Litterateurs have employed speculative fiction as a means of suggesting the latent possibilities and promises for our immediate reality which are not yet enacted or materialised. Accordingly, female writers of feminist speculative fiction, particularly from the 1970s onwards, have used this genre as an effective tool both to expose and to interrogate the oppressive status quo and the normative ethos of the conventional power relation between the sexes prevailing at present. In keeping with this, Naomi Alderman, in her Bailey’s Women’s Prize for Fiction 2017 winning novel The Power, strategically flips the current power structure between the sexes on its head by investing the women, primarily adolescent girls, with the unforeseen yet inherent power of electrocuting men which ultimately results in a Cataclysm initiating a new world order ruled and dominated by empowered women some time in the future. This paper aims at exploring how Alderman, a staunch feminist, purposefully demonstrates in <italic>The Power</italic> that her novel’s fictional dystopia, though macabre and gruesome, is, in essence, a fairly accurate representation as well as a critique of the hierarchical gender relationship as it is prevalent in our present reality.</p> </abstract>ARTICLE2022-09-13T00:00:00.000+00:00Laughing with Beckett in and<abstract> <title style='display:none'>Abstract</title> <p>This paper examines the use of laughter as redemption in Samuel Beckett’s <italic>Waiting for Godot</italic> and <italic>Endgame</italic>. By acknowledging the somatic life of characters, Beckett’s humour problematises un-embodied philosophies of life. Challenging Hugh Kenner’s claim that Beckett’s humour is not redemptive because of the dryness and repetitions involved, it is argued that the foregrounding of fragility and vulnerability is a way of expressing deeply humane laughter in <italic>Waiting for Godot</italic> and <italic>Endgame</italic>. While highlighting that the dialectic of lack and excess is one source of Beckettian laughter, the main thrust of the argument emphasises the possibility of transcendence in a comic situation. The play of lack and excess, rather than suspending transcendental redemption, presents the human condition in its existential mundane realities. Accordingly, visceral and repetitive laughter are discussed in the two plays to bring to the fore the ironic and redemptive aspect of the comic, especially in the scenes where some sort of existential humour is implied.</p> </abstract>ARTICLE2022-09-13T00:00:00.000+00:00Existential Dualism and Absurdity: Modernist Theatricality in Wole Soyinka’s and Samuel Beckett’s<abstract> <title style='display:none'>Abstract</title> <p>Wole Soyinka and Samuel Beckett apparently occupy distinct places in the literary space, in all ramifications. Specifically, while the former’s dramaturgy is definable within the context of the traditional convention of playwriting, otherwise known as well-made plays, the latter is inherently non-conformist in this regard. Hence, the effort in this paper was to locate a nexus in their writings, using two of their plays, <italic>Death and the King’s Horseman</italic> and <italic>Endgame</italic>, respectively. Theatre of the Absurd, as an offshoot of existentialism, provided the ground for the critical intersection of philosophical and ideological geometry of the two plays. The critical paradigm essentially relied on the interconnectivity of absurdist writings and existentialist thoughts, as the holistic context which fundamentally defines modernism, to assess what is conceived as modernist theatricality in the two plays. Building on the modernists’ interrogation of man’s existence and essence in the world in which existential meaning is presumably lost, the paper concluded that the two texts are largely intoned with modernist thoughts, regardless of their formal or structural distinction. It arrived at this by placing particular emphasis on the playwrights’ attempts, in these works, at demanding a more spontaneous response to the question of the essence of the individual and his/her place in the universe in which meaning in existence, in the modernist sense, is believed to have been lost.</p> </abstract>ARTICLE2022-09-13T00:00:00.000+00:00The Materialisation of “torrential languages” within the Avant-Garde: Mina Loy, James Joyce, and Aesthetic Modernism<abstract> <title style='display:none'>Abstract</title> <p>Modernist literature was obsessed with a metaphysical problem regarding the word. A series of formal and material experiments started to address the word’s self-referentiality and aesthetic autonomy, against the backdrop of a new sociocultural milieu in the early twentieth century. To discover how this materialisation of language explored the interplay of literary and artistic modernisms, this paper will critically scrutinise Mina Loy’s and James Joyce’s radical reforms of writing and try to answer the following questions: how did Loy’s multifarious artisthood and poem-writing exchange, interact with, and reinforce each other? As both were closely associated with avant-garde art movements between Europe and America, how did Joyce influence Loy’s refashioning of “torrential languages” (<italic>LoLB</italic> 88) as a creative model of linguistic experimentation? How did their visual aesthetics and experimental poetics help to declare the independence of language and the shape of aesthetic modernism in a new historical epoch?</p> </abstract>ARTICLE2022-09-13T00:00:00.000+00:00“Her tears fell with the dews at even”: The Ekphrastic and Intertextual Dialogue between Victorian Poetry and Pre-Raphaelite Painting<abstract> <title style='display:none'>Abstract</title> <p>This paper seeks to carry out an analysis of the ekphrastic and intertextual dialogue in the character of Mariana in both Alfred Lord Tennyson’s homonymous poem and its subsequent pictorial representation in a painting by John Everett Millais. The character of Mariana is taken from Shakespeare’s comedy, <italic>Measure for Measure</italic>, which was published in the First Folio in 1623. By contrast, in 1832, Lord Tennyson introduces the character in his homonymous poem, “Mariana”, as a woman who continuously laments her lack of connection to society. Through interfigurality, Tennyson opts to present her as a “tragic” heroine and she is depicted from a pessimistic perspective. The process of interfigurality entails a conversion stage of reverse ekphrasis through which Shakespeare’s source text is turned into another text, Tennyson’s poem. This interaction between both texts is later turned into two visual expressions. In doing so, both texts are later transferred into John Everett Millais’s painting. Millais’s intertextual dialogue with Tennyson’s poem and Shakespeare’s play involves a process of reverse ekphrasis. Taking this approach, this paper will analyse the ekphrastic and intertextual dialogue between the poem “Mariana” and its visual representation in Millais’s artistic manifestations.</p> </abstract>ARTICLE2022-09-13T00:00:00.000+00:00The “bull goose looney” as a Totem Guide for Chief’s Writing Himself to Freedom<abstract> <title style='display:none'>Abstract</title> <p>This paper examines the institutionalisation of psychiatric treatment in Ken Kesey’s <italic>One Flew Over the Cuckoo’s Nest</italic>. Taking up the work of Michel Foucault, the paper examines how those suffering from mental illness were classified as disruptive and unfit for society, subsequently labelled mad and institutionalised in facilities more akin to semi-judicial structures than medical facilities. McMurphy, having manipulated a transfer for himself from a state work farm to what he perceives will be the less rigorous confines of a mental institution, epitomises the disruptive presence of the madmen, bringing a world of disorder and chaos to the staff and patients of the mental ward. Self-proclaimed as the head “bull goose looney”, McMurphy reflects the counter-culture movements of the 1960s in the United States in his rejection of the rules and regulations imposed upon him by what amounts to a totalitarian system of control. A wild indomitable force of nature, McMurphy becomes a totem for Chief and the other patients, an embodiment of the human spirit the patients have forfeited inside the institutional system.</p> </abstract>ARTICLE2022-09-13T00:00:00.000+00:00The Commodified Happiness: The Only Established Source of Meaning in Oscar Wilde’s and<abstract> <title style='display:none'>Abstract</title> <p>Oscar Wilde’s fairy tales are not as well-recognised as his novel or his dramatic works. This paper circles around two of his tales, <italic>The Happy Prince</italic> and <italic>The Nightingale and the Rose</italic>. Through a postmodernist outlook, this study postulates the vigorous diatribe of Wilde against the consumer culture which was dominant within Victorian society. Wilde asserts that the Victorian mind-set claims that happiness is attainable through accumulating signs of affluence and he ironically mocks this notion of happiness which is entitled to commodified objects. To him, happiness is defined through a strict sense of Christian morality and Christ-like love and kindness. His aesthetic views are entangled with morality and he fails to celebrate art for art’s sake. Moreover, this study asserts that Wilde is aware of the dominant language games, and his application of the technical language game for the Prince, the Nightingale, and the Swallow is in debt to his monolithic morality or his opportunistic character. At last, Wilde refuses to celebrate beauty if morality is absent and in this way, his aesthetic concerns become rather contradictory.</p> </abstract>ARTICLE2022-09-13T00:00:00.000+00:00Scientific Studios on Social and Political Psychology<P>The journal was founded in 1995 by the initiative of Mykola Slyusarevsky, Director of the Scientific-Practical Center for Political Psychology which was the only one at that time in Ukraine. The first three issues presented the results of the most important theoretical and empirical studies of the Center and were released under the title “Scientific Studios on Political Psychology”. From the fourth issue, the journal received the current name and covered a wider range of studies. From its founding until 2019 the journal published 1057 articles of 471 authors. </P> <P></P> <P>Today the journal accepts theoretical, methodological, and empirical articles from all over Ukraine and from abroad by the following sections: </P> <P></P> <UL> <LI>Theoretical-Methodological Basics of Social and Political Psychology </LI> <LI>Socio-Psychological Problems of Transformational Processes in Ukrainian Society </LI> <LI>Psychological Problems of Crisis Phenomena in Public Life </LI> <LI>Social Psychology of Personality </LI> <LI>Psychology of Masses and Communities </LI> <LI>Psychology of Groups and Interpersonal Relations </LI> <LI>Historic and Ethnic Psychology </LI> <LI>Psychology of Communication </LI> <LI>Family Psychology </LI> <LI>Media Psychology and Media Education </LI> <LI>Problems of Education in Social and Political Dimensions </LI> <LI>Information Processes and Socio-Psychological Technologies </LI> <LI>Psychology of War and Peace </LI> <LI>Forum on Socio-Psychological Issues </LI></UL> <P></P> <P><STRONG>Archiving </STRONG></P> <P>Sciendo archives the contents of this journal in <A href="">Portico</A> - digital long-term preservation service of scholarly books, journals and collections. </P> <P><STRONG>Plagiarism Policy</STRONG> </P> <P>The editorial board is participating in a growing community of <A href="">Similarity Check System</A>'s users in order to ensure that the content published is original and trustworthy. Similarity Check is a medium that allows for comprehensive manuscripts screening, aimed to eliminate plagiarism and provide a high standard and quality peer-review process. </P> JOURNAL2022-12-20T00:00:00.000+00:00Problems of Political Psychology<P>The Journal aims to disseminate the results of researches of scholars from Ukraine and other countries of the world as well as to develop cooperation of researchers in following thematic areas: </P> <UL> <LI>Theoretical and Methodological issues and tasks of Social and Political Psychology in contemporary world </LI> <LI>Psychology of war and peace </LI> <LI>Psychological aspects of Socio-Political situation in Ukraine: sceneries of societal and personal development </LI> <LI>Political leadership and psychology of political decision-making </LI> <LI>Democratization of political life and public society building: psychological determinants </LI> <LI>Political-psychological issues of youth socialization in the condition of social transformations and educational reforms </LI> <LI>Political communications: socio-psychological patterns and psychotechnological mechanisms; </LI> <LI>Psychological mechanisms of the interconnection between politics and economy; </LI> <LI>Psychological problems of intergroup relations, geopolitics and globalization; </LI> <LI>The development of political psychology as a discipline and the task of training specialists in this field. </LI></UL> <P><STRONG>Archiving</STRONG> </P> <P>Sciendo archives the contents of this journal in <A href="">Portico</A> - digital long-term preservation service of scholarly books, journals and collections. </P> <P><STRONG>Plagiarism Policy</STRONG> </P> <P>The editorial board is participating in a growing community of <A href="">Similarity Check System</A>'s users in order to ensure that the content published is original and trustworthy. Similarity Check is a medium that allows for comprehensive manuscripts screening, aimed to eliminate plagiarism and provide a high standard and quality peer-review process. </P> JOURNAL2022-12-20T00:00:00.000+00:00The „hard” borders in the Baltic Sea Region, 1917-1922<abstract> <title style='display:none'>Abstract</title> <p>The British sociologist Gerard Delanty’s conception of “boundary and identities of exclusion” in European history shall be remembered when approaching “hard borders.” This concept takes into account the “cultural dynamics of self-identification through exclusion” and is germane when considering the interwar interactions between the countries of the Baltic area and Russia. The works of Reece Jones and Alec Murphy on “the hardening of borders” and “the fetishization of territory” as national traits are equally pertinent to the perception of frontiers during the duration of the 20th century, including the years 1917 to 1922. In every occasion in which war and violence (ultimatums, threats of force) were employed in the Baltic Sea Region to award borders in favor of one state or another or to settle accounts, the arrangements were not permanent and a cycle of warfare with terrible effects on local people followed. The combination of universalist ideologies (such as Communism) with imperial goals frequently resulted in both domestic and international conflicts. Civil unrest (sisällissota) and clashes with and between foreign troops (Russian and German) marked Finland’s journey to independence. Comparable conditions existed in Estonia, Latvia, and Lithuania. In each case, the upshot was not just an obsession with boundaries, but also an increase in otherness and loss of life.</p> </abstract>ARTICLE2022-08-20T00:00:00.000+00:00What’s in a Title? Some Remarks on the Semantic Features of Kenning-Like Titles in George R. R. Martin’s Series<abstract> <title style='display:none'>Abstract</title> <p>Working on the hugely successful series of novels known collectively as <italic>A Song of Ice and Fire</italic>, George R. R. Martin is known to have drawn much of his inspiration from real-life events, landmarks in the history of the Middle Ages, such as the Hundred Years’ War, the Wars of the Roses, and the Crusades. It is not known, however, to what degree he actually relies in his work on sources of genuinely medieval provenance, since he himself frequently admits that amongst those that made the biggest impact on his writing are modern works of fiction, such as Maurice Druon’s heptalogy <italic>Les Rois maudits</italic> (2019 [1955–1977]). It is not impossible, though, that at least some features of Martin’s series have more or less direct parallels in medieval literature. One such element may be so-called kennings, the highly-stylised circumlocutions found in plenty in the poetic works of early Germanic literature and whose diction appears to shine through some of the series’ titles.</p> </abstract>ARTICLE2022-08-08T00:00:00.000+00:00(Re) configurations of Symbolist Poetry under the Sphere of the Than-atotic Imaginary Giants of Reason. Aspects of Liberal Theology on Christianity Use of Japanese Calligraphy when Promoting Japanese Traditional Products – the Digital Age Glyphe Evolution of the Religious Discourse in the Pages of the Journal from Sibiu between the years 1944-1949