580 research outputs found

    c i n g u l u m

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    Is Apocalyptic Kiev Still Apocalyptic Kiev in English Translations of Mikhail Bulgakov\u27s Novel The White Guard?

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    The White Guard, an epic narrative on the Russian Civil War, is also an urban novel based on the author’s personal experiences in Kiev during the tumultuous years of the Revolution and Civil War. Following the traditions established by F. Dostojevsky and I. Bunin, Bulgakov introduces the City, Kiev, not only as the setting of the novel, but as one of the main protagonists – one that changes, develops and takes part in the lives of the other protagonists. The city is thus transformed into a psychological dimension where the violence of war and the mental world of the characters are reflected onto the city itself. As intertextuality is one of the main characteristics of Bulgakov’s style, he employs numerous allusions to the Book of Revelation when describing the events in the novel and when constructing the image of the city. Following his typical ambivalence, Bulgakov depicts Kiev as a place of beauty, light, and happiness, similar to the New Jerusalem from the Revelation, and as a place of chaos, promiscuity, and violence, like that of the apocalyptic Babylon. The city is also divided into two zones: the Civil war zone, dangerous and violent, and a domestic zone, which represents safety, family and old prerevolutionary values. The novel has been translated into English three times: by Michael Glenny (1971), Marian Schwartz (2008) and Roger Cockrell (2012). This unique material offers thorough insight into translation shifts, not only from a synchronic, but also from a diachronic perspective. In our research, we focused on the translation strategies used when rendering apocalyptic allusions employed by the author to describe the City and assessed some of translation choices. We wonder if and to what extent the translators recognized and adequately transferred the original allusions and the ambivalent, apocalyptic and complex world of Bulgakov’s City

    decC1992

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    From December 1992 Robert Kelly Archive

    julH2002

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    From July 2002 Robert Kelly Archive

    Transforming Viewpoints: To Mix Metaphors in the Field of Painting

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    Visual art has the capacity to not only change the way a person sees the world but also how she might interpret and understand her engagement with the surrounding culture and environment. For the artist, this transformation manifests itself through the daily practice of art making from the rituals of studio, with its intensity of focus on visualisation, to the archive of conceptual concerns where ideas, theoretical frameworks and the histories of art conjoin their voices to underpin the works in progress. For the viewer, the resultant artwork has a propensity to reveal alternative ways of appreciating her everyday life. Weaving together ideas drawn from diverse fields such as feminist aesthetics, philosophy, geography and art history, this paper seeks an understanding of the various dimensions of artistic transformation. Through an investigation of the work of Western Australian artist/scholar, Anna Sabadini and her use of metaphors in painting, it proposes a way of perceiving that subverts the authority of the gaze offering viewpoints that destabilise established binaries and conventional categorizations

    Face to Face: Place and Poetry

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    This paper focuses specifically on three poems: ‘The Driver’, ‘The Slope’ and ‘Incident at Galore Hill’ and the relationship between poetry and place. In trying to prepare the ground for a philosophy which can deal with what he terms the ‘phenomenal field’, Merleau- Ponty spends a number of pages early in The Phenomenology of Perception clarifying what he sees as the limits and traps of several narrowly psychological approaches to perception. Such psychologies set up the observed world as a transcendent domain which maps consciousness as if it were somehow separated out from the world, as if, to employ his phrase, there are two different ‘modes’ of being. In this paper I explore the relations between inside and outside and the perceiver and the perceived as well sensory experience in relation to poetry, in conjuction with discussions of Merleau-Ponty's philosophies
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