One reason for a change in the meaning of a literary term can be the reassessment of whether its current definition corresponds to the reality it refers to. This can be spurred on by new or newly interpreted literary trends, seasonal reconsiderations of artistic devices, the discovery of previously unseen configurations of elements in a work, and so on.
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I dream that one day I shall remove the stickers that other people have assiduously attached to me and become just my name. Because that, just a name, is the greatest literary recognition that any writer can earn. For everyone else: Cyprus, five points, Poland, two points, Belgium, ten points…[1]
Dubravka Ugrešić wrote the declaration quoted above in 1999. (...)
We publish Polish translation of the fragment of Jahan Ramazani’s A Transnational Poetics, University of Chicago Press, pp. 1-15, 42-49. The Univeristy of Chicago Press kindly permitted for free publishing for 60 months from the date of issuance (December 2020). (...)
Travel writing is one of many literary genres. In it we further find the subgenres of the travel essay and the travel novel: thus it includes both the genre of literary fiction and that of journalistic nonfiction, not to mention biography and autobiography. (...)
On the level of textual content, it can be said that modernist literature reflects a preoccupation with the change in one’s views on and understanding of time and space in relation to human existence. The modernist project centres upon in-depth observation and representation of a distinct moment in time, rather than a chronological chain of events which has been understood to be the focus of literary realism. (...)
Throughout all of Europe from the early medieval period to the beginning of the sixteenth century, literatures in Latin and in the local vernacular developed independently from one another, with their mutual interaction occurring only in a very limited range of contexts. (...)
— (Latin: influentia, French: l’influence (f.), German: der Einfluß, Russian: ълияние) is one of the most intensively studied topics in studies of literature and a literary term with multiple meanings. Etymologically, the word “influence” means the movement of a liquid substance into a receptacle or container. (...)
— a productive semantic homonym with various equivalents in Latin: 1) fons – a place, from which water flows out onto the earth’s surface; a spring; a fount; 2) radix – root; core; line of ancestry; that which forms the beginning of something; reason; provenance; 3) origo – genesis, beginning, origin, reason, lineage; 4) principium – beginning, initiation. (...)
There is no doubt that French literary scholarship advanced the concept of intertextuality considerably in the second half of the 20th century. In 1966, in an issue of the legendary magazine Tel Quel, Julia Kristeva published an article entitled “Le mot, le dialogue, le roman” (Word, Dialogue, and Novel) in which readers found a statement revolutionary for its time: “tout texte se construit comme une mosaïque de citations, tout texte est absorption et transformation d’un autre texte” (each text is constructed like a mosaic of quotations, each text is the absorption and transformation of another text). (...)
Leonard F. Lisi, Marginal Modernity. The Aesthetics of Dependency from Kierkegaard to Joyce,
Fordham University Press, New York 2013
In Duino in 1913, as Rainer Maria Rilke was beginning work on his elegies and finishing The Notebooks of Male Laurids Brigge, he underwent a singular experience. (...)