rss_2.0Literary Studies FeedSciendo RSS Feed for Literary Studieshttps://www.sciendo.com/subject/LThttps://www.sciendo.comLiterary Studies Feedhttps://www.sciendo.com/subjectImages/Literary_Studies.jpg700700(Re) configurations of Symbolist Poetry under the Sphere of the Than-atotic Imaginaryhttps://sciendo.com/article/10.2478/saec-2022-0008ARTICLE2022-07-28T00:00:00.000+00:00The Giants of Reason. Aspects of Liberal Theology on Christianityhttps://sciendo.com/article/10.2478/saec-2022-0010ARTICLE2022-07-28T00:00:00.000+00:00The Use of Japanese Calligraphy when Promoting Japanese Traditional Productshttps://sciendo.com/article/10.2478/saec-2022-0005ARTICLE2022-07-28T00:00:00.000+00:00Emoji – the Digital Age Glyphehttps://sciendo.com/article/10.2478/saec-2022-0004ARTICLE2022-07-28T00:00:00.000+00:00The Evolution of the Religious Discourse in the Pages of the Journal from Sibiu between the years 1944-1949https://sciendo.com/article/10.2478/saec-2022-0011ARTICLE2022-07-28T00:00:00.000+00:00About the new truth and the fake news phenomenonhttps://sciendo.com/article/10.2478/saec-2022-0002ARTICLE2022-07-28T00:00:00.000+00:00Language competence in media during the pandemic – interlanguage aspectshttps://sciendo.com/article/10.2478/saec-2022-0003ARTICLE2022-07-28T00:00:00.000+00:00Belief and Knowledgehttps://sciendo.com/article/10.2478/saec-2022-0012ARTICLE2022-07-28T00:00:00.000+00:00The Reality of Violence and the Violence of Reality in Mario Vargas Llosa’s Novelshttps://sciendo.com/article/10.2478/saec-2022-0007ARTICLE2022-07-28T00:00:00.000+00:00Communication Actshttps://sciendo.com/article/10.2478/saec-2022-0001ARTICLE2022-07-28T00:00:00.000+00:00Sacre And Secular In The History And The Sociology Of Religion: Comparing Eliade And Weberhttps://sciendo.com/article/10.2478/saec-2022-0009ARTICLE2022-07-28T00:00:00.000+00:00Alterity Ethics – Levinashttps://sciendo.com/article/10.2478/saec-2022-0006ARTICLE2022-07-28T00:00:00.000+00:00The Art of Dying: Making a Will in Old English and Its Sociolinguistic Contexthttps://sciendo.com/article/10.2478/stap-2022-0005<abstract> <title style='display:none'>Abstract</title> <p>This paper explores the potential of legal documents for the study of the sociology of Old English. It gives a rationale for the use of legal genres, or charters, and introduces research databases and tools that may elucidate the interconnections between practitioners of legal Old English and their linguistic practices. A series of short case studies on wills illustrates what legal genres tell us about the correlation between linguistic variation, supralocalisation, and change and such variables as archive and gender.</p> </abstract>ARTICLE2022-07-13T00:00:00.000+00:00“Now I could tell my story”. Eavan Boland’s motifs of revising the Irish poetic traditionhttps://sciendo.com/article/10.2478/aa-2022-0002<abstract> <title style='display:none'>Abstract</title> <p>The prominent place that Eavan Boland occupies in the essentially male-defined and male-dominated canon of contemporary Irish literature is the result of the poet’s pioneering act of entering into a reconstructive and resituating dialogue with that tradition and which in turn has paved the way for numerous younger women poets to claim a place for their voices and redefine that tradition itself. The paper seeks to examine and explore a number of topoi with and through which Eavan Boland would negotiate her position in relation to the Irish literary tradition, from broad general motifs to ones peculiar to the Irish context.</p> </abstract>ARTICLE2022-07-04T00:00:00.000+00:00Hester’s resistance against the patriarchal society: A postcolonial reading of https://sciendo.com/article/10.2478/aa-2022-0001<abstract> <title style='display:none'>Abstract</title> <p>Nathaniel Hawthorne’s The Scarlet Letter can be read within the framework of postcolonial theory, with colonialism equating patriarchy. The anti-colonial reading of the novel is permitted through Hester’s struggle with what seem to be prevalent regulations regarding gender, culture and religion. The only way for females to be liberated from this patriarchy is by rejecting it. Hawthorne, in this novel, suggests that being a woman is in itself fighting back. Thus, it is only through womanhood that the female character is able to arrive at a reconciliation with themselves and with their consciences.</p> </abstract>ARTICLE2022-07-04T00:00:00.000+00:00Reading buildings: The textual turn of architecture as a parallel to the spatial turn in literary studieshttps://sciendo.com/article/10.2478/aa-2022-0006<abstract> <title style='display:none'>Abstract</title> <p>This article seeks to explore the parallels between the spatial turn embraced by contemporary literary theory and the so-called textual turn in architecture. More specifically, links between the contemporary developments of architectural theory and practice and literary criticism are established. In order to highlight the nature and origin of the connection between these two contemporary tendencies, this paper draws on a number of authoritative texts of both literary criticism as well as architectural theory, predominantly within the Anglo-American context. Architecture is presented from the viewpoint of the 20th and 21st centuries, which accentuates its liberation from a purely formal understanding by emphasizing the human involvement in its interpretation. The conception and structuring of physical spaces are therefore regarded as conditioned by processes similar to those involved in the construction of meaning in language and literature. Thus, while literary studies benefits from the extension of its field of study through the inclusion (and contemporary primacy) of the spatial point of view, architectural criticism invites active participation in the construction of its meaning, in other words, its reading. The processes of the mutual influencing and enrichment of both the textual turn in architecture and the spatial turn in literary studies is exemplified by means of contemporary architectural works that embody the synergic relationship of the two traditionally separate fields – (literary) text and architecture.</p> </abstract>ARTICLE2022-07-04T00:00:00.000+00:00Notes on the trickster as a literary character in archnarratives. A brief initial analysishttps://sciendo.com/article/10.2478/aa-2022-0003<abstract> <title style='display:none'>Abstract</title> <p>The so-called “trickster” is a special and important archfigure in the mythological and fairy-tale images of each civilization and cultural circle. The trickster is a controversial and often (seemingly) contradictory character that belongs to the “culture of popular laughter” (Bakhtin) or picaresque mythology (Kerényi). The aim of this paper is to present a brief initial analysis of the selected characters on a trans-genre and trans-cultural sample of ancient texts.</p> </abstract>ARTICLE2022-07-04T00:00:00.000+00:00Representation of female identity in humourhttps://sciendo.com/article/10.2478/aa-2022-0004<abstract> <title style='display:none'>Abstract</title> <p>The article discusses humour as a form of communication and social interaction, which is not only based on sociocultural similarities, tolerance and solidarity among in-group members but also hostility or aggression towards out-group members. As humour is formed on binary oppositions, the female gender is often used as a popular “target” in humour discourse. It also represents “otherness” regarding the opposite gender and communicates social codes based on physical appearance, behaviour, or specific roles in society. Gender-stereotyping, which is used to categorize and understand the “outside” world better, is one of the most common and simplest approaches in humour discourse. The main aim of our research is to discuss the role of women and the way female identity, as a social construct, is defined and presented in humour discourse through stereotypes. More precisely, this article examines the evolution of women’s representation in the situation comedies with regards to their stereotypical portrayals and traditional social roles.</p> </abstract>ARTICLE2022-07-04T00:00:00.000+00:00From the vanishing to the virtual: space envisioned in literaturehttps://sciendo.com/article/10.2478/aa-2022-0005<abstract> <title style='display:none'>Abstract</title> <p>The paper contends that space envisioned in literature – which is always inextricably intertwined with time – has never been real. From the bucolic settings in Theocritus’s idylls (which have a pronounced mythical component) to the town in the heart of America in Rachel Carson’s Silent Spring, which is narrated in the past tense to be as “once a town”; from the Ptolemaic concept of heaven and hell in Dante’s Divine Comedy to the “unreal cities” in Eliot’s The Waste Land; from the thatched cottages and country churches besides the vanishing village greens in Chaucer, Blake and Austen to the goings-on in the imagined county of Wessex in Hardy’s novels or the invented islands by Swift in Gulliver’s Travels to the retreat to the Walden Pond, to, the fading away of institutional space – whether in the phenomenal world or the space within the human heart – as in Larkin’s “Church Going”, literature worth reading has always been a complex record of what we were (the vanished time-space) to what might become of us in the dystopic time-space narrated with all the horror on the screen that collapses the boundaries between the actual and the virtual. The paper attempts to contemplate on some of these points.</p> </abstract>ARTICLE2022-07-04T00:00:00.000+00:00EmCat-Eng: A catalogue of 1,759 basic emotion terms in Englishhttps://sciendo.com/article/10.2478/stap-2022-0003<abstract> <title style='display:none'>Abstract</title> <p>This study investigates the lexicalization patterns of six basic constructs of emotion in English: <italic>anger</italic>, <italic>disgust</italic>, <italic>fear</italic>, <italic>joy</italic>, <italic>sadness</italic>, and <italic>surprise</italic>. These words, along with all their synonyms in noun, verb, and adjective forms were recorded and supplied with corpus frequency data. The resulting catalogue of basic emotion terms in English was analyzed. The categories of words denoting different emotions were quantified in order to determine their relative cultural significance. Word frequency patterns were analyzed in order to determine any manifestations of display rules. The results indicate that in English all emotions are preferentially lexicalized as adjectives. Negative emotions are preferentially expressed as verbs, and positive emotions – as nouns. English boasts more words for negative than positive emotions, confirming the presence of the negative differentiation effect. At the same time, the less numerous words for positive emotions were found to be more frequently used, confirming the Pollyanna effect. The study revealed the central role of <italic>fear</italic> in the English-speaking world. Uniquely, <italic>fear</italic> was found to conceptually and semantically overlap with all other basic emotions regardless of their valence; the mean frequency of all the words denoting <italic>fear</italic> made it the second most frequent overtly, verbally communicated emotion in English – after <italic>joy</italic>.</p> </abstract>ARTICLE2022-06-27T00:00:00.000+00:00en-us-1