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Prince Myshkin As A Tragic Interpretation Of Don Quixote, Slav N. Gratchev Phd Dec 2016

Prince Myshkin As A Tragic Interpretation Of Don Quixote, Slav N. Gratchev Phd

Dr. Slav N. Gratchev

Surprisingly, although virtually no one doubts Dostoevsky’s profound and direct indebtedness to Cervantes, and the Quixote–Myshkin identity is obvious, no one has ever mentioned or analyzed how Myshkin, the character more dialogically elaborate and versatile, turned out to be more limited in literary expressivity than his more “monological” counterpart. The focus on this essay is the question of what weakened the realness of Dostoevsky’s favorite hero, and what negatively affected his literary answerability.


Don Quixote In Russia In The 18th And 19th Centuries: The Problem Of Perception And Interpretation, Slav N. Gratchev Phd Dec 2016

Don Quixote In Russia In The 18th And 19th Centuries: The Problem Of Perception And Interpretation, Slav N. Gratchev Phd

Dr. Slav N. Gratchev

This paper examines the problem of the perception of Don Quixote in Russia in the XVIII and XIX centuries. The author wants to demonstrate that this process of appropriation has had a long and complex history, and there were specific reasons for this. Don Quixote, the first modern fiction novel, upon arrival in Russia, received minimal attention and was perceived as a very simple and comic book. Then, little by little, it began to gain importance. Most of the materials the author uses for this presentation are available only in Russian, and they are kept in the scientific libraries of ...


Bakhtin In His Own Voice: Interview By Victor Duvakin: Translation And Notes By Slav N. Gratchev, Slav N. Gratchev Dec 2016

Bakhtin In His Own Voice: Interview By Victor Duvakin: Translation And Notes By Slav N. Gratchev, Slav N. Gratchev

Dr. Slav N. Gratchev

On March 15, 2013, Radio Svoboda (Radio Liberty) broadcast a recording of selections from a series of interviews with Mikhail Bakhtin conducted in 1973 by philologist and dissident Victor Duvakin (Komardenkov 1972, 18).1 At this key moment in the Soviet era, Professor Duvakin, who had been dismissed from his position at Moscow State University, decided to create a phono-history of the epoch (Timofeev-Resovsky 1995, 384). Among the three hundred people whom Duvakin interviewed was Mikhail Bakhtin (Bocharova and Radzishevsky1996, 123), the seventy-eight-year-old retired professor of literature who was known familiarly by many as “chudak.”2 Bakhtin had continued to ...


Gdr Residue In Works By Julia Schoch And Antje Rávic Strubel, Beret L. Norman Dec 2016

Gdr Residue In Works By Julia Schoch And Antje Rávic Strubel, Beret L. Norman

Beret Norman

Tell all the Truth but tell it slant – Success in Circuit lies1 - Emily Dickinson Even two decades after unification, current discussions of a lingering division between East and West Germans elicit doubts that Germany’s ongoing economic success provides an elixir against social alienation2. This article compares several works by two younger writers, Julia Schoch and Antje Strubel (both b. 1974), who transcribe elements of daily life as it is experienced from within this ongoing social alienation and who reference a feminist critique of power. Their works evidence what I label a residue from the former German Democratic Republic (GDR ...


Mary Haddad Macron, Arab Americans And Their Communities Of Cleveland, Abed El-Rahman Tayyara Nov 2016

Mary Haddad Macron, Arab Americans And Their Communities Of Cleveland, Abed El-Rahman Tayyara

Abed el-Rahman Tayyara

No abstract provided.


Nature And The "Dark Pastoral" In Goethe's Werther, Heather I. Sullivan Oct 2016

Nature And The "Dark Pastoral" In Goethe's Werther, Heather I. Sullivan

Heather I Sullivan

Celebrating the natural harmony of the stream, grasses, and the beautiful wellspring where the peasant girls come to fetch water in Die Leiden des jungen Werthers (The Sorrows of Young Werther, 1774), Goethe’s eponymous hero embraces pastoral nature with a passion. He partakes in a traditional pastoral setting of rustic, idyllic landscapes rife with “simple” peasant folk, happy children, and agricultural pursuits far from the complexities of urban or courtly life—at least in the first part of the novel. This idealized pastoral framework with its peaceful green hills and valleys appears isolated from—or, more precisely, abstracted from ...


Dirty Traffic And The Dark Pastoral In The Anthropocene: Narrating Refugees, Deforestation, Radiation, And Melting Ice, Heather I. Sullivan Jul 2016

Dirty Traffic And The Dark Pastoral In The Anthropocene: Narrating Refugees, Deforestation, Radiation, And Melting Ice, Heather I. Sullivan

Heather I Sullivan

“Dirt is essentially disorder [....] Dirt offends against order,” asserts Mary Douglas in her 1966 anthropological text on “purity and pollution.” Dirt disturbs order; hence dirt is that which is disorderly and “out of place.” Similarly, according to Greg Garrard’s Ecocriticism (2012) the term pollution describes a cultural norm denoting something out of place: pollution, he writes, “does not name a substance or class of substances, but rather represents an implicit normative claim that too much of something is present in the environment, usually in the wrong place.” This definition of pollution and dirt as “something out of place,” however ...


Threatening Animals?, Heather I. Sullivan Jul 2016

Threatening Animals?, Heather I. Sullivan

Heather I Sullivan

Threatening predators and pernicious beasts continue to play significant roles in the human imaginary even as human threats to other species increase exponentially in the age of Anthropocene. While posthumanist animal studies and material ecocriticism sync human and other animals within the biosphere’s living interactions, our shared material reciprocity is currently skewing ever more towards the human threat to other species – and so to ourselves as co-dependents. This essay explores the meaning of “threatening” and “threatened”. Five German texts presenting human-animal interactions in the Anthropocene’s span by Goethe, Kafka, Stifter, Duve, and Trojanow unsettle expectations of threats. In ...


Agency In The Anthropocene: Goethe, Radical Reality, And The New Materialisms, Heather I. Sullivan Jul 2016

Agency In The Anthropocene: Goethe, Radical Reality, And The New Materialisms, Heather I. Sullivan

Heather I Sullivan

Our current era has been termed the Age of the “Anthropocene,” or the human- inflected geological era. This essay addresses the implications of human impact on the Earth as a form of “radical reality” by addressing the broad spectrum of human and non-human agency. The analysis follows a three-step process: it begins with an introduction to the new materialisms and distributed agency in contrast to Howard Tuttle’s notion of “radical reality” based on human consciousness. It then explores the agency of nature’s “vibrancy” in the debate occurring early in the Anthropocene (during Goethe’s lifetime) between “vitalism” and ...


Flogging A Dead Language: Reading, Sex, And The Freak Reader In Acker’S Don Quixote, Nicola Pitchford Jun 2016

Flogging A Dead Language: Reading, Sex, And The Freak Reader In Acker’S Don Quixote, Nicola Pitchford

Nicola Pitchford

Pastiche is central to the resistant politics of Kathy Acker's writing--yet she would appear to agree with Fredric Jameson's influential critique of pastiche as "the wearing of a linguistic mask, speech in a dead language" (17). Her 1986 novel Don Quixote is all about having to speak "in a dead language" in the absence of a more "healthy" norm. It begins with the death of the protagonist, a female version of Cervantes's knight, who then goes on to narrate much of the subsequent story. Acker explains, "BEING DEAD, DON QUIXOTE COULD NO LONGER SPEAK. BEING BORN INTO ...


Knowing Irony: The Problem Of Corneille, Nina Ekstein Feb 2016

Knowing Irony: The Problem Of Corneille, Nina Ekstein

Nina C Ekstein

Irony and knowledge exist in a problematic relationship to each other, one that is strikingly similar to that between knowledge and secrets. If irony becomes unambiguously obvious, that is, known to all, it is no longer perceived as irony. And a secret is not a secret if it is widely known. By the same token, someone must perceive irony in order for it to exist, just as a secret must be known by someone. Thus the question of whether a given author is ironic is unlikely to have a clear, unambiguous answer. The probable lack of final clarity does not ...


The Trilogue In Corneille's Theater, Nina Ekstein Feb 2016

The Trilogue In Corneille's Theater, Nina Ekstein

Nina C Ekstein

The classical stage is a locus of action and interaction conveyed through speech. The number of characters interacting on stage and the extent of that interaction are a significant feature of any playwright's dramaturgical practice, and in the case of Corneille - as in the case of most of his colleagues - dialogue, with or without a silent third party present on stage, largely predominates. While study has been made of his use of monologues (Cuénin-Lieber), trilogues and polylogues, at the other end of the spectrum, have received little attention.


Pompée's Absence In Corneille's 'La Mort De Pompée', Nina Ekstein Feb 2016

Pompée's Absence In Corneille's 'La Mort De Pompée', Nina Ekstein

Nina C Ekstein

Corneille's La Mort de Pompée (1643) occupies a curious position in the playwright's oeuvre, coming as it does immediately after the tetralogy. Faced with the never-ending artistic challenge of what to do next, what features to keep from earlier works, how to innovate and thereby captivate his audience, how to outdo his latest success, Corneille made some daring choices in this play. Indeed, this play is commonly viewed as a significant point in Corneille's oeuvre, one at which the playwright moves off in a radically new direction. It is my contention that the basic choice to keep ...


The Functions Of The Récit In L'Ecole Des Femmes, Nina Ekstein Feb 2016

The Functions Of The Récit In L'Ecole Des Femmes, Nina Ekstein

Nina C Ekstein

Since L'Ecole des femmes was first performed in 1662, much mention has been made of the numerous récits in the play. In La Critique de l'Ecole des femmes, Lysidas criticizes the play because "dans cette comédie-ci, il ne se passe point d'actions, et tout consiste en des récits que vient faire Agnès ou Horace.'' Indeed, the entire love intrigue takes place offstage and is reported in the form of récits. Far from being tiresome recitals, these narratives are integrated into the structure of the play on numerous levels.


The Portrait On Stage In Molière's Theater, Nina Ekstein Feb 2016

The Portrait On Stage In Molière's Theater, Nina Ekstein

Nina C Ekstein

Literary portraits, while common in a wide variety of genres, are not often thought of in connection with the stage. Discussions of dramaturgy make little mention of portraits, which is perhaps not surprising when one considers that theater is the domain of action, movement, and conflict; the portrait, on the contrary, is primarily descriptive. Verbal portraiture would not seem to be terribly effective in a theatrical context: it is unlikely to advance the action of the play, nor would it lend itself readily to gesture and movement. Theater requires the physical presence of its object, portraiture depends on a certain ...


Narrative Reliability And Spatial Limitations In Bajazet, Nina Ekstein Feb 2016

Narrative Reliability And Spatial Limitations In Bajazet, Nina Ekstein

Nina C Ekstein

Récits are a standard feature in the classical theater, commonly used to bring information to an onstage universe which is limited by the unities of time and place. Action which occurs before the opening of the play finds its natural expression, given the convention of beginning the play in medias res, in narrative form. These are the récits of exposition. Bajazet is unusually rich in such récits: Acomat recounts Amurat's actions, Bajazet's youth, Acomat's own past, and how Roxane came to be able to see Bajazet (I, i, ll. 115-42, 145-56); and Atalide explains how she and ...


The Second Woman In The Theater Of Villedieu, Nina Ekstein Feb 2016

The Second Woman In The Theater Of Villedieu, Nina Ekstein

Nina C Ekstein

Best known for her prose fiction, Marie-Catherine Desjardins de Villedieu was also a successful playwright. Her three tragi-comedies (Manlius, Nitétis, and Le Favori), while significantly dissimilar in many respects, share an unusual feature. All three plays foreground the figure of the second woman, second because her role is clearly less central to the play's action than that of another woman character. In each case, the relationships between this second woman and the other characters of the play defy the traditional categories of the seventeenth-century stage. Furthermore, the second woman is not an object of desire. The differences between the ...


Simmering, Uxue Alberdi, Nere Lete Feb 2016

Simmering, Uxue Alberdi, Nere Lete

Nere Lete

“Su txikian” [“Simmering”] by Uxue Alberdi was published in 2013 as one of the stories in her book Euli Giro [A Sense of Chagrin]. As Alberdi states, “The source of inspiration for this story was an article I had read about an eighty-year-old married couple from Pamplona who had been found in their car parked in the garage after having committed suicide. "Simmering” is a response to the shock the news provoked in me […]. On the one hand, I wanted to hold onto the stereotype of the Basque grandmother. It is not typical to imagine an eighty-year-old Basque woman as ...


I Would Rather Not Lie, Eider Rodriguez, Nere Lete Feb 2016

I Would Rather Not Lie, Eider Rodriguez, Nere Lete

Nere Lete

The man shakes her hand. The woman takes a seat in front of him while placing her purse between her legs and leaving her heels exposed in her flat hoes. The man looks at her from over his glasses.


Diseño De Un Curso De Español Para Principiantes Basado En Call, Kerwin A. Livingstone Jan 2016

Diseño De Un Curso De Español Para Principiantes Basado En Call, Kerwin A. Livingstone

Kerwin A. Livingstone

Este trabajo pretende hacer hincapié en que la metodología de CALL, mediante los Módulos de Desarrollo, Implementación y Evaluación, debe explorarse aún más con motivos de presentarles experiencias educativas significativas a los estudiantes de lenguas extranjeras. Se postula, debido al aumento en el uso de aplicaciones multimediales para otros campos de estudio, que la utilidad de esta nueva tecnología para la didáctica de lenguas puede lograr grandes alcances, promocionando así la enseñanza-aprendizaje diversificada. Se intenta mostrar el diseño de un software docente-educativo basado en la metodología de CALL que centra su atención, principalmente, en la expresión oral, una de las ...