The common sense builds a border between fiction and reality. Fiction may be represented by the novel, which is between the 18th and the 19th centuries mainly focussed to sentimental stories. The discourse about reality is generally represented by History and Science. Therefore, the border between fiction and reality has an equivalence, on one hand on the representation of the tree of knowledge in the Encyclopédie (science belongs to reason, history to memory and poetry to imagination), and, on the other hand, on the opposition between imagination and reason. German Idealism tried to recreate a union between the human faculties, imagination and reason, by unifying criticism and poetry. But novelists like Goethe (Elective Affinities), Melville (Mardi) and Flaubert (Bouvard et Pécuchet) tried in very different ways to unify poetry and scientific discourse in a literary project where knowledge becomes the main purpose of the novel. From the goethean ideal of universalism to Flaubert's irony about human aspiration to know, the three novels show different ways to question the relationships between fiction and scientific knowledge and lead to this question: in which way is there a part of human knowledge that can belong only to literature?
Nema sumnje da se komparatistika davno oslobodila prvobitnog proučavanja odnosa između pojedinačnih nacionalnih književnosti posredstvom izvora i uticaja i da je, prekoračivši granice između jezika, kultura i disciplina, između književnosti, umjetnosti, politike i javnog života, krenula putem kulturoloških studija. Njen predmet je ostalo, dakako, naporedno proučavanje jezika i književnosti, ali u transnacionalnom, interkulturalnom i intermedijskom kontekstu. Riječ je o internacionalnoj recepciji autora i njihovih djela, o vrstama poigravanja posredstvom intertekstualnosti, o preispitivanju konvencija književnih oblika i rodova na transkulturnom planu, te o utvrđivanju promjenljivih veza između različitih umjetničkih i kulturnih sistema znakova (književnost i slikarstvo, odnosno film, muzika). Komparatistika u novom ključu, kako je krajem osamdsetih godina 20. vijeka predvidio Zoran Konstantinovid, a početkom 21. vijeka potvrdio Džonatan Kaler, i dalje vodi glavnu riječ u najaktuelnijim metodološkim i teorijskim polemikama u svim humanističkim disciplinama, ali u kontekstu toliko proširenom da joj danas često pripisuju ulogu "kulturne poetike". Zbog svega prethodno rečenog odlučili smo se na tematski broj Komparatistika u novom ključu okupivši zanimljive teme i autore koji bi sa stanovišta savremenog trenutka osvijetlili transformacije ove discipline na putu objedinjavanja traganja za istorijskim uslovljenostima u literaturi i zapažanja vanistorijskih estetskih vrijednosti. Tako u radu Hipertekstualnost kao komparitivistički problem Branko Tošovid na primjeru tekstova srpskih, ruskih i poljskih autora, razmatra fenomen hiperteksta, njegove karakteristike, strukturu, osnovne modele i funkcije, ističudi i poseban način na koji se u različitim nacionalnim sredinama preispituju konvencije književnog stvaralaštva i unose nove dimenzije poput interaktivnosti, intermedijalnosti i hibridnosti. Miodrag Loma u Koncepciji istorije svetske književnosti kod Ervina Latsa razmatra pretpostavke Latsovog književnoistoriografskog pristupa, shvatanje žanrovskog uticaja i ranga, kao i ključne književnoistorijske i kritičke pojmove čuvenog naučnika u čijim se pojedinim segmentima mogu prepoznati i uticaji Getea i Šilera. U radu Kultura kao intertekst-napomene uz problem recepcije semantičkih modela Siniša Jelušid u okviru termina intertekst, prototekst i metatekst promišlja značenja odnosa između vizantijske kulture i slovenskih kultura u kojima se razlikuje odnos transplantacije i odnos recepcije. Takođe, autor teži da odredi bazične atribute južnoslovenskog kulturnog, tj. književnog
The common sense builds a border between fiction and reality. Fiction may be represented by the novel, which is between the 18th and the 19th centuries mainly focussed to sentimental stories. The discourse about reality is generally represented by History and Science. Therefore, the border between fiction and reality has an equivalence, on one hand on the representation of the tree of knowledge in the Encyclopédie (science belongs to reason, history to memory and poetry to imagination), and, on the other hand, on the opposition between imagination and reason. German Idealism tried to recreate a union between the human faculties, imagination and reason, by unifying criticism and poetry. But novelists like Goethe (Elective Affinities), Melville (Mardi) and Flaubert (Bouvard et Pécuchet) tried in very different ways to unify poetry and scientific discourse in a literary project where knowledge becomes the main purpose of the novel. From the goethean ideal of universalism to Flaubert's irony about human aspiration to know, the three novels show different ways to question the relationships between fiction and scientific knowledge and lead to this question: in which way is there a part of human knowledge that can belong only to literature?
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