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Copyright of Turkbilig/Turkoloji Arastirmalari Dergisi is the property of Turkbilig/Turkoloji Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The question of identity and the strongly connected question to whom one owes solidarity have been decisive for assimilated Jewish intelligentsia since the 19th century, provoking numerous attempts of response. This article, after a theoretical introduction, focuses on the intensification of these questions in interwar Transylvania, by creating a dialogue between autobiographical and belletristic responses and the Transylvanian Jewish press of the period. [ABSTRACT FROM AUTHOR]

Copyright of Turkbilig/Turkoloji Arastirmalari Dergisi is the property of Turkbilig/Turkoloji Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Concentric: Studies in Linguistics is the property of National Taiwan Normal University, Department of English and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Seventeenth -- Century French Studies is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article, Derek Walcott's play The Sea at Dauphin (1954) and John Millington Synge's Riders to the Sea (1903) are discussed in order to address the problem of comparing modernisms that are seen as 'heterogenous' insofar as they exist on the peripheries of traditional transatlantic modernism. Most readings of Walcott's play have assumed that it should be read in terms of a 'comparison' to Synge's Riders to the Sea, the play that it most resembles and which Walcott has claimed as his source. Natalie Melas's theory of 'dissimulation' makes us reconsider the principles of such inter-peripheral comparisons, making it possible to consider cross-cultural readings within the colonial peripheries not in terms of identity but rather as processes of recognition and misrecognition. It is suggested that Walcott's 'dissimilation' of Synge's play is rooted in his transformation of Synge's modernist practice from an (Irish) nationalist to a (Caribbean) federationist aesthetics. [ABSTRACT FROM AUTHOR]

Nowadays the status and significance of the ontology of literature/art is coming to disappear in both practice and theory, with all the relevant basic dimensions being gradually marginalized even cancelled thoroughly. The current situation may be attributed mainly to the "dissimilation" of the literary/artistic language form of representation from the literature/art itself. The problem is actually due to the two facts. One is that the difference between the literary/artistic languages is overemphasized insomuch as it has been unable to distinguish. The other one is that the literary/artistic language deviates gradually from the normal track when it collides with the context it is in. John Carey and Arthur C. Danto, the two representative figures in the fields of contemporary esthetics and artistic philosophy, have offered some viewpoints and theories relevant to the problem in their works. According to their arguments, what shall be done first to solve the problem is to emphasize that the literature/art is necessary to be associated with life to enable the literature/art to go back to life as its source, thus restructuring itself and getting rid of the governance and fetter due to the ideological trends resulting from philosophical/theoretical studies. This is inevitably the only way the literature/art will transcend today and go to tomorrow. [ABSTRACT FROM AUTHOR]