Književni tekst kao univerzalna stvarnost
The review of: Adam Rajzl, Martin Tišljer, Alfa, Zagreb, 2018.
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The review of: Adam Rajzl, Martin Tišljer, Alfa, Zagreb, 2018.
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The review of: Željko Kocaj: Plovidba, Naklada Društva književnika Herceg-Bosne, Mostar, 2018
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The review of: Božena Volić: Kraljičin izbor Skaz o Jeleni Branković – Mari, posljednjoj bosanskoj kraljici
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The review of: Dragan Gligora: Rad snova i Jedini smisao vremena, Naklada Bošković, Split, 2018
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The text is a fragment from a novel written by Bedros Horasangian.
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Svi su joj halalili Moj brat Meza Glava na panju Visoki napon Gologuz Violina Horoz
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This article discusses the genre of the Wagnerian novel, one of these phenomena which are a testament to the wide and diverse reception of Richard Wagner’s work in the European culture. The composer was admired as a charismatic persona, the author of excellent works of musical drama and the creator of sophisticated aesthetic concepts. In novels such as The Triumph of death (Trionfo della morte) by Gabriele D’Annunzio, The Twilight of the Gods (Le crépuscule des dieux) by Élémir Bourges and Sing Gardens (Śpiewaj ogrody) by Paweł Huelle, the main foci of interest are plots of Wagner’s musical dramas and not their musical score. Even descriptions devoted to instrumental parts clearly indicate the tendency to treat them as narrative stories. Much more interesting than the sound of Wagner’s music seems to be (to the narrators and heroes of the Wagnerian fiction) an implied message that flows from musical dramas such as Tristan and Isolde, Valkyrie or the fictive The Pied Piper of Hamelin. For the recipients of Wagner’s works, these operas become an indication of their own conduct, usually directing them to self-destruction and death.
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Cet article se propose de mettre en évidence le rapport qui s’institue entre le texte romanesque et le texte filmique dans le cadre du processus de transposition sémiotique – dans notre cas, l’adaptation cinématographique du roman Le Guépard de Giuseppe Tomasi. L’étude comparative des deux types de texte/discours suppose un parcours d’investigation centré sur une grille d’analyse multiple. Ses coordonnées principales font ressortir – à partir d’aspects liés à la structure narrative, à la temporalité et à l’énonciation – les points de convergence et, surtout, de divergence des deux systèmes signifiants. L’hétérogénéité des deux langages, les caractéristiques propres à la matière signifiante, les modalités spécifiques d’élaboration et d’organisation, tout comme les « privilèges » sémantiques de l’un ou de l’autre devraient finir par éliminer le concept de « trahison » de la transposition cinématographique et par nuancer la relation entre deux entités signifiantes qui éclairent réciproquement leurs potentialités sur le fond d’une démarche intertextuelle, mais aussi intersystémique et intersémiotique.
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The review of: Stijepo Mijović Kočan, PRIČA S KRAJA SVIJETA, Matica hrvatska, Ogranak Konavle, 2018.
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The review of: -Medaljon – Prvi roman o škriparima, Ogranak Matice hrvatske u Čitluku, Čitluk, 2015.; -Posljednji, Ogranak Matice hrvatske u Čitluku i Ogranak Matice hrvatske u Vinkovcima, Čitluk – Vinkovci 2016.; -Od Franje do Franje, Ogranak Matice hrvatske u Čitluku i Ogranak Matice hrvatske u Vinkovcima, Čitluk – Vinkovci, 2017.
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Predstavljanje knjige Kud plovi ovaj brod, akademika Josipa Muselimovića./ Presentation of the book “Where Does this Ship Sail?” by Academician Josip Muselimovic.
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The paper will analyze language structures of the terms that may be classified into the group of BODY PARTS in four novels of Gothic prose, putting the word as the basis for the analysis of a literary text without considering its artistic value. The aim of the research is to establish the frequency of these terms, to determine their collocability, to single out the metaphors with the domains of the terms from this group and to prove the connections between the linguistic form and the ideological meaning of the corpus of texts specific for the Gothic period. The nouns Arms, Ears, Eyes, Face, Foot, Hand, Head, Heart, Lips and Blood, that will be analyzed, are at the same time the most frequent ones in these novels, and as such they impose themselves with the number and ideological meaning, and are as such one of the proofs of the characteristics of the language of the researched corpus. The corpus of the research includes the singled-out Gothic novels: Dracula (STOKER, BRAM); Dr Jekyll and Mr Hyde (STEVENSON, ROBERT LOUIS); Frankenstein (SHELLEY, MARY); Jane Eyre (BRONTË, CARLOTTE). The characteristics of the Gothic period are: fear, darkness, wrath, supernatural and death. The paper will try to prove that just the adjectives forming collocations with these nouns, such as the description of eyes or lips, are one of the ways to describe these conditions. The paper is based on earlier researches in the field of text analysis by the method of critical stylistic analysis that offers a set of analytical actions by means of which we can discover the ideologies hidden in the text. The metaphors will be analyzed at a semantic-cognitive level according to the theory of George Lakoff and Mark Johnson. The advantage of critical stylistics is the fact that the frequency of the use of a certain term and its collocations, and the conceptual metaphors created by nouns, with the use of connected tools, make possible the identification of characteristics and ideology of the literary corpus being researched.
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Works by Gertrud von le Fort belong with literary religious discourse and enter a debate between Roman Catholicism and Protestantism. The writer sets her plots in the past, most frequently in the Middle Ages, which enables her to offer a critical assessment of contemporary political, ethical and religious issues. The article presents various connections between literature and religion, in terms of both motifs and style. References to religion are found in the thematic, axiological and linguistic layers of her texts. The analysed works comprise the novellas Der Dom (The Cathedral) and Am Tor des Himmels (At the Heavenly Gate) as well as the novel Magdeburgische Hochzeit (The Magdeburg Wedding). These works also reflect the phenomenon of the so-called cultural Christianity. Le Fort’s characters are not indifferent to the religious system, even if they do not fully identify with it.
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The object of the article is the novel Himmelskörper written by Tanja Dückers, the representative of the third post-war generation. The discourse in the family communication and memory space, the relation to family members from the experience generation, as well as the trips in the home towns of the forefathers in the former eastern territories of Germany turn out as important fields of the search for the post-war generation’s identity. The question is asked how memories of the Second World War and the post-war period are constructed in the family context, how the representatives of the third generation deal with the family’s past. In addition, the role of the return to the home towns of the grandparents and parents for the descendants and whether these journeys lead to the constitution of the feeling of self is analysed.
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Svakome ko poznaje književnu scenu Srbije, kao i scenu u regionu, ime Milana Dobričića već duže nije nepoznato. Pre svega na književnoj sceni prisutan kao pesnik, u prozi prepoznatljiv po specifičnom korišćenju kratke forme, tek nedavno se predstavio i romanom: Dnevnik glavobolje, koji, na radost publike, najavljuje novu fazu u njegovom stvaralaštvu. Milan Dobričić jedan je od netipičnih autora, koji je već dve decenije prisutan na našim prostorima svojim vanserijskim književnim opusom, kao i raznim drugim načinima na koje književnost predstavlja i približava čitalačkoj publici. [...]
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Sam naslov knjige „Sabbathov teatar“ Philipa Rotha, dakle, pojmovi i „Sabbathov“ i „teatar“, kao da izravno prizivaju podzemne sile koje naviru iz ove proze, iz ovoga roma-na koji je čas roman, čas ispovijed, čas, mijenjajući lica, postaje osobna priča Mickeya Sabbatha, kompromitiranog i artritičnog seksualnog kompulzivca na kraju srednjih godina, čas se ogleda kao niz kratkih eseja o smrti, životu, židovstvu, amerikanstvu, gojima, o ženama, o vaginama, o seksualnim činovima, o njegovoj uživljenosti u ulogu luzera koji ipak ima nešto magično, mefistofelevski zavodljivo u sebi. Pobuđuje simpatiju za đavla, da se nadovežem na ovaj već toliko istrošen pojam, ili više američki, simpatiju za luzera, za životnog gubitnika koji to zapravo nije. [...]
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Kada ne bismo znali sanjati, ne bismo ni čeznuli, ni žudjeli, ne bismo tragali, ni stremili, ni napredovali. Stajali bismo u mjestu, bez želje da bilo što mijenjamo, da hodimo ususret novome, zadovoljni onim što smo postigli, čvrsto držeći ono što imamo. Ne bismo tada razmišljali o sutrašnjici koju bismo htjeli oblikovati prema svojim željama i potrebama, ne bismo znali za ushićenost zbog uspjeha, zbog ostvarenja snova, niti bismo znali za jad zbog razočaranja, zbog poraza i promašenosti naših nastojanja. Pitanje je: bismo li tada bili sretniji?! Američki književnik John Steinbeck, dobitnik Nobelove nagrade za književnost 1962. godine, u kratkome romanu naslovljenome O miševima i ljudima promišlja o ovome problemu. [...]
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U početna dva poglavlja svoje novele "Smrt u Veneciji", Thomas Mann, kao što samo on ume, portretiše glavni lik, slavnog pisca Gustava von Aschenbacha, pred njegovo putovanje u Veneciju. Već na prvim stranicama saznajemo da je von Aschenbach na pragu svog pedesetog rođendana, da je crnomanjast, sitan, suvonjav, s proređenom kosom na temenu i naočarima bez okvira... Filmskoj kameri je dovoljno nekoliko kadrova da popuni bogate duge rečenice, te su zato u filmskom scenariju (koji je zajedno s Nicolom Badaluccom osmislio Visconti), prve dve glave iz novele izostavljene. Film započinje pristizanjem parobroda "Esmeralda" kanalom sv. Marka i putnika koji se iskrcavaju na pristaništu, a na palubi je prikazan glumac Dirk Bogarde, vizuelno veran opisu Aschenbacha u noveli. [...]
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