JABLKA S KŘENEM MI NECHUTNALA
TILLICHOVÁ, Lenka (2012). Jablka s křenem. Praha: Junák – svaz skautů a skautek ČR.
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TILLICHOVÁ, Lenka (2012). Jablka s křenem. Praha: Junák – svaz skautů a skautek ČR.
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In his article Helmut Richter describes the life, search and ideas of Kafka. The existential and philosophical questions that troubled the young Kafka became a driving force in his work. The article also thematizes the attitude of Kafka's family towards his literary inclination – because of his desire to pursue literature, the young Kafka encountered disapproval from his family and in particular from his father, who hoped that his son would continue the family business and go into commerce.
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In the excerpt from the article “Franz Kafka” Helmut Richter presents some of Franz Kafka’s most famous works. By sketching the plot lines, the author of the article introduces to the readers the main points of the works. They are depicted in a way that shows the relationship between them through the common themes and motifs with which Kafka unites the works. The thematic connection is analyzed in a complex philosophical way, also touching on ideas related to politics and culture of Kafka’s time. The biographical elements in the article also contribute to understanding the conceptual-artistic integrity of his work and help to situate the works in a temporal aspect.
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Aldo Palazzeschi is one of the authors who, in the beginning of the 20th century in Italy, developed the literary current crepuscularism. In his lyrical works are observed the typical means of expression characteristic of the time and describing the aspiration of literature to stand “between the norm of the people and the norm of the people”.
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In Totalitarian and Liminal Societies in Zamyatin’s “We”, Jeanne Murray Walker draws on Arnold van Gennep's idea of liminality to examine human relations in Yevgeny Zamyatin’s novel “We”. According to Van Gennep, liminality is a state that is reached when a person has no social position because they are in the process of transitioning from one position to another. Such a state is dangerous for human society, but also inevitable as a person's status position and role change all the time. Zamyatin’s protagonist D-503 is forced to choose between the parody of liminality offered by the The United State and the real but illegal liminality of Mephi. But realistically, both options he can choose from are flawed, and he is left without any meaningful social exchange.
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This article is a comparative analysis of the translations of the Nikos Kazantzakis “Asketika” into Bulgarian, translated by Panos Stathogiannis in 1993 and retranslated by Dragomira Valcheva in 2017. Starting with two main axioms: that “the translation is in no way the same as the original” and that any translation is a special and different interpretive effort (Δημητρούλια, Κεντρωτής 2015: 14), we attempt an analysis, based on comparison of original and translated texts, as well as on comparison of different translation variants. Some important factors are taken into account, which determine the translation method when comparing and analyzing the translation variants: a) the specificity of “Asketika” as a type of text, b) the peculiarities of language and style of the Kazantzakis’ work. Some specific translation strategies and solutions are discussed in the article. The main aim of the analysis is to highlight some issues of translation from Greek to Bulgarian through the prism of translationology, and more specifically in the context of the theoretical discussion on the re-translation of literary texts
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In the following text I indicate the main translation techniques commented by associate professor Daria Karapetkova in her book “The boot in the bulgarian literary fashion”. Based on them I formulate the main ideas in the German-language literature in bulgarian translation, which have been practiced by many prominent translators in Bulgaria. A concrete example of this is Maria Staynova's successful translation of the work “The Dandelion” by Wolfgang Borchert. The very structure of the work suggests a variety of translation solutions and transformations, which contribute to the correct understanding of the author’s ideas. At the end of the text I summarize the types of competences necessary for a successful translator and draw conclusions about the essence of the research of assoc. prof. Karapetkova and of Borchert’s work “The Dandelion”.
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This article is focused on the Bulgarian reception of Kapka Kassabova’s book „To the lake“ and on the peculiarities related to the translation process from English into Bulgarian. Notwithstanding the fact that the author collects the material for her works in Bulgarian language, which is also her mother tongue, she writes in English and only partially contributes to the Bulgarian editions of her books. Such a peculiar translation process undermines the common assertion that translated texts need to be periodically updated, since the Bulgarian translation of „To the lake“ is in part the result of a self-translation.
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Immediately after the Liberation, the Bulgarian intelligentsia faced the urgent need to fill centuries-old gaps in the cultural development of our country. In this period, it was the Italian translated literature and the cultural exchange between the two countries that turned out to be the sought-after solution. Today, almost a century and a half later, Italy again plays a pivotal role in the cultural growth and the increasingly distinct affirmation of the Bulgarian literature in the world. This work presents such an example in Georgi Gospodinov, who recently received the prestigious Italian literary prize, the “Premio Strega Europeo”, for his novel “Time Shelter”. We focus on the challenges that the translators of the novel faced during their work and the different techniques they utilized to overcome them. Particular attention is given to the role of the translator in the success of a foreign language novel and how the public responds to it. The main focus is on the figure of Georgi Gospodinov – a writer as much loved as disliked in his homeland and yet one of the most recognizable representatives of our “small” and relatively unknown to the foreign reader literature.
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The text looks into the reception of George Orwell’s novel 1984 and the history of its publishing in Bulgaria. It gives reasons for its long absence from the Bulgarian literary scene and analyses the social and political reasons for its late publishing which are closely related with the place occupied by the antiutopic genre in Bulgaria. In addition, examples from different translations of the novel into Bulgarian are being examined and the text reflects upon the current relevance of any text and actualization of an old text as a translation method, as well as the right approaches for its successful application.
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This article contains an analysis of Virgil’s Eneida in which the mythical Rome’s origin and her ascent to extraordinary power is exposed. Eneia’s character shows what Romans truly are and why they were more successful than others in conquering foreign lands and the whole world. According to Virgil that was a realisation of Jupiter’s prophesy that Romans’ power will be without end and limits (imperium sine fine). And all their abilities, virtues and characteristic attributes were assembled in Roman identity. In this way Eneida represents Vergil’s understanding of Roman national character.
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The paper aims at describing the ongoing project of Romani child language documentation and creating a corpus of children’s narratives in Romani. The project is focused on the Gurbet variety of Romani spoken in Eastern Serbia. The data were collected in November 2017 and May 2018 in the town of Knjaževac and the nearby village of Minićevo. Twenty elementary-school children aged 7 to 14 participated in the study. The method of open-ended interview was applied in data collection with questions oriented towards autobiographical narratives and traditional culture. The material was audio and video recorded and stored in the Digital Archive of the Institute for Balkans Studies, Serbian Academy of Sciences and Arts in Belgrade. The paper is focused on the importance of creating a corpus of children’s narratives in Romani as one of the affirmative measures of language protection and maintenance. The project in question is presented in the context of (potential) language vulnerability of the Gurbet Romani in Eastern Serbia and discussed in relation to the intergenerational language transmission. Additionally, some of the linguistic topics relevant for the research of the collected material are presented.
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Review of: Andrei Dósa, Multă forță și un dram de gingășie, Polirom, București, 2021
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Biografia lui Franyo e tipică pentru scriitorul format în Imperiul Austro-Ungar. Născut la Marghitița, în Banatul iugoslav, el se află la intersecțiile unor importante culturi ale imperiului. Mama, Ludmila Mueller, îl familiarizează cu alte limbi și literaturi decât cea maghiară. Școala elementară și-o face la Ineu, gimnaziul la Arad și Timișoara, liceul militar la Sopron, bacalaureatul și-l dă la Seghedin (1904). Între 1904 și 1907 se află la Budapesta, cursant al Academiei Ludovica. Aici își intersectează drumurile cu Miroslav Krleza și Liviu Rebreanu. Oroarea față de haina militară K.u.K., vizibilă la Krleza, poate și la Rebreanu, primește accente noi la Franyó Zoltán . În 1907 devine sublocotenent, în 1910 demisionează din armată ca să devină membru al P.S.D. – membru al unei Internaționale socialiste.
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The text traces how the notion of Bulgarian Revival poetry and its textual corpus were formed and used in three different historical periods. It turns out that the field of Revival poetry is not statically given, but is evolving in the process of its later study and reception from the 1920s to the 1980s and on. Paradoxically, the further we have moved away from the Revival era, the more its poetry has grown - a deferred growth, literally and metaphorically. The Revival period itself leaves us no literary anthologies. A peculiarity that is structurally determined – the Revival literature is still at the stage of collecting, not selecting; it is in a phase of pre-canonicity and pre-anthologizing. Today, in our times of new media, new mobilizations, waves of nationalism and populism, the new active and quite narrow „anthology“ of the Revival poetry can be found on the Internet, in YouTube compilations of patriotic songs.
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Since the arising days of Islam, different remarks have been asserted on whether the Qurān includes words outside of the Arabic language or not. Within the scope of these remarks, the issue has been discussed centering the idea whether the Qurān has words borrowed from foreign languages or not. Additionally, although some words were originally Arabic, after the emergence of Islamic law terminology, whether the fact that these words gained new meanings -that Arabs were not aware of before- presents an impediment to the Arabic Character of the Qurān or not, has been discussed as another aspect of the issue. Shafi'i is one of the first and the most uncompromising defenders of the Arabic Character of the Qurān notion. The Qurān was revealed in Arabic because its addressees were Arabs. All languages encompass the culture and mindset of the people they belong to. From the view of Shafi'i, the Qurān having an Arabic essence carried a meaning beyond it is following the rules and patterns of Arabic language; it also meant the Qurān's harboring of the Arabic culture and mindset. Looking at the issue from the point of view of the addressees, the revelation that was revealed in their language needs to be as clear and as understandable for them as possible. Therefore, Shafi'i's al-bayān theory, which he based upon the regard of Arabic rules and patterns while he estimated decrees from the text, is closely related to the Qurān having an Arabic essence. In this article, Shafi'i's remarks on the issue are discussed by centering his work, al-Risāla.
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The critics of classical Arabic literature have attached particular importance to the description style in poetry or any literary genre. They considered the style of description, which they regarded as "painting with writing" in general, among the sine qua non of poetry. They even accepted that most of the poetry, except for a few, consisted of description. On the one hand, while the critics of Arabic literature dwell on the nature of the description, its importance, and the basic criteria to be sought in a successful description, on the other hand, the literati have brought the most beautiful examples of description to the Arabic literature by adapting the description to literary genres with all its colors and varieties. In this sense, they have made undeniable contributions to Arabic literature. While categorizing the depiction, they divided it into two as the transfer of the depicted element as it is and the transfer by adding artistic interpretation to it. In addition to all these, historians and critics of Arabic literature in the modern period have also brought some conceptual expansions to meet the types of depictions. For example, Ömer Ferruh, one of the well-known Arabic literature historians of the modern period, divided the depiction style into emotional (sensory) and imaginary depiction. He called the transfer of the described elements of the external world felt by the basic sense organs as they are without adding any additions or interpretations, emotional depiction, and the transfer of them by embellishing them with rhetoric such as simile and metaphor, imaginary depiction. According to this, while the starting point of the emotional (sensorial) description is only the perceived physical environment itself, the elements of the physical environment are also included in the imaginary description which the starting point of it is the memory and imagination of the human beings. Therefore, in the imaginary description, the imagination of the poet or the literary person who performs the depiction style plays a leading role.
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Classical Arabic poetry, which constitutes an important aspect of Islamic Civilization, has a critical function in understanding Islamic texts, especially the Qur'an and hadith. In this context, the poetry of Jahiliyyah, which is the source of the Qur'an's style and its expressive power (expression/utterance), is important in terms of having the mentioned function. The work, which was introduced, fills a significant gap in the field by referring to the indicated function of the poem of Jahiliyyah in a theoretical and practical sense. The work analyzes selected eulogies from the poems of important poets of the Jahiliyyah period in a deep way, taking into account the morphological and syntactic functions of the language. The work, which refers to the elements that should be considered in the analysis of poetry through the texts, draws attention with its didactic and dialectical style, on which the taste for language is based.
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