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明治・大正時代の英文学者及び作家である夏目漱石とその門弟たちが織り成していた共同体(=「木曜会」)における師弟関係のあり方について社会学的観点から分析する。日本文壇内部における共同体の性質が1905年前後を境に硯友社的なギルドから大学教育を受けた人間による知的サロンへとその形態を変化させる中において誕生した文学サロンの一つである「木曜会」は、実質的には1903年-1916年まで機能したが、そこに集まった漱石門弟はそれぞれの世代ごとに異なる特徴を持っている。「木曜会」における師弟関係の構造と変容を分析することによって、アカデミズムと結びつく形で社会的権威を獲得していくに際して漱石とその門弟たちが果たした役割と、後に大正文壇の中心を担った芥川龍之介らの作家たちの文学的野心の起源について明らかにする。, This study analyzes the mentoring relationship between Sōseki Natsume, a novelist and a scholar of English literature in the Meiji and Taishō Period, and his pupils from a sociological viewpoint. The nature of the community within the Japanese literary world changed its form from a guild-like form to an intelligent salon with university education around 1905. Although "Mokuyoukai", , " an intellectual salon by Soseki and his pupils, lasted from 1903 to 1916, members of "Mokuyoukai" had different characteristics for each generation. This study analyzes the structure and transformation of the mentoring relationship in ""Mokuyoukai", , " and clarifies the role played by Soseki and his pupils in acquiring the social authority of the literary world in connection with academia, as well as clarifying the origin of the literary ambitions of authors, such as Ryūnosuke Akutagawa, who played a central role in the literary world in the Taishō period.

Thèse dirigée en co-tutelle, sous la direction d'Antoine Lilti (GEHM) et Florin Turcanu (Université de Bucarest), devant un jury composé de Pierre-Yves Beaurepaire (Université de Nice Sophia Antipolis), Rodica Lascu-Pop (Université Babes-Bolyai, Cluj), Simona-Mihaela Modreanu (Université Alexandru Ioan Cuza, Iasi) et Odile Richard-Pauchet (Université de Limoges). Résumé : Parfaitement accessibles, bien connues par les spécialistes et familières à une partie du grand public, les lettres du phi...

This study analyzes the mentoring relationship between Sōseki Natsume, a novelist and a scholar of English literature in the Meiji and Taishō Period, and his pupils from a sociological viewpoint. The nature of the community within the Japanese literary world changed its form from a guild-like form to an intelligent salon with university education around 1905. Although "Mokuyoukai", , " an intellectual salon by Soseki and his pupils, lasted from 1903 to 1916, members of "Mokuyoukai" had different characteristics for each generation. This study analyzes the structure and transformation of the mentoring relationship in ""Mokuyoukai", , " and clarifies the role played by Soseki and his pupils in acquiring the social authority of the literary world in connection with academia, as well as clarifying the origin of the literary ambitions of authors, such as Ryūnosuke Akutagawa, who played a central role in the literary world in the Taishō period.

Resumo Levando a cabo uma releitura do artigo de Machado de Assis "Notícia da atual literatura brasileira. Instinto de nacionalidade" engajada nas noções de literatura nacional e mundo literário, discutiremos os respectivos regimes de funcionamento e determinações mútuas desses conceitos na óptica e no contexto histórico do autor. Veremos que na sua percepção do mundo literário do seu tempo estão incluídas as dificuldades ligadas à posição (periférica) da literatura brasileira e às questões específicas que tem para resolver nesse espaço, nomeadamente a necessidade de afirmação nele de um laço constitutivo entre a sua língua (em rigor, certos linguajares específicos da língua) e um capital literário de determinada região geográfica que ainda é pobre e carece de corporização. Abstract After carrying out a rereading of Machado de Assis’s article "News from Current Brazilian Literature. Instinct of Nationality", which engaged in the notions of a national literature and literary world, we will discuss the respective regimes of functioning and mutual determinations of these concepts according to the point of view and historical context of the author. We will notice that the difficulties related to the (peripheral) position of Brazilian literature and the specific questions the author has to solve in that space are included in his perception of the literary world of his time, namely his necessity of claiming a constitutive bond between his language (more precisely, certain specific manners of speaking about the language) and a literary capital of a given geographical region which is still impoverished and requires embodiment.

У овом је монографском раду за предмет истраживања узета је фикцијска проза Драгослава Михаиловића, једног од најзначајнијих српских писаца у другој половини двадесетог века. Његов књижевно-уметнички, фикцијски опус, чине пет књига приповедака и шест романа. Уводни део рада је посвећен одређивању књижевно-историјског контекста у коме се дело овог писца појавило, као и одређивању књижевно-теоријског, интерпретативног оквира у коме је оно анализирано. У првом делу, по хронолошком реду излажења аналитички је описивана свака појединачна приповедна књига и сваки поједниначни приповедни текст у њој, док се у другом делу приступило сродном опису сваког појединачног романа, на тај начин што су у њему целински сагледаване тематско-мотивске, садржинске и морфолошке особине које чине његов аутономни књижевни свет, као и стваралачки поступци (средства и начини) који су коришћени у његовом уметничком изграђивању. Тумачене су и, у развојном следу, описиване тематика и поетика књижевног дела овог писца. У завршном делу је Михаиловићева књижевност сагледана кроз пет тематско-проблемских аспеката. У средиште анализе доведени су и кроз хуманистичким знањима проширену интерпретативну оптику разматрани: статус приповедача, стваралачки однос према историји, антропологија зла, (ауто)поетички искази и критичко-научна рецепција књижевног дела овог писца, са уверењем о нарочитој снази његове животне уверљивости и уметничко-сазнајне вредности. In this monographic study the subject taken for the research is the fictional prose of Dragoslav Mihailović, one of the most important Serbian writers in the second half of the 20th century. His literary and art (fictional) opus consists of five books of narratives and six novels. The introductory part is devoted to determining the literary-historical context in which the work of this writer emerged, as well as determining the literary-theoretical and interpretive framework in which it was analyzed. In the first part, following the chronological order of publication, every single narrative book and every single narrative text in it is analytically described; while the second part is devoted to the related description of each individual novel with in-depth analysis of the thematic and motivic, content-based and morphological features of his autonomous literary world, likewise the creative processes (means and modes) used in his artistic construction. The themes and poetics of the literary work of this writer are also described in the developmental order. In the final part, Mihailovic's literature is examined through five thematic and problematic aspects. Brought to the center of the analysis: status of narrator, creative attitude towards history, anthropology of evil, (auto)poetic statements and critical and scientific reception of the literary work of this writer are examined through by the humanistic knowledge expanded interpretive optics, with the belief of the particular strength of his life credibility and artistic and cognitive value.

The image of Russia in Joseph Conrad’s literary works has been discussed in both Russian and Western literary studies. The correlation between the image of Russia and the writer’s aesthetic position, the relations between the Russian and Western worlds, the Russian national character and the place of Russia in human civilisation are reflected in Conrad’s famous novels The Secret Agent and Under Western Eyes: however, The Warrior’s Soul and The Heart of Darkness have not been studied so closely from this point of view. Using the methods of imagology and receptive aesthetics, the author argues that the image of Russia in Conrad’s literary world is a complicated phenomenon, with features of social and political aggression and tendencies to self-destruction caused by an oppressive political system. The retaliatory open social aggression, its organised forms, its impulsiveness, and cruelty make such traits of the Russian national character as passion, cynicism, love for abstract ideas, and lack of principles come to the fore. Other features typical of Conrad’s Russian characters are intrinsically connected with the boundless territories of Russia. They are indefinite in everything: empathy, sensibility, and irresponsibility. The quality of “openness” in the Russian space and character gives Conrad’s Russia an open, unknown, non-oppressive future. Conrad depicts Russia as part of contemporary European, or universal, civilisation, which is, at its core, aggressive and dark. Life penetrates Conrad’s Russia, as well as his European world, through individuals who, under any circumstances, choose humanity, compassion, and self-sacrifice., Вопрос о специфике образа России в художественном творчестве Джозефа Конрада неоднократно обсуждался как в отечественном, так и в западном литературоведении. При этом открытыми остаются вопросы связи образа России с эстетической позицией писателя, взаимоотношений русского и западного мира, русского национального характера, места России в человеческой цивилизации. В статье с использованием методологии компаративистики и имагологии, а также идей рецептивной эстетики они рассматриваются на материале как известных романов The Secret Agent («Секретный агент») и Under Western Eyes («На взгляд Запада»), так и менее изученных с этой точки зрения произведений – The Warrior’s Soul («Душа воина») и The Heart of Darkness («Сердце тьмы»). Показано, что основу конрадовского художественного образа России составляют черты социально-политической агрессии и тенденции к разрушению, вызванной деспотической политической системой. Ответная открытая социальная агрессия, ее организованные формы, импульсивность и жестокость предстают связанными с глубинными чертами национального русского характера: страстностью, цинизмом, любовью к абстрактным идеям, отсутствием четких принципов. Безграничные пространства России определяют другой ряд черт русских героев Конрада: неопределенность во всем, эмоциональную отзывчивость, восприимчивость, безответственность. За этим рядом просматривается открытость – особое качество русского пространства и русского характера. Именно она дает конрадовской России неведомое, но новое, не связанное с агрессией будущее. В то же время Россия в художественном мире Конрада предстает частью современной европейской или общечеловеческой цивилизации, в сердце которой бьются тьма и агрессия. Свет жизни проникает в конрадовскую Россию, как и в европейский мир, через отдельных людей, которые при любых обстоятельствах выбирают человечность, сочувствие и самопожертвование.

In this article, the literary evaluations in Abdülhak Hâmid Tarhan's letters are dwellt on. Letters are of crucial importance for Abdülhak Hâmid Tarhan who stayed ab road for a long time. As a man of literature, Hâmid continued to exist withthese letters. While following the literary life of his period, he shared his views with his friends in the forms of letters. That is why the evaluation of the material given in his letters may well provide us with new information.

El artículo primero esboza una reseña del "ciclo de cuentos" como género narrativo: cada relato es independiente y al mismo tiempo se relaciona con el resto para crear un mundo literario más complejo. En "Obabakoak", de Bernardo Atxaga, se plantea esta consigna como desafío: el lector debe –al igual que los personajes– interrelacionar los fragmentos para descubrir un significado misterioso, oculto tras un mundo de apariencias. The article first sketches an outline of the “cycle of stories” as a narrative genre: each account is independent and at the same time related with the rest in order to create a more complete literary world. In "Obabakoak", by Bernardo Atxaga, this order is considered a challenge: the reader should—equal to the characters—interrelate the fragments in order to discover a mysterious, occult universe through a world of appearances.