Literary Criticism

A modernidade ocidental é associada à imposição de novos valores ligados à religião, Estado, indivíduo, e também à imposição de fronteiras entre cultura e natureza. Ao longo do século XVIII e XIX, a hegemonia da sociedade moderna vislumbrou seu ápice. Nesse contexto histórico de transformações culturais, surgiram textos literários do gênero "pós-apocalíptico", imaginando o fim do mundo não por elementos divinos associados à escatologia religiosa, mas através da ideia de "Natureza" e suas potencialidades destrutivas, como desastres ambientais e epidemias. O presente trabalho aborda algumas visões presentes em tal literatura como fruto de ansiedades para com o futuro e leituras críticas do mundo moderno. Nossa hipótese é de que o "apocalipse secular" literário representa, sobretudo, o fim do moderno, de seus valores e crenças, quando levados à exaustão. Pensamos a literatura pós-apocalíptica na perspectiva da História Ambiental e da Ecocrítica, visando explicitar a percepção crítica da civilização moderna e a projeção de um futuro ambiental do planeta em que a natureza selvagem restaura sua hegemonia, conforme imaginado por escritores de língua inglesa, em obras escritas entre os anos 1800 e 1950. Palabras-chave: literatura pós-apocalíptica; modernidade; história ambiental; ecocrítica.

A modernidade ocidental é associada à imposição de novos valores ligados à religião, Estado, indivíduo, e também à imposição de fronteiras entre cultura e natureza. Ao longo do século XVIII e XIX, a hegemonia da sociedade moderna vislumbrou seu ápice. Nesse contexto histórico de transformações culturais, surgiram textos literários do gênero "pós-apocalíptico", imaginando o fim do mundo não por elementos divinos associados à escatologia religiosa, mas através da ideia de "Natureza" e suas potencialidades destrutivas, como desastres ambientais e epidemias. O presente trabalho aborda algumas visões presentes em tal literatura como fruto de ansiedades para com o futuro e leituras críticas do mundo moderno. Nossa hipótese é de que o "apocalipse secular" literário representa, sobretudo, o fim do moderno, de seus valores e crenças, quando levados à exaustão. Pensamos a literatura pós-apocalíptica na perspectiva da História Ambiental e da Ecocrítica, visando explicitar a percepção crítica da civilização moderna e a projeção de um futuro ambiental do planeta em que a natureza selvagem restaura sua hegemonia, conforme imaginado por escritores de língua inglesa, em obras escritas entre os anos 1800 e 1950. Palabras-chave: literatura pós-apocalíptica; modernidade; história ambiental; ecocrítica.

Despite the fact that they are both known as leading figures of existentialism, the relationship between 19 th century Danish philosopher Søren Kierkegaard and 20 th century French philosopher and novelist Albert Camus has largely gone unexplored in secondary scholarship. In the few times that their relationship is discussed, focus is heavily placed on the most obvious difference between the two thinkers: their religious orientations, which tends to prevent any further analysis or discussion. Furthermore, popular conceptions of each thinker -largely informed by their most popular works, arguably Fear and Trembling and The Myth of Sisyphus, respectively -tend to depict them as pessimistic and individualistic figures, the former basing his philosophy on an irrational leap of faith and the latter basing his own on the world's meaninglessness and absurdity. The purpose of this thesis is to provide an alternative, or rather a corrective, to these aforementioned views on the two thinkers. Through literary and philosophical analyses, I will attempt to demonstrate not only that there is a concrete, fecund relationship between Kierkegaard and Camus, but furthermore that this relationship is grounded in a practical, duty-based philosophy of love. The thesis will look at three concepts that play a key role in both philosophies: the absurd, love, and aesthetic creation. As the analysis progresses, it is repeatedly shown that the thinkers' opposing views on theology do not prevent us from finding similar conceptions and practical manifestations of selfhood, neighborly and romantic love, and the social role of the artist. Thus, I shall argue that they are most properly understood as philosophers of love who saw themselves as social critics whose main goal was to help eradicate the corrupting and dangerous nihilism of their respective eras rather than as traditional philosophers. An acknowledgement page likely represents the biggest challenge of this entire endeavor, for it requires me to perform two actions for which I'm largely lacking in proficiency: being concise and expressing my gratitude to those who deserve it. I would first and foremost like to thank Dr. Michael Strawser for all his guidance, patience, and for leading me, knowingly or unknowingly, to find a whole new way of thinking which ultimately made this work possible. I would also like to thank Dr. Bruce Janz and Mr. Stephen Schlow for their help and support as committee members, which they provided despite their busy schedules. I must additionally thank Dr. Jason Danner, for all his support and enthusiasm, and Dr. Gordon Marino, for his generosity and faith. I would like to thank the entirety of the UCF Philosophy Department and the UCF Philosophical Society, the members of which have for three years (mis)taken me for someone worthy of their stimulating conversations and their warm company. I must single out Jahfre Colbert, Ben

This article reexamines Lot’s daughters in Genesis 19 through the lens of agency and identity in forced migration. Challenging scandal-based readings, it explores their actions as survival strategies shaped by trauma and displacement, inviting a more empathetic and justice-oriented interpretation.

Робоча навчальна програма з дисципліни «Світова література: Історія зарубіжної літератури» є нормативним документом Київського університету імені Бориса Грінченка, який розроблено кафедрою світової літератури на основі освітньо-професійної програми підготовки бакалаврів відповідно до навчального плану для всіх спеціальностей денної форми навчання

В статье рассматривается взаимосвязь романа Б. Акунина «Алмазная колесница» с другими текстами русской и мировой литературы: на уровне собственно интертекстуальности - присутствия цитат, аллюзий, реминисценций в одном тексте, паратекстуальности (отношение текста романа к названию первого тома «Ловец стрекоз»), метатекстуальности (сопоставление с рассказом А. Куприна «Штабс-капитан Рыбников»). Интертекстуальная поэтика включает актуализацию культурных кодов – русского (составной частью которого является пушкинский код) и японского, отражая тем самым противостояние Востока и Запада.The article is devoted to the interconnection of the novel by B. Akunin "The Diamond Chariot" with other texts of Russian and world literature: at the level of actual intertextuality - the presence of a quotation, allusions, reminiscences in one text, paratextuality (the relation of the text of the novel to the title of the first volume "The Dragonfly Catcher"), metatextuality (compariso...

How can I create 'living' experiences that will support my students to explore the 'layers' of meaning in a story? What type of learning activity supports stu dents to build personal 'connections' with a story?" We, along with language arts teachers, face these ques tions as we collaborate to develop literature studies. Our un certainty seems to imply confusion as to whether we should emphasize story comprehension, reading skills, or a personal connection as the basis. Relying on more traditional methods to explore a liter ary text, we used instructional activities such as knowledgebased discussions, story mapping, or writing plot summaries. With instructional emphasis on knowing the story rather than 'living' the story, students seem unable to build human connections with the stories they read. Often they fail to con nect to the story when it is offered as a means to demonstrate reading skills. it means to come to understand literature and about what the teaching of literature has to offer to the intellectual, social, and emotional development of the learner (Langer, 1990).

Este estudo tem o propósito de estudar a construção das vozes, a memória e a nação no romance "O Outono do Patriarca" do escritor colombiano Gabriel García Márquez. O eixo da obra é a discussão da presença das ditaduras na América Latina desde as independências até o século XX. A pesquisa defende que a narração oral utilizada na obra, em associação à memória dos personagens, com seus múltiplos pontos de vista sobre o passado que vivenciaram, abre a possibilidade de compreender o romance como uma luta pelo direito de construção de outras histórias da nação. As vozes heterogêneas da nação são trazidas à cena e participam do processo de negociação e diálogo numa reformulação da narrativa da nação, demonstrando que há outras versões sobre a história nacional. Para isso, García Márquez produziu um efeito de várias vozes, que lutam para construir outras histórias da pátria, diferentes da oficial, exercendo o que o crítico uruguaio Hugo Achugar denominou de "direitos de memória". A construção das vozes no romance é estudada à luz do dialogismo de Mikhail Bakhtin e da transculturação narrativa do crítico uruguaio Ángel Rama. Já a questão da nação é focada pela perspectiva de Benedict Anderson e a memória é enfocada à luz das considerações de Hugo Achugar e de Paul Ricoeur.

The aim in this thesis is to show how the Basque-culture identity struggles are reflected within the Basque literature and how their actions, behaviour, traditions, culture, memory, language, etcetera, define them as a community or minority. In order to show the reflection of the law in five chosen novels written in Basque, firstly I will try to explain the link between law and literature, and afterwards, a double analytical construction will take place: on the first hand, a descriptive and historical explanation to provide the audience with the meaning of the three basic concepts which constitute the Basque culture -identity, conflict and memory-, and with a socio-historical context; on the second hand, this analysis will be based on the content analysis of the five novels that have been chosen, and contextualized or in relation to the period that goes from the Civil War (1936-1939) to the postwar and nowadays, with special insistences in the decade of the 1980s and 1990s.

English Abstract: The aim in this thesis is to show how the Basque-culture identity struggles are reflected within the Basque literature and how their actions, behaviour, traditions, culture, memory, language, etcetera, define them as a community or minority. In order to show the reflection of the law in five chosen novels written in Basque, firstly I will try to explain the link between law and literature, and afterwards, a double analytical construction will take place: on the first hand, a descriptive and historical explanation to provide the audience with the meaning of the three basic concepts which constitute the Basque culture -identity, conflict and memory-, and with a socio-historical context; on the second hand, this analysis will be based on the content analysis of the five novels that have been chosen, and contextualized or in relation to the period that goes from the Civil War (1936-1939) to the post-war and nowadays, with special insistences in the decade of the 1980s ...

pretendido escribir algo así como el certificado de defunción del indigenismo en su importante y tendencioso libro La utopía arcaica: José María Arguedas y las ficciones del indigenismo (1996). Como sucede siempre en las ficciones de Vargas Llosa existe lo que él denomina "el dato escondido", aquello que el narrador substrae al lector para crear las condiciones del final sorpresa. En este caso, tratándose de una obra crítica, se arguye básicamente que la obra de Arguedas se presenta como un anacronismo histórico y que él, Vargas Llosa, es el légitimo heredero de una tradición realista que proyecta la ficción a los

pretendido escribir algo así como el certificado de defunción del indigenismo en su importante y tendencioso libro La utopía arcaica: José María Arguedas y las ficciones del indigenismo (1996). Como sucede siempre en las ficciones de Vargas Llosa existe lo que él denomina "el dato escondido", aquello que el narrador substrae al lector para crear las condiciones del final sorpresa. En este caso, tratándose de una obra crítica, se arguye básicamente que la obra de Arguedas se presenta como un anacronismo histórico y que él, Vargas Llosa, es el légitimo heredero de una tradición realista que proyecta la ficción a los

This paper argues four main points: 1) Polybius does not dwell on horrors of war, the insane chaos and unpredictable nature of battle, and terrifying experiences of rank-and-file soldiers in combat.  2) Warfare primarily interests him as a rational, chess-board affair, showcasing skills or weaknesses of power elites serving as field commanders.  3) While non-Greeks, such as Hannibal and Scipio Africanus, are masters of command, military science in Polybius’ narrative is mainly the preserve of Greeks, and he stresses that outnumbered possessors of Greek λογισμός have overcome vast numbers of mindless and impulsive barbarian hordes.  Romans, as honorary Greeks, can continue to do so if they will follow Polybius’ precepts. And (4), as intrusive, editorializing, first-person narrator, Polybius qua military scientist (we should remember that he wrote a lost Tactica), emerges as educator and advisor for elite Roman field generals who will read his history.

This study is accomplished in order to find out whether the following piece of verse can be considered as the sign of Mahdaviyyat in Hafiz’s worldview: ‘Before the cavalry of his fancy, the black and the white of my eye, I sent; in the hope that the imperial horse rider might come back.’ (Hafiz Diwan ed. Ghani & Ghazvini 235/2. ) The authors hypothesize that Hafiz has reflected a prospective climate in the aforementioned ghazal (lyric) and taking his life and other allusions in his Diwan into consideration, it could at least be said that there are views which can be counted as to be in accordance with Mahdaviyyat philosophy. It also shows that Hafiz had been acquainted with Morabete (stationing), which is an old Islamic tradition being stressed by Holy Prophet and Shia Imams. Using descriptive-analytic approach, this study is about to analyze this tradition from the point of view of Quran and Islamic narrations. The findings of this study can play a basic role in true analysis of th...

本文检视中古时期文学选本编纂历史中的三个重要时刻，分别以南朝时期特别是公元6世纪的《文选》和《玉台新咏》、唐代特别是公元8世纪的唐人选唐诗、以及12至13世纪的文章选本和一部兼“文话”与“选本”为一身的著作为代表。通过这样跨越不同历史阶段的长镜头观察，从选本角度出发，对比南朝与南宋对“文”的认识，本文提出“文的扩散化”，也就是说，在“文”的领域，发生了一种范式的改变。在中古时期，对＂文＂或者说＂文学＂的认识和四部分类中的＂集＂部基本重合，但是南宋以降，“文”的疆域扩展到了被萧统排除在《文选》之外的经、子、史部，而且对儒家经典作出纯属修辞学方面的技术性考量。从表面上看来也许可以说”道“凌驾于”文“，但在实际上看来，在”四部“边界日益模糊的情况下，”文“呈现出扩散的趋势，这一现象一直持续到现代，促使我们对“文学”概念的生成、变化、发展进行自觉的思考。
关键词：《文选》,《文则》,《文章正宗》, 文话, 文学选本, 唐人选唐诗

Quanto accade è l’evocazione poetica di un mistero in grado di suscitare immagini spirituali senza offrire una chiave religiosa precisa. Non ponendo le domande, Perceval fissa il racconto dove tutto avrebbe potuto cominciare. Questo stallo è però un’idea straordinaria che sortisce l’effetto di suscitare infinite questioni, complice il fatto che "Le conte du graal", un romanzo su una domanda non posta, si ferma sulla soglia delle risposte. Il destino incompiuto dei protagonisti racchiude il mistero della fine di Chrétien.

Uno de los interrogantes que sostienen nuestro recorrido en torno al documental Nostalgia de la luz (2010) del cineasta chileno Patricio Guzmán, tiene que ver con la intervención estético política que se efectúa a partir de un tratamiento particular otorgado a las imágenes. El documental aborda uno de sus temas recurrentes: el pasado reciente de Chile, los efectos de la dictadura a través de sus huellas y marcas. Ligado a la composición de imágenes, o quizá por efecto de ellas, nos interesa analizar la emergencia de otras temporalidades que tienen como superficie la geografía material de un desierto. ¿Qué relaciones temporales se producen en la composición de determinadas imágenes? ¿Qué posibilidades se abren en la percepción ordinaria a partir de ciertos movimientos temporales generados por la imagen? Memoriaimagentemporalidadespotencia.

This paper examines the predicament of infertility and how women often bear the blame for it in patriarchal African societies. The study explores the themes of womanhood and infertility in modern African novels, focusing on Asare Konadu"s A Woman in Her Prime and Ifeoma Okoye"s Behind the Clouds. In these novels, Konadu and Okoye address various cultural pressures within marriage that are prevalent among Black women in many African communities. The paper discusses the dilemmas, challenges and unbearable pain faced by women who are frequently blamed for infertility in marriage, without consideration of the fact that medical causes of infertility are non-discriminatory. The study is anchored in womanism as its theoretical framework, an offshoot of feminist theory, which advocates for the removal of legal and social restrictions on women to achieve equality between the sexes in both private and public life. The research concludes that although African women"s identities are often tied to motherhood, they are unjustly subjected to harassment and dehumanization due to the sterility of their male counterparts.

This essay argues for reading ancient texts, particularly biblical literature, "on its own terms," situated within the specific historical, cultural, and conceptual world ("hopes and fears and constructions of reality") it presupposes.

"Time-and-space specific interpretation" requires meticulous analysis of content, critical engagement with the text (including choosing between variants, sometimes even conjecturally), and understanding the text as a medium of communication in its original setting.

The essay takes issue with the assertion that a focus on the history of a composition and its successive embedment in distinct contexts is incompatible with experiencing the text as art or as a mediator of meaning. It is claimed that humility, reverence, and appreciation for a text's artistry can accompany any methodological approach, including historical-critical ones.

Resumen: Este artículo se centra en la relación entre los poemas "Paseo de los tristes" de Javier Egea y "Le ceneri di Gramsci" de Pier Paolo Pasolini. A pesar de que el poemetto del italiano fue una referencia imprescindible para la composición de "Paseo de los tristes", las dos obras presentan diferencias notables, tanto en su organización formal como en el planteamiento estético subyacente. Palabras clave: Javier Egea, "Paseo de los tristes", Pier Paolo Pasolini, "Le ceneri di Gramsci", compromiso político. Abstract: This work focuses on the relationship between Javier Egea's "Paseo de los tristes" and Pier Paolo Pasolini's "Le ceneri di Gramsci". Despite the latter being a highly influential reference for the composition of "Paseo de los tristes", the two poems show remarkable differences, both at discourse level and in their underlying aesthetic approach. En una entrevista editada hace trein...

Resumen: Este artículo se centra en la relación entre los poemas "Paseo de los tristes" de Javier Egea y "Le ceneri di Gramsci" de Pier Paolo Pasolini. A pesar de que el poemetto del italiano fue una referencia imprescindible para la composición de "Paseo de los tristes", las dos obras presentan diferencias notables, tanto en su organización formal como en el planteamiento estético subyacente.

Основу настоящего сборника составляют материалы конференции «Копия vs. оригинал», проведённой Институтом мировой культуры МГУ имени М. В. Ломоносова 10 декабря 2022 г.
В книгу вошли статьи, связанные с разнообразным кругом тем:
древнерусская литература и поэзия XVIII в., проблема мистификации
и фольклор.

In this work we intend to highlight that the fleetingness of the magazine Imán, which appeared in Paris in 1931, edited by Argentina's Elvira de Alvear (1907-1959), did not diminish its capacity in terms of literary goals that had been proposed. when he disseminated fragments of works by those who would be part of the renovation of the Latin American prose of the 20th century: Alejo Carpentier, Miguel Ángel Asturias and Arturo Uslar Pietri.

Ellen White’s comments about “the Hidden Book” or “Apocrypha” have created a growing interest among Adventist historians. With the public release of a new document in 2014 (Manuscript 5, 1849) that revealed White had not only recommended the “Hidden Book,” but called it “thy Word” and “the Word of God,” a need has been created for an explanation of her early remarks. This has been complicated additionally by the fact that the document itself is riddled with spelling errors. In this article, I will seek to provide a textual reconstruction of the two passages regarding the Apocrypha, offering emendations in addition to those that the White Estate has already given. In doing so, I will also offer a close analysis of the work, exploring the historical background behind her comments about the Apocrypha being “burned” and “cast out,” particularly the British and Foreign Bible Society and its supporters who called for the destruction and according to some reports, even the burning of the Apocrypha. It will be argued that Ellen White’s final statement in these two paragraphs is best understood to have warned that any attempt to remove the Apocrypha would eventually lead to the expulsion of the entire canon of Scripture, shedding light on her later warning in Manuscript 4, 1850.

Los dramaturgos dicen que siempre fue suyo; los periodistas insisten en que nunca salió de la redacción; los poetas no dudan en colocarlo en sus filas; los críticos de arte lo pretenden; los políticos de izquierda alegan que fue, por sobre todo, hombre de filiación y de fe, socialista ardoroso; los sociólogos aseguran que nadie describió antes tan bien a Lima y lo limeño. Y él mismo decía que hubiera preferido ser actor. Todos reclaman a Sebastián Salazar Bondy y tienen razón. Lástima que siguió el destino de los igualmente precoces Mariátegui, Valdelo-mar y murió en 1965 a los escasos 41 años, convertido ya en el más importante periodista y animador cultural que hemos tenido. La noticia de su muerte sacudió a Lima y su entierro fue multitudina-rio. Las notas periodísticas, lamentando su desaparición, se sucedieron en diarios y revistas hasta sobrepasar el centenar. Todos se sintieron obligados a decir algo. José María Arguedas era el director de la Casa de la Cultura en esa época y...

Children [Deca] an opera in 17 songs, based on the novel of the same name by Milena Marković, with music and stage direction by Irena Popović, had its world premiere on October 8, 2022 at the National Theater in Belgrade. The performance of the opera involved fourteen actors, three trained singers, an ensemble and the children’s Choir of Hope [Hor Nade], which includes children from the margins, led and accompanied by Biljana Simenović on the ukulele. The authors team consists of Irena Popović, music and stage direction; Dimitrije Kokanov, libretto and dramaturgy; Jelena Novak, musical dramaturgy; Igor Koruga, choreography and Selena Orb, costumes. The opera Children was commissioned by the National Theater in Belgrade.
Popović spoke about the upheavals that this work brought to the domestic
opera scene: it is an opera in which singing is out of tune; an opera based on a novel for which many have questioned whether it is a novel at all, because it is a work in verse; an opera in which there are no characters or linear narrative; an opera in which the ’musicians are pulled out of the hole’ and made visible – which alludes to the presence of musicians on the opera stage and their occasional participation in the dramatic, not only musical performance; and an opera in which there is no scenography. The question was often heard: is it really an opera? It is a piece that played with various operatic conventions. In this text, we write about decisions that were made by the members of the author’s team while showing relationships between various texts in the piece in the process of
creating the work. One of the stereotypes of conventional opera is a female singing figure who, guided by the inertia of the enthroned author, composer, man, dies on the stage or is annihilated on it in all kinds of ways. The opera Children questions this stereotype, showing that a different vision of opera is necessary and possible.

El número 35 de Perífrasis reúne ocho artículos. Si bien la mayoría de ellos son estudios sobre prosa narrativa, incluimos también artículos que se ocupan del campo poético latinoamericano y español de los últimos años, algo sobre ecdótica y un trabajo que se enmarca en los estudios sobre el campo cultural argentino de los años cincuenta.

This article explores the role of Italian women critics in literary studies, highlighting their marginalization despite early autotheoretical contributions by figures like Morante, Campo, and Ginzburg. Recent works by Pugno, Anedda, and Gallo use the metaphor of the map in autotheory to blend autobiography with theory, challenging the canon. These mappings continue a legacy aimed at addressing silences and offering relational perspectives on Italian literary traditions.

This article is an attempt at close reading an extensive ego text (Georgy Adamovich’s letters to Alexander Bacherac of the 1940s – 1972) as a thirty-year-long literary conversation of two Russian émigré writers. Regarding the letters as a single cultural text, and relying on the hermeneutic and semiotic approaches, the article singles out three major layers of the text in question, and analyzes the textual body “inwardly,” i.e. starting from the purely existential-informational upper layer, proceeding to the layer of literary criticism, and finally reaching the layer of literary quotations and cultural allusions used as one of the basic devices forming Adamovich’s epistolary style. Comparing the letters with Adamovich’s famous Literary Conversations (Literaturnye besedy) of the 1920s, the author argues that in his correspondence with Bacherach Adamovich followed the tradition of the Russian friendly literary-philosophical discourse borrowed from the West in the 1800s and developed i...

For more than a hundred years, cinema has played an important role in the relationship of the people with the cultural sphere. As a reflection of societies, cinema is also a platform where today's problems and social crises are revealed. Based on pieces of reality, movies show the modern world to people who are also a part of it. Semiotics stands in an important place in the context of deciphering the meaning created in motion pictures. In today's world, we are surrounded by signs, each of which contains a meaning. Semiotics deals with this universe of meanings that surround human beings. It examines how these meanings are formed and tries to analyze them. We analyzed The Bothersome Man, directed by Norwegian Jens Lien in 2006, which deals with the crisis of meaning in the oppressive environment of modern man and the alienating effect of the consumer society. The film was analyzed by semiotic analysis method. As a result of the study, it is seen that the film deciphers the artificial means of satisfaction imposed on people through a universe of signs and gives the message that spiritual satisfaction can only be achieved through the real establishment of human bonds.

Gerada automaticamente pelo módulo Catalog, mediante os dados fornecidos pelo(a) autor(a) _____________________________________________________________________________________ V1e VASCONCELOS, Carlos Roberto Nogueira de. Expatriados da infância ou Da viagem em busca do pai e do menino: Novas telemaquias nos romances Pedro Páramo, de Juan Rulfo, e O primeiro homem, de Albert Camus / Carlos Roberto Nogueira de Vasconcelos. -2020. 158 f.

VASCONCELOS, Carlos Roberto Nogueira de. Expatriados da Infância ou da Viagem em Busca do Pai e do Menino: novas telemaquias nos romances Pedro Paramo, de Juan Rulfo, e O primeiro homem, de Albert Camus. 2020. 160f. - Tese (Doutorado) - Universidade Federal do Ceara, Programa de Pos-Graduacao em Letras, Fortaleza (CE), 2020.

Pytanie o pożytek z zajmowania się literaturą należy -jak łatwo zauważyć -do najchętniej (trochę wstydliwie?) pomijanych, i to zwłaszcza przez tych, którzy studia literackie sami wybrali jako przedmiot edukacji, nauczania czy wreszcie profesjonalnego uprawiania. Mówię o studiach literackich, choć jestem oczywiście świadom, że w ramach ciągle obowiązującego u nas systemu edukacyjnego trudno jedynie nimi się zajmować -tyleż z powodów instytucjonalnych, co merytorycznych. Z tych pierwszych dlatego, że (jak wiadomo) można się im oddawać, wybierając studia filologiczne, gdzie splecione są z nauczaniem wiedzy o języku i (zwykle) o kulturze w obrębie szerzej czy bardziej kompleksowo zaprojektowanego modelu edukacyjnego. Z tych drugich, merytorycznych powodów, dlatego, że sama literatura jest zawsze czymś więcej, krótko mówiąc, niż "czystą" literaturą (tylko "fikcją", zabawą, grą); a zatem i jej nauczanie czy badanie obejmować musi przynajmniej część terytoriów należących do dyscyplin sąsiedzkich (w praktyce także przede wszystkim wiedzy o języku i kulturze, a nadto do innych nauk humanistycznych). W odróżnieniu jednak od językoznawstwa i kulturoznawstwa, których społeczna przydatność w powszechnej opinii raczej nie budzi wątpliwości, zdobywanie profesjonalnych kompetencji w zakresie wiedzy o literaturze wydaje się dla wielu nazbyt wąską, oderwaną od życia i jego potrzeb fachową specjalnością o niejasnym przeznaczeniu oraz iluzorycznej przydatności dla życia jednostek czy zbiorowości. W myśl tych popularnych, acz stereotypowych i niepozbawionych żartobliwego lekceważenia wobec "literatów" opinii, to, czemu się z takim zaangażowaniem oddają, to nie tyle program atrakcyjnego wykształcenia (przyciągającego perspektywami wysokiego społecznego statusu, jak też możliwościami intratnych zastosowań zdobytych sprawności i kompetencji), co raczej rodzaj profesjonalnej dystrakcji: odciągającej od spraw "naprawdę ważnych" trochę dziwacznej umysłowej rozrywki, która oddających się jej osobników znosi na marginesy społecznego życia, a bywa, że i nierzadko przemienia w komiczne figury roztargnionych dystraktów (jak dawniej mawiano), co to teksty z rzeczywistością, a żonę z kapeluszem