A czy to ja kalika, czy nie mom konika? (Nie)sprawność w świetle erotyku ludowego

Author(s): Stanisława Niebrzegowska-Bartmińska / Language(s): Polish Issue: 28/2019

Folk erotic poetry, as ‘a song of lovers not yet tied by the knot’, is a genre of text that relates the notion of love and the image of intimate body parts, the roles assigned to woman and to man, as well as social and moral norms in the traditional community. At the base of this genre lie such values as: happiness in love, physical contact, lovers’ openness to the love game, youth and beauty, success and favour, the light-heartedness of the lovers, fun and laughter, freedom, faithfulness and stability; marriage is a relative value, important for the girl, and wealth. Another value that is important in the light of folk erotic poetry, is an able body, sexual performance; the anti-value is a body that is diabled, sick, deprived of its functionality. Deficiency in the art of love, the man’s incompetence or inability to perform a sexual act is for the poetic lover a kind of disability that devalues and disqualifies him as a man and the partner of love act in the eyes of a woman awaiting sexual fulfillment. From the point of view of the heroine, it is justified to describe such a lover (love-cripple) as a disabled or even defunct person. The reason for this unambiguous and stigmatizing categorization is not only the inability to provide the girl (also a young wife by an old man) with erotic pleasure (kochanie ‘touching, moving’), but also to perform the love act which the folk culture understands as a participation in the creative action of the entire cosmos.

“The Jingle Man” and the Transcendental Issues

Author(s): Saša Simović / Language(s): English Issue: 26/2021

Edgar Allan Poe neither cherished nor appreciated the fundamental standing points of American Transcendentalism, never missing the opportunity to express his “disagreement” with the ideas discussed by some leading figures of this religious, literary and philosophical movement in antebellum America. He criticized their “obscurity for the sake of obscurity“, their being prone to vagueness and imprecission as well as the way they perceived the Universe, the Oneness, the Soul of the World and the Soul of the Individual. The aim of this paper is to highlight Poe’s perspective on Transcendentalism, both on the literary scene of the day and in some of his short stories.

Considerații lingvistice asupra Povestirilor lui Vasile Voiculescu (Linguistic Considerations on Vasile Voiculeascu’s Stories), Luminița Drugă

Author(s): Andreia Irina Suciu / Language(s): English,Romanian Issue: 26/2021

Два доктора: Осип Дымов и Шарль Бовари (Интертекстуальная структура рассказа Чехова «Попрыгунья»)

Author(s): Sergey A. Kibalnik / Language(s): Russian Issue: 3/2021

A. P. Chekhov’s short story The Fidget (1892) is an abridged hypertext of G. Flaubert’s novel Madame Bovary (1856). The article undertakes a detailed comparison of the characters who occupy a similar place in the narrative and figurative system of these two works: Osip Dymov and Charles Bovary. Both of them are doctors, but Chekhov’s character seems to realize the untapped potential that was laid down in the character penned by Flaubert. He is no longer a failed doctor, but a talented one, with all the qualities required to become an excellent medical scientist. Thus, Chekhov does not merely stand up for the medical community, which he is no stranger to. Thanks to this, the story of the Russian writer transforms into a polemical interpretation of the classic French novel. In Flaubert’s Emma’s imaginary search for the meaning of life, which explains her two adulteries in Madame Bovary, Chekhov seems rather inclined to see the selfishness and lack of responsibility that destroy her family and lead to her own death. It is not by chance that Dymov, rather than Olga Ivanovna dies as a result of her own similar behavior in Chekhov’s short story. At the same time, Chekhov’s text is also a polemical interpretation of Tolstoy’s Anna Karenina (1873–1877), which was created as an explicit hypertext of Flaubert’s novel. In the short story, Chekhov’s critical reinterpretation of these two works is clearly based on a kind of “folk” morality of the Ant from the canonical Krylov fable The Dragonfly and the Ant (1808), which is clearly referenced in the title and text of the story. The intertextual structure of Chekhov’s story is examined in the article primarily as a system of its pretexts, some of which relate to it in unison, and others-dissonantly. At the same time, the former are the object of polemical interpretation, while the latter are the subject of stylization and value orientation.

Estetska i didaktička funkcija proze u Veseloj svesci

Author(s): Belma Eminagić / Language(s): Bosnian,Croatian,Serbian Issue: 6/2022

The author of this paper uses the corpus of 4,834 prose works from Vesela sveska, published between 1960. and 1980. in order to research the esthetic and didactic function of the magazine in upbringing and education. The author determines that certain stories and notes were used for ideological indoctrination, which she attributes to the emancipatory elation by Vesela sveska in the creation of the socialist Yugoslav society.

Ема – това съм аз (Вазов и Флобер)

Author(s): Julian Zhiliev / Language(s): Bulgarian Issue: 1/2022

The article aims to answer a few questions related to the autobiographical and literary basis of Vazov’s short story Emma, its hidden correlation and opposition to Flaubert’s Emma from the novel Madame Bovary, as well as to trace some “bovarystic” plots in the prose of the antibovaryst Vazov.

Tadeusz Borowski şi Alsous Huxley despre universul concentraţionar

Author(s): Cristina-Liana Ivan / Language(s): Romanian Issue: 1/2009

Tadeusz Borowski succeeds in impressing his readers by the overflowing honesty of his writing style, by an amazingly simple and franc attitude towards the world, an attitude which he prefers rather than writing about a dramatic eulogy of labor camp’s victims. The comparison with Aldous Huxley seems to be pertinent only in an imagistic way. While one of them objectively described the horrors of Nazism, from his own life experience, the other one, being pressed and influenced by the 20st Century social changes, is figuring out a despotic world, dominated by absolute totalitarianism, where people were educated during their sleep and were easily determined to accept the following slogan: “changing is better than mending”. Facing Borowski’s short stories with Huxley’s novel A Brave New World, one might prove that no SF can keep for too long his imaginary status, since it is built out of the crude reality. Eventually, it becomes the reality itself. The Fascist regime was extremely closed to set out such a brand new society, where it would have exist only the small group of leaders (Subjects) and the huge mass of tools (The Hands).

Joseph Conrad’s Adventure with English

Author(s): Joanna Skolik / Language(s): English Issue: 1/2022

This article discusses Conrad’s Anglophone linguistic identity to show how writing became his “promised land” and fictional homeplace. This fictional retreat reflects his childhood experience, (connected with his Polish background), hopes, and fears, but it is likewise refracted through episodes of his later life. Conrad’s own articulation of his complex relation to English, England, and his own nationality, reveals his outlook on literature and language: “When speaking, writing or thinking in English the word Home always means for me the hospitable shores of Great Britain” (𝐶𝑜𝑙𝑙𝑒𝑐𝑡𝑒𝑑 𝐿𝑒𝑡𝑡𝑒𝑟𝑠 1:12) and “Both at sea and on land, my point of view is English, from which the conclusion should not be drawn that I have become an Englishman. That is not the case.𝐻𝑜𝑚𝑜 𝑑𝑢𝑝𝑙𝑒𝑥 has in my case more than one meaning” (Najder,𝐶𝑜𝑛𝑟𝑎𝑑‘𝑠 𝑃𝑜𝑙𝑖𝑠ℎ 𝐵𝑎𝑐𝑘𝑔𝑟𝑜𝑢𝑛𝑑 240).

Рецепциja бугарске приповетке код српских младих читалаца – ка интеркултуралном образовану

Author(s): Biljana Soleša / Language(s): English,Serbian Issue: 1/2019

This paper examines the reception at the Bulgarian stories Serbian high school students as well as their basic knowledge of the literature in the region. The paper is based on the attitudes mihi Bakhtin who stressed that the literature can provide a unique understanding of ourselves and the societies and cultures to which we belong, but also an insight into the lives of others and their cultures and societies. The modern concept of education implies the development and acquisition of student competences. One of them is intercultural competence, which implies the ability to recognize and use cultural differences as one of the learning resources. Literature teaching provides great opportunities for the enhancement of intercultural competence. The aim of this work is that in this particular case, by the results of empirical research point to the need to strengthen intercultural competence and active participation of teaching literature in the concept of intercultural education. The paper presents the results of the reception at the Bulgarian stories high school students. The reception of the literary text and its performance are the factors underlying the teaching of literature, which is based on the acceptance of student work and the effects which it produced thereby. The survey includes stories in the fields of Anton Strashimir, Baja-Ganjo at Irecek Aleko Konstantinov and narrative by wire jovko Jordan. The results of empirical studies confirm our initial hypothesis that the literature of the Balkan people our students virtually unknown. On the other hand, the survey confirms that the reception of the Bulgarian stories in a very satisfactory level, which means “horizon of expectations” is not an obstacle to enrich the content of teaching literature, literature of the Balkan peoples.

Символисти: авангардисти – книги: илюстрации

Author(s): Violeta Ruseva / Language(s): English,Bulgarian Issue: 2/2021

This article focuses on emblematic books written in the 1920s, taking as its immediate background the poetics of symbolism and avant-garde aesthetic strategies, along with the controversial, both umbilical and conflicting relationship between verbal account and illustration. In its close inspection of the dynamic historical development of critical reflection, it demonstrates how the book covers and illustrations of the first editions performed the function of a visual metalanguage and a critical reference to the verbal narrative.

Към „софийския роман“ на Иван Вазов

Author(s): Antonia Velkova-Gaydarzhieva / Language(s): English,Bulgarian Issue: 2/2021

One of the core themes in Vazov’s short stories offers an original chronicle, a picture of the city life and culture in Sofia, its character and mentality. The capital city motif in Vazov’s works was approached and analyzed forty years ago by Svetlozar Igov in his article “On the Sofia Novel of Ivan Vazov”, which in turn was rejected by the then literary circles. Taking this article into account, this paper reconstructs and interprets the complex relations and the literary clash between the most original modern Bulgarian literary historian Svetlozar Igov on the one hand, and the key poet and leader of the “April generation” Lyubomir Levchev on the other hand.

Наивистичните небивалици на Йордан Радичков

Author(s): Denitsa Astahova / Language(s): English,Bulgarian Issue: 2/2021

The article examines the connection between fine arts and literature, and compares the naivist style of the painting and poetics of Yordan Radichkov in order to explain the emergence of a new phenomenon in the artistic style of the writer and the Bulgarian fiction of the 1960s – the collection Svirepo Nastroenie (Fierce Mood). The analyzed examples from the writer’s stories reveal correspondences with typical features of naivist painting – emphasis on detail, naivist mixing of distant images, and unmasking fear by interweaving comic and grotesque elements in the plot picture.

Български автори от Таврия

Author(s): Elena Nalbantova / Language(s): English,Bulgarian Issue: 1/2021

The object of observation is the literature created in Bulgarian by representatives of our historical diaspora in Tavria. It is described as series of three episodes, the emergence of which became possible after changes in the political context. The considered creative manifestations are from the time of the Russian Empire, from the 30s of the XX century and from the most recent time. Specific observations on the prose, published between 1932 and 1940, are made for the first time thanks to my collaboration with the Bulgarian from Chisinau Elena Raceeva. Despite the indisputable manifestations of creative talent, for the most part Taurian Bulgarian literature is an illustration of circumstances, rather than of creative potential.

Чудакът: Между първата сълза и последната радост (наблюдения върху разказите на Б. Станкович и Й. Йовков)

Author(s): Marina Vladeva / Language(s): English,Bulgarian Issue: 1/2017

The purpose of the present paper is to expand the spaces for dialogue in two South Slavic literatures – Bulgarian and Serbian – by means of emphasising the typological similarities between two short stories – “First Tear” by Borisav Stankovic and “Last Joy” by Yordan Yovkov. The literary comparison between the two works can be made mainly in view of the characters’ system, and in particular – a comparison between the images of the eccentric, the social outcast – Stankovic’s Dimitar and Yovkov’s Liutskan. Despite that both characters have been created in different decades, the two texts outline the horizons of the difficult ascription of the other, of the differences in a social reality, which speaks the language of hatred, instead of the language of flowers. The two characters’ portraits and psychological characteristics, as well as the suffering as a form of their existential presence make their spiritual comparison most natural.

DEVELOPING INTEGRATED SKILLS AND LANGUAGE CONTENTS THROUGH JOSEPH CONRAD’S STORIES: YOUTH, TYPHOON, THE DUEL, THE WARRIOR’S SOUL

Author(s): Dimitrie Andrei Borcan / Language(s): English Issue: 28/2022

This study based on a class research and experiment states that all skills are and should be taught as integrated, alongside with integrated language contents and functions. Literature can and should be used as a resource for teaching integrated skills and language contents, for its formative use (both as a means of developing integrated skills, language contents and functions and as a cultural, intellectual moulding instrument). The study has used four stories by Joseph Conrad as resource texts: “Youth”, “Typhoon”, “The Duel”, “The Warrior’s Soul”. All the activities have been built up on the base of Conrad’s respective stories.

MACHINE TRANSLATION FOR LITERATURE. TRADUCTOLOGICAL APPROACH

Author(s): Alexandra Ilie / Language(s): English Issue: 28/2022

The quality of a literary text translation is influenced by several factors. Starting from reading and understanding the text, establishing a translation strategy(s) to the translation itself, the human translator pays special attention to each procedural stage. These stages preceding a literary text are organized in detail and contribute to the quality of the final result. In machine translation, pre- translation consists in interventions on source texts so that they can be "understood" by computer systems. At the orthographic level the conversion of uppercase to lowercase and / or the omission of punctuation might be performed, at the lexico-semantic level processes such as lemmatization or tokenization can be performed, and at the morpho-syntactic level the texts can be annotated and grammatical information can be added using syntactic and morphological analyzers. But the human translator does not decode the text only at the orthographic, lexico-semantic and morpho-syntactic levels. The stylistic level remains "coded" by automatic translation systems.

THE SUICIDE OF THE LITERARY WORK

Author(s): Amelia TUȚĂ / Language(s): Romanian Issue: 29/2022

For many writers, the road to suicide was a last resort, a road to no return, but considered a savior. According to Cioran, a written book can delay the suicidal gesture, for this reason, it is considered as a burning flame that lingers incessantly in the artist's consciousness, which he keeps alive. "It is often said that there is a fine line between genius and madness, or that geniuses are misunderstood. Most of the time we find at least a grain of truth in these statements. [...] they live in an eternal conflict not only with the public, which they hope to impress, but also with themselves -because the author is the fiercest (self) critic. ” Creation is life, and when it dies, the writer's life ends. The writing of works is the medicine that each author administers daily, under the strict guidance of the reading public, an audience that the doctor of his spirit considers. When a destabilization occurs in the writer's life, it automatically reflects on the creation, and often the support of the public and the knowledge of success are hit by the external fluctuations of the transformations that the artist goes through. Thus, the fluency and linear trajectory of literary writings are destabilizing, and the lack of this drug metamorphosed into creation leads to death, the death of the writer, the death of creation. As I explained above, Cioran's words, the burning flame, the book that lasts in the artist's consciousness, keeps him alive, by postponing death, but through creation it is consumed. Thus, we will analyze what is its path that leads to death. Throughout most of their lives, writers find nothing in the social environment that imposes an obstacle or a brake, and even if these things start to appear timid, they do not stop, but look for ways to revive and release, as is the case of Paul Celan and Gherasim Luca, who chose to go to France when they were unable to find a purpose in Romania.

LITERARY TEXT STYLISTICS: FROM TRADITION TO POSSIBLE WORLDS THEORY

Author(s): Liliana Danciu / Language(s): Romanian Issue: 31/2022

In this article, I made a chronological incursion into the main stylistic theories and research directions in the poetic-semantic analysis of literary texts, in the Romanian space, but especially in the European and Anglo-Saxon space after 1950. The purpose of this information is that to underline the evolution of stylistics'vision regarding the notion of beauty, always researched from a philosophical perspective. Tradition shows us that the first stylistics were philosophers of the idea of Beautiful, just as, nowadays, analysts of literary texts are experts in language sciences and linguistic philosophy.

STEREOTYPES ET MAXIMES : RESSEMBLANCES ET DISSEMBLANCES

Author(s): Mihaela Chapelan / Language(s): French Issue: 32/2023

The present article sets out to explore the issue of stereotypes from a literary perspective. Long before the notion was conceptualized, fiction capitalized on an abundant repertoire of stereotypes, thus proving that, despite the ethical dilemmas posed by it, the process of stereotyping can also be artistically fruitful and valuable. This goes against the commonly held assumption that stereotypes are merely encouraging intellectual laziness. Our research will be based on an analysis of the literary genre of the maxim. We will highlight the fundamental characteristics that allow us to draw analogies between this genre and stereotypes. Using a pragmatics approach, we will focus more particularly on the process of decontextualization, followed by a generalizing recontextualization, which appears to be at the core of both phenomena.

LA VISION DE UMBERTO ECO SUR LA TRADUCTION LITTERAIRE

Author(s): Monica Alina Toma / Language(s): French Issue: 33/2023

Our approach aims at reconstructing Umberto Eco’s view on translation starting from the premise that a translator is, first of all, a Model Reader who has the ability to interpret the text in a specific manner. A text may have several interpretations, in which case the reader has to deal with several possible worlds. Even if, by the use of textual strategies, a literary work tries to limit the range of acceptable interpretations, the Model Reader may only approximate the meanings of a text. That is why the translation of a book says “almost” the same thing as the book itself, because of the limits of any possible interpretation, but also because, by trying to convey the message of a text to another language, the translator has to face some inherent perils. The article is trying to find an answer to the question: what makes a good translation in Eco’s view?