Jul 2026· MONOGATARI: Journal of Literature and Culture· Vol 1, pp. 55-64· 0 citations
Abstract
This paper addresses complexity of Pram’s identity (as an exile) and Bumi Manusia (as a product of exile), which relates to cosmopolitan subjects. It will be firstly focused on examining Pramoedya as the writer experiencing a life in exile. The discussion will, furthermore, connect to Minke, the central character in Bumi Manusia, which performs as if a cosmopolitan. This will draw a connection between these two subjects as they presumably reflect the opposites. Secondly, this paper intends to explore the term exile in order to extend the understanding on how ‘exile’ offers different realities to be construed through Pramoedya and Bumi Manusia; contrastively enough with the Indonesian’s political situation, the book earned a worldwide readership. All the juxtapositions above will be approached with Cheah’s concept temporalities which gives a clear understanding that literature “cannot be destroyed by normative forces”, along with Beecroft’s concept related with literature from the ‘center’ and ‘periphery’. Based on the analysis, it is indicated that both Pramoedya and Minke in Bumi Manusia, although being confined, reflect what is understood as temporalities. With this potential of, in Cheah’s concept, ‘opening a new world’, stories like Bumi Manusia, even though being regarded ‘coming from periphery’ does not have to be ‘reactive’, but instead it is able to offer an extension what in the actual world was.
We present Part II of the interview with Professor Simonetta Sanna, which focuses on literature as a meaningful and fulfilling endeavor for understanding reality and penetrating the most hidden parts of ourselves. Sanna’s idea of literature offers tools to transcend all-good / all-bad dichotomy and pursue an ethics of alterity which interrogates the process of recognition of disavowed aspects we, as human beings, find unbearable and therefore do project on to the others. Sanna’s reading proposals also outline a politics of literature aimed at engaging with Hans Keilson’s novel The Death of the Adversary, which introduces unique reflections on Aufarbeitung der Vergangenheit. The process of coming to terms with the German NS-past doesn’t stop echoing in contemporary writers, whose works Sanna explores in depth. Her research fields also allow us to share in the ability to portray that “civilisation of conversation” which characterised European literature in the 18th and 19th centuries and which today's social media society should be able to return to.
R. Maletta· Materiali di estetica. Terza...· 0 citations
This study examines Isaiah 26.16 within the broader context of Isa. 24–27, a proto-apocalyptic composition depicting YHWH’s universal judgment and victory over death. The verse has traditionally been understood as a whispered penitential prayer and has long been regarded as obscure and syntactically problematic. Through comparative analysis with Ugaritic literature, particularly KTU 1.100 and KTU 1.3 III:20–31, this paper argues that the phrase צָקוּן לַחַשׁ מוּסָרְךָ is best interpreted as a divine, not human, whisper. A proposed textual revision of the difficult צָקוּן further clarifies the verse’s structure and reinforces this interpretation. In this reading, the ‘whisper’ conveys esoteric wisdom, cosmic instruction that YHWH bestows upon his people, though they initially fail to recognize it. When situated within its literary and theological context alongside Isa. 25.6–8 and 26.13–19, the verse reveals an integrated eschatological vision in which divine whisper, resurrection, and the defeat of death coalesce.
Galia Semo· Journal for the Study of the...· 0 citations
Seethalai Sathanar’s Manimekalai stands as a unique philosophical encyclopedia in the history of Tamil literature, shaped by an egalitarian perspective and a Buddhist foundation. This article analyzes—from both literary and logical standpoints—the epic's core Buddhist tenets, including Anitya (impermanence), Anatma (non-self), Dukkha (suffering), Karma (action and consequence), and Nirvana (liberation), while illustrating their practical application through the protagonist's renunciation of worldly affluence for an ascetic life. Furthermore, it explores profound concepts presented by characters such as Sathanar and Aravana Adigal—including the Four Noble Truths, the Eightfold Path, the Five Aggregates (Pancha Skandhas), and Dependent Origination (Pratityasamutpada)—ultimately demonstrating how Buddhism integrates individual spiritual liberation with social welfare through the alleviation of hunger, symbolized by the Amudhasurabi (the inexhaustible alms bowl).
செ.செண்பகம், முனைவர் ம.இளையராஜா· KALANJIYAM - International J...· 0 citations
Throughout his work, Machado de Assis proves to be a careful reader of Shakespeare’s plays, frequently referencing the English playwright in both his essays and fictional narratives. The unique way in which the Brazilian author interprets Shakespeare allows for multiple theoretical approaches. In this study, we adopt René Girard’s mimetic theory, whose conception of desire emphasizes the presence of an Other, also referred to as a model or mediator, who directs what is to be desired. Our aim is to highlight the implications of this mechanism in the play The Tempest and the novel Quincas Borba. For this purpose, we draw on Girardian studies such as Shakespeare: Theatre of Envy, Deceit, Desire and the Novel, and Things Hidden Since the Foundation of the World, which are essential for understanding the dynamics of mediated desire. We also engage with critical works focusing on both authors, such as On Shakespeare by Northrop Frye (1992) and Machado de Assis: Ficção e História by John Gledson (2003). During the analysis, we observe that mediated desire can be strategically incited, as Girard (2010) points out. In The Tempest, Prospero manipulates the desires of others, such as the love between Ferdinand and Miranda and Antonio’s ambition. In Quincas Borba, Rubião envisions himself as a new Prospero but proves vulnerable to the influence of the couple Palha and Sofia. Like Caliban, he remains submissive to the figure of the model and fails to attain the freedom represented by Ariel.
Emilly Silva Rodrigues, Naiara Sales Araújo Santos· Revista Literatura em Debate· 0 citations
The present study aims to examine the position of Afzal al-Din Khāqāni Shirvani in the history of Persian literature on the basis of Abdolhossein Zarrinkoub’s theory of “literary ideology.” As one of the most complex poets associated with the technical style, Khāqāni has consistently occupied an intermediary position between technical admiration and structural criticism. The central problem of this study concerns the manner in which Khāqāni’s internal contradictions—particularly the opposition between the court and the Sufi lodge—may be reinterpreted and transformed into an aesthetic system within Zarrinkoub’s critical framework. Employing a descriptive-analytical method and drawing on library-based sources, the study examines such components as the “architecture of language” and the “symbolism of suffering” in Khāqāni’s poetry. The findings indicate that Zarrinkoub regards Khāqāni not merely as an excessively ornate poet, but as the founder of a form of “aggressive individuality” in Persian poetry. Through scholarly obscurity and literary self-aggrandizement, Khāqāni sought to acquire authority and establish distinction in opposition to the political institutions of his time. The final results suggest that, from Zarrinkoub’s perspective, Khāqāni’s true position in literary history lies in his transition from an “ideology of erudition” to an “ideology of admonition,” particularly in his prison poems and the qaṣida The Arch of Ctesiphon. It is at this point that he is transformed from a craftsman of words into a sincere narrator of the existential suffering of humankind.
Ali Bazund· Treasury of Persian Language...· 0 citations
abstract:World literature involves a “transvaluation,” a Nietzschean “Umwertung,” wherein “idols” are challenged, the dominant discourses that have been accepted as “truth” in an originary or receiving culture. The worlded text becomes a site of interpretive conflict, allowing it to maintain or unsettle hierarchies of linguistic-literary prestige, national as well as international. This approach to theorizing world literature is explored through the reception of Dino Buzzati’s 1940 novel Il deserto dei Tartari in the United States and Europe during the period 1940–1990. On the basis of materials in more than a dozen Western and Eastern European languages, starting with translations and their paratexts and including reviews, essays, and censorship reports, Buzzati’s text is shown to have been interpreted according to specific discourses—most significantly, existentialism and Marxist-Leninism—which struggled for international dominance in the period, subject to shifting permutations of meaning, value, and function. As Buzzati’s text was translated and discussed, traveling from West to East over several decades, it rippled with diverse meanings that served conflicting cultural political agendas.
Lawrence Venuti· Comparative Literature Studi...· 0 citations
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