The present publication focuses on the examination of literary diversity. One the one hand it deals with the litarature of various endangered languages (especially that of the Sami), and develops first considerations in constructing a comparative paradigm for mapping the vulnerability of literary processes. On the other, this books pays attention to thematic, formal and stylistic aspects of contemporary translingual literary productions. Special attention is here given to the latest developments in the Finnish literary field. The foci of endangerment and translingualism require addressing several other related literary phenomena such as literary ecology, écriture multiculturelle, code-switching or intercultural dialogism in present day world literature.
Incorporating more than one linguistic code or mode of expression in literary and artistic productions has quickly grown over the last two decades. This volume pays special attention to the dynamic rise of code-switching especially in literature and performative arts, and explores strategies used by contemporary artists to compose their multilingual narratives as well as moves beyond the linguistic level in the direction of multimodality. The innovative frameworks and descriptions intend to highlight the different ways in which art, unlike ordinary language use, manifests language mixing and switching. Besides the papers by both young and established scholars, the volume includes a section of valuable contributions from multilingual authors and artists to bridge the gap between academic approaches and creative professional practices.
A Fascinating Analysis Based on Newly Declassified Documents from the Former USSR and Communist Bloc On October 23-24 and November 3-4, 1956, the Soviet Union invaded Hungary to reassert strict communist rule. The First Domino: International Decision Making during the Hungarian Crisis of 1956 is the first analytical monograph in English drawing on new archival collections from East bloc countries to reinterpret decision making during this Cold War crisis. Johanna Granville selects four key patterns of misperception as laid out by Columbia University political scientist Robert Jervis and shows how these patterns prevailed in the military crackdown and in other countries' reactions to it. Granville perceptively examines the statements and actions of Soviet Presidium members, the Hungarian leadership, U.S. policy makers, and even Yugoslav and Polish leaders. According to Granville, Soviet first secretary Nikita Khrushchev zigzagged ineptly between policy options with apparently little or no analysis of costs and risks, permitting Moscow's Eastern European satellites at times to subtly manipulate the Kremlin's decision making. Granville's discussions of Polish policy, Yugoslav actions, and the arduous process of normalization after the uprising show that the Soviets were preoccupied with stemming what many of them construed as a Western-encouraged attempt to undermine Eastern Europe's communist regimes. Granville concludes that the United States bears some responsibility for the events of 1956, as ill-advised U.S. covert actions may have convinced the Soviet leaders that the United States was attempting to weaken Soviet hegemony over Eastern Europe, although the Eisenhower administration actually intended only to sow confusion and dissatisfaction. This masterful study leads to the conclusion that the Hungarian Crisis in 1956 was most likely sustained by self-perpetuating misperceptions and suspicions among key countries. In short, Granville's multi-archival research tends to confirm the post-revisionists' theory about the cold war: it was everyone's fault and no one's fault. It resulted from the emerging bipolar structure of the international system, the power vacuum in Europe's center, and spiraling misconceptions.
Welcome to a journey into the intricate world of aesthetic multilingualism. This monography delves deep into the realms where diverse linguistic and artistic codes converge to shape the very essence of aesthetic experience. From the authorial motivations to the composition, narrative framework, functional aspects, and multimodal manifestations, it unravels the complexities of code-switching as a powerful aesthetic device. Drawing from a rich tapestry of literary and artistic works, it explores how code-switching transcends linguistic boundaries to create captivating narratives and immersive artistic experiences. The outlined multidimensional approach goes beyond mere linguistic analysis, delving into the intricate interplay of semiotic resources, cultural contexts, and narrative strategies. Through meticulous examination and insightful case studies, it sheds light on the multifaceted nature of aesthetic code-switching, revealing its profound impact on artistic expression and communication. As you embark on this journey, this monography invites you to explore the diverse landscapes of aesthetic multilingualism, where words, sounds, and visuals converge to create art that transcends linguistic and cultural boundaries and captivates the imagination.
Toward the end of the twentieth century, in art as well as ritual studies, cultural turns contributed to elaborating a broad definition of ritual and rituality. Rituality is now generally regarded as one of the master keys to understanding not only cultures in general but also arts in particular. Poetic rituality sheds light on the liminal characteristics of the art form and references to ritual practices, ritual forms and structures that are set in motion in a way that allows special aesthetic characteristics and semantic aspects to arise. The contributors to the volume - theatre and literary studies scholars as well as students from Yale, Bielefeld, Károli University, and the Grotowski Institute - had the opportunity to share their related works in the course of several recent international academic events.
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