Traducerea povestirii ,,VIII ȘI MORȚII (PRINTRE MORȚI)" de Zinaida Hippius
Translation: Zinaida Hippius, „Vii și morții (printre morți)”, translation by Răzvan Tănase
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Translation: Zinaida Hippius, „Vii și morții (printre morți)”, translation by Răzvan Tănase
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Translation: Leonid Andreev, „Valia”, translation by Lorena-Giorgiana Heredea
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Analysing the issue of identity in relation to otherness, we focus our reflections on the characterological types representative of Panait Istrati's writing, in order to highlight the identity dimension of Istrati's work. It is obvious that the literary analysis of Istrate’s writing is not possible without identifying the particularities of the narrative chronotope and the network of symbols, recurring metaphors. In the bundle narratives, Panait Istrati places characters who are always travelling, their adventures being primarily initiatory. Friendship is often established between Istrati’s characters, whether outlaws or intellectuals, itinerant merchants or simply vagabonds, and this often extends to the brotherhood of the cross. The myth of friendship and the passion for freedom are just some of the phrases loaded with new symbolic meaning. The ordering criterion for analysing Istrate’s characters remains the classification made by the academic Eugen Simion in 2019, and the reference texts are illustrative of the Danube-Balkan Cycle (Chira Chiralina, Ciulinii Bărăganului) and the outlaws’ prose cycle (Domnița de la Snagov, Prezentarea haiducilor). With heroes thirsting for friendship, love, freedom and truth, the writer has succeeded in foraying the deepest horizons of the human being, illustrating one of its identity hypostases, the divinity in man.
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Neither an angel, nor a demon, neither Venus, nor Madonna, Miss Christina, the heroine of Mircea Eliade's novella, is an unusual female character, duplicitous, presented as an intriguing blend, on the border between vampiric and phantasmal: a vampire-phantom or a phantom-vampire? A being that feeds on blood, controlling and subduing others, Miss Christina is a character devoid of corporeality, to a certain extent. The embodiment, in the name of love, of the female character's weakness, will bring about a cascade of consequences.
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The article gives a multifaceted interpretation of the functions of a concentration camp fairy tale from the perspective of folklore studies (i.e. its socio-integrative, aesthetic, didactic/educational, compensatory/cathartic and trauma management functions) and literary studies (strategies of women’s writing about the Holocaust and the war, and the camp testimony). The author anal- yses the novel Wakacje nad Adriatykiem (1970) and an extended interview Królestwo za mgłą (2017) by Zofia Posmysz, an inmate of Auschwitz-Birkenau, Ravensbrück and Neustadt-Glewe, who stylised her camp memories as a traditional folk tale, thus commemorating the fairy tales told by her camp friend Zofia Jachimczak, who did not survive Auschwitz. The author comes to the conclusion that a concentration camp fairy tale seems to be a complete genre and a comprehensive structure of meaning that makes it possible to express the inexpressible.
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Short story by Alla Tatarenko: Čitanje grada: autobiografski zapisi o čudu književnosti
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A serie of short stories by Imre Wirth.
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In the novella The Old Man and the Bureaucrats…, Mircea Eliade reveals a hypothetical way of engaging in the fight against communism or any other totalitarian system. Teacher Fărîma manages to infiltrate the Secret Police machinery and attempts to use it in order to achieve a certain objective. This apolitical intellectual deliberately enters this new world to search for something specific. His endeavor, all the stories he narrates are organized in a certain way meant to reach the desired goal. The fact that the objective of his quest is not mentioned anywhere leads us to believe that this is an experiment. The narrative act turns him into a skilled manipulator; he always avoids recounting the events he is asked about. Observing that he manages to maintain the interest of the audience even without providing information, Fărîma feels that he can succeed in his experiment, that he can manipulate the public. Face to face with no. 1 and no. 3 of the Secret Police, Fărîma ceases to be a skilled manipulator and relates the dream that provides the key to the unfolding of events. At the end, we find the old Fărîma continuing his search, asking the daily question/password - what time is it? – waiting for the appropriate response. Although there is some possibility that Fărîma has continued his search on his own, the last part of the novella tilts the balance in favor of the hypothesis according to which Fărîma has at least the consent of the Secret Police, or he even operates on its behalf. And if at the same time Fărîma manages to pursue his personal interests, the result is the expected one, and his manipulation technique has paid off. Furthermore, if Fărîma succeeds in achieving his objective, he will continue to manipulate the institution he infiltrated using the most original techniques: imagination, intelligence and disguised innocence.
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Poetry by Nemanja Mitrović; "Pokop", "Apotekarka","Uvid", "Olakšanje","Smetnje","Poziv", "Cvet", "Jesen"; "Izlet", "Zbrka","Metež", "Čitulje", "Natpisi", "Groblje", "Sahrana","Roman"; "Spomenik","Devojčica"; "Izlazak", "Supružnik", "Ludost", "Ogledalo", "Zima", "Samoća", "Kraj".
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The fiction of Živko Čingo, Macedonian writer created in the spirit of magic realism, is based on the mythical and magical core generating myth about the Holy Land Paskvelia, which has been destroyed due to the frequent mistakes of its inhabitants and transformed into Pustelia (Wasteland). The structure of the fictional world in this novel is based on the connection between the traditional, patriarchal, religious, and the new socialist, communist atheistic world, on the mutual interaction of Chaos and Cosmos, of good and evil, ultimately leading to the "last times" and an apocalyptic end. Therefore, the goal of this paper is to determine, using the literary-historical, analytical, anthropological and comparative method, as well as the artistic means through which the narrative of cosmogony and apocalypse is achieved in Čingo's narrative prose.
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Marian Pankowski’s official literary output is already impressive, but only an examination of his large home archive shows how many literary plans or sketches were not implemented and, therefore, how extensive the writer’s artistic creation really was. His private collection includes, among others, large fragments of planned plays, interesting variants of short prose forms known from further official editions, as well as omitted chapters from the famous novel Here comes Matuga. Among other materials that are yet to be discovered, there are stories, sketches, reviews, reportss, but also epigrams, jokes, occasional poems, hundreds of letters, and finally a private-art diary written in the second half of the 1950s. This is still an unknown area, important for the history of Polish literature, which awaits further researchers.
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Small text by Adriana CÂRCU and multiple book reviews by Claudiu T. ARIEŞAN.
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Alexandru Vlad's prose is distinguished in today's Romanian literature by its expressive force, distinction and refinement, the writer also exhibiting, in novels, novellas and publicistic interventions, a very distinct style. A style of living and creation alike, a style that does not accept useless ornament, relying rather on sobriety, direct exposition, precise capture of the behaviour, speech and existential logic of problematic characters with symbolic imprint and dilemmatic identity.
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In this critical essay I have been trying to prove the relationship between Vasile Voiculescu’s fantastic novellas and short stories and Carl Gustav Jung’s theory or archetypes, focusing on Ioan Petru Culianu’s research in order to create a bridge between phychoanalisis and literature, filling the gap between theory and a a close reading analysis.
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