Юбилеят на Татяна В. Цивян и XIV Балканистични четения в Института по славянознание към Руската академия на науките
Anniversary; Scientific Life; Scholarly Conference
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Anniversary; Scientific Life; Scholarly Conference
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While in Albanian public opinion, the case of Dritëro Agolli is randomly recognized as the profile of an official writer, the collection of stories “Zhurma e erërave të dikurshme” is a proof or testimony that his engagement in politics and literature, creates a rather complex relationship. Taking into consideration Agolli’s profile, on the one hand as a homo politicus, his engagement in Albanian political and social life during the years of communist dictatorship, and on the other one, his profile as a homopoeticus, in which we meet the correct application of dogma and principles of socialist realism and in other cases, in a part of his work, we find him as a conscious deviant of this platform. The profile of Dritëro Agolli presents curiosity from this viewpoint. The collection of stories “Zhurma e erërave të dikurshme”, a new literary performance for its time of writing, was published in 1964, but its publication was immediately banned. But what could have happened with reader’s approach of this collection at the time of its first publishing? How should this collection be read today? In our viewpoint, this collection should be read with a more objective and critical approach, far from the prejudices or different labeling attributed to Dritëro Agolli during these years of democracy, thus avoiding the traps and intrigues of the past, from which it is better to learn rather than deny and forget.
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Migene - one of the most prominent representatives of the Albanian literature of the 1930s. He is one of those writers who aspire to a clear-cut vision. And this reflects on his work, in which over years there has been an obvious increase in critical elements. Migene's humanism is a major feature of his work, almost always combined with elements of criticality. In him, criticism is imposed as a style of writing. The writer uses it as a springboard for generalizations of satiric-philosophical character that usually appear at the end of the work
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Review of: Beqir Meta, Afrim Krasniqi, Hasan Bello, Indoktrinimi komunist përmes kulturës, letërsisë dhe artit 1945-1968, (Dokumente arkivore), Vëllimi I, QSAKAS, Tiranë, 2018, f. 395
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Arian Leka: UVODNA REČ; Ylljet Aliçka: Naporni pokušaji ulaska bezpozivnice na mondenski prijem; Lindita Arapi: Tirana bez prijatelja, S malog prozora moje kuće; Ardian-Christian Kyçyku: L.O.L; Sabina Veizaj: Polubol, Majke; Marikljena Ničo: Izvan krajolika, Ona mi govori o letenju
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MIXER, Aleksandar Novaković: Sukobi identiteta u srpskom filmu (1992-2016), odlomak; CEMENT, Đorđe Krajišnik: Priča koja nije počela, a kad će, ne znamo; ŠTRAFTA, Dejan Vasić: Potrošeni socijalizam; VREME SMRTI I RAZONODE, Arben Idrizi: 35.; BLOK BR. V, Studiostrip: Miki Maus
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MIXER, Milan Miljković: Ima li Albanaca u ovom razredu?; CEMENT, Saša Ćirić: Adio Pula, vraćam ti se ja; ARMATURA, Esilda Luku: Albansko-jugoslovenski odnosi u albanskim udžbenicima; VREME SMRTI I RAZONODE, Siniša Tucić: Zajedničko kuvalo, Vojo Šindolić: Pjesma za moj 60-ti rođendan; BLOK BR. V, Diskoteka 3D: Suza moja nema roditelja
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Albanian poetry of Oriental tradition which began to emerge during the Ottoman period, that continued throughout the twentieth century, was structured within the schematization and poetic formulations of the Turkish tradition. The Albanian poets of the period originally succeeded to create in Turkish, Persian and Arabic languages, where subsequently introduced this tradition to their Albanian creativity. Communist ideological studies had ignored, even deliberately overlooked, judging as the poetry and culture of the national enemy. But our research argues that this type of literature had an enormous influence in the culture and particularly in the national Albanian literature. Thus, the Albanian poetry, created within Ottoman poetical and aesthetic-philosophical systems, has left deep traces in Albanian mentality and culture and has occupied an important place in the structuring of the Albanian mentality. Our paper argues that this poetry tradition reflects the ontological and epistemological condition of the Albanian people for many centuries, which has also penetrated deeply into the subjugation of Albanians. The paper additionally assesses the traces that Turkish classical poetry has left in Albanian folk culture and folk literature.
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The aim of this article is to analyze the process of evaluation of Albanian literature in literary periodicals (print or online). The research aims to explain the nature of criticism of Albanian literature in accordance with three main periods of Albanian literary history (1920–1944; 1945–1990; 1991–present). The paper has a short chronological presentation of the main periodicals which deal with literature. It also deals with the reception of Albanian literature in old and new periodicals. Some of the most important research questions of this paper are: Is there a continuation in the critical approaches to Albanian literature from the beginning to the present? Do critics have a ‘critical’ interaction between them while they express their evaluation regarding literature? Who are the critics? Which is the core role of certain critics and periodicals? The methodology used in this paper embraces a historical, analytical, statistical and interpretative approach. The paper will be developed in two parallel sections. The first one will elaborate quantitatively official data related to the number of periodicals which deal with the evaluation of literature in its theoretical and critical aspects and the other section will describe, analyze and interpret the data. The research results tend to prove that the process of critical evaluation of Albanian literature has experienced similar characteristics with Albanian literature itself. The critical reflection or criticism has turned out to be a refracting process. The critical evaluations are marred occasionally by low levels of professionalism or political interference.
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An anthology of Albanian poetry, prose and essays of four decades of post-WW II history, published in 1991 by »Jeta ë Re« (New Life), Prishtina
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This article contributes to the hot debate on language preferences and choice at schools and society at large in Morocco from an empirical perspective. It investigates the Moroccan students’ attitudes towards the languages they use in their daily interactions and those that are widely used in the Moroccan education system and attempts to explain whether these attitudes are driven by intrinsic forces or by the language policy orientations set by decision makers. To do so, 1,477 respondents belonging to different school levels and disciplines completed a survey about their frequency of use and mastery of languages, as well as their preferences of language use in the future. Findings show that Moroccan students have positive attitudes towards all languages and would like to use foreign languages for instrumental purposes. They also show that such positive attitudes do not depend on the level of mastery of these languages, nor on their use as mediums of instruction or communication. The findings imply that attitudes towards languages in Morocco are rooted in factors beyond the official policy orientations.
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1. La conference nationale sur la formation du peuple albanais, de sa langue et de sa culture; 2. Acquisitions de la science albanaise; 3. Symposium sur l’epopee heroique legendaire; 4. Preparatifs pour le festival folklorique national; 5. Reunion commemorative sur le centenaire de la naissance du prof. Dr. Maximilien lambertz; 6. Preparation du corps des agglomerations et des habitations populaires albanaises; 7. Travaux du laboratoire chimique de l’ICP; 8. Activites des departements de l’institut de culture populaire; 9. Sessions scientifiques dans les districts.
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In our article we will explore the Besa’s role in establishing the relationship between two worlds: the Immanent and the Transcendent world of human beings. In the resurrection ballad ‘Lula e shtatë vllazënve’ (Flower of the seven brothers), the Besa appears as an indispensable ethical and anthropological instrument, a tool that creates harmony between body and soul. Within the community (tribe, family), it also sets the social order, while in a cosmic context, it creates the balance between the order of the human world and that of other world. The Besa in the Albanian ballad of resurrection is a moral category that derives not from the viewpoint of utilitarian ethics, but from the worldview of monistic-pantheistic ethics, which are strictly deterministic. Through the discipline of philosophical anthropology, we will discuss the Besa in the Albanian resurrection ballad in the context of the pantheist viewpoint and ethical views of Spinoza from his work “Ethics”. We will also ground our study on the philosophical concept of pantheism, as espoused by author Michael P. Levine.
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In this treatment are examined the parallels between Romania’s most famous ballad, “Miorita”, and a common Albanian ballad with versions from both south and north. Communication through sound saves the Albanian shepherd, while Romanian shepherd requires the sound of his flute to persist even after his death. Referring to the similarities and differences, as well as previous interpretations of the respective ballads, this paper aims to shed light on the parallel worlds of the shepherds and their communications and perception of the world. The Romanian ballad, “Miorita”, is about two shepherds who come down from the mountains and make plans to kill their friend and to take his flock of sheep. One of the sheep, Miorita, which has a human attribute (she can speak), tells the shepherd how his friends are acting against him. The Albanian folk ballad, “Tanë, moj e zeza, Tanë” (“Tana, oh poor Tana”), shows similarities with “Miorita” in several elements: Tana’s boyfriend, who is bound by thieves, seeks to free his hands and play his flute. Through the sounds he will reveal what happened. Also another similar song is “Kajka e çobaneshës” (“The Song of Shepherdess”), recorded in Karaçevë e Epërme, Kosovo. Characters in the two songs are similar, and the scene is similar. In the Albanian song the shepherd resists and uses any possible means to counter the kidnapping. The Romanian shepherd accepts the warning of his death. The Albanian shepherd, however, does not accept death and uses the flute to sound a warning and to save himself. The coded language of sound saves the life of shepherd. We will consider the only published Albanian version, the work of Qemal Haxhihasani, while there are many published versions of the Romanian ballad. Referring to comparative studies of ballads by Ardian Fochi, Ion Taloş, Mircea Elliade, Nicolae Babuts, and Eqrem Çabej, we will try to build a theoretical framework for this paper.
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Ideja o pisanju knjige i pokretanju projekta o srpsko-albanskim odnosima javila se, kako to na Balkanu često biva, u kafani (koja je, doduše, u neposrednoj blizini Narodne biblioteke Srbije). Pošto su se u Betonu pojavili tekstovi Milana Miljkovića o predstavljanju Albanaca u srpskoj štampi i Aleksandra Pavlovića o figuri Turčina kao neprijatelja, Milan je uz čašicu predložio da se inicira projekat koji bi okupio srpske i albanske intelektualce, teoretičare i teoretičarke u oblasti društvenih nauka koji bi zajedno obrađivali srpsko-albanske odnose. Verovatno je najčešći način borbe protiv politika neprijateljstva začudna i retka politika prijateljstva. Tako je bilo i u slučaju Aleksandra Pavlovića i Rigelsa Halilija, koji su zbog sličnosti u naučnim temama i interesovanjima najpre uspostavili „naučno pobratimstvo“, a ubrzo došli i do nekolicine drugih srpskih i albanskih kolega zainteresovanih da učestvuju u ovom projektu. Da sve ne ostane na kafanskoj priči (što na Balkanu takođe često biva) zasluga je i urednikā Betona, prevashodno Saše Ćirića, koji je kumovao projektu i knjizi predloživši njen naziv Figura neprijatelja: preosmišljavanje srpsko-albanskih odnosa, a obezbedio je i pomoć prevodilačke mreže Traduki koja je odmah prihvatila da sufinansira prevođenje tekstova sa srpskog na albanski jezik i obrnuto. Usledilo je nekoliko neuspelih inicijativa sa domaćim institucijama – naši prijatelji iz albanskog Ministarstva kulture rekli su nam da misle da za ovako nešto još nije vreme, a na konkursu srpskog Ministarstva kulture uprkos obimnoj dokumentaciji koju smo poslali u traženih 7 (i slovima sedam) primeraka (!), projekat na godišnjem konkursu nije dobio ni dinara. Za razliku od rečenih institucija, kolege iz Instituta za filozofiju i društvenu teoriju, pogotovo sadašnje koordinatorke projekta i kourednice ove knjige Gazela Pudar Draško i Adriana Zaharijević, uz mentorstvo Petra Bojanića, založile su se za projekat i značajno ojačale prvobitnu aplikaciju, koja je zatim podržana u okviru švajcarskog Programa za promociju istraživanja na zapadnom Balkanu koji finansira Švajcarska agencija za razvoj i saradnju, na čemu im dugujemo veliku zahvalnost. Pored IFDT-a i KPZ Beton, saradnici na projektu su i „Ćendra multimedija“ („Quendra Multimedia“) iz Prištine, koja je 2011. godine zajedno sa KPZ Beton objavila antologije Iz Prištine, s ljubavlju (o savremenoj kosovskoj literaturi na albanskom jeziku) i Iz Beograda, s ljubavlju (o savremenoj prozi mlađih autora u Srbiji), i „Poeteka“ iz Tirane, ugledni izdavački i kulturni centar koji kontinuirano objavljuje prevode savremene i ranije srpske književnosti na albanski jezik.
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Gjergj Fishta was a Franciscan friar, teacher, writer, translator, playwright, poet, chairman of the Commission for drafting the Albanian alphabet in the Congress of Manastir, member of Albanian delegation to the Paris Peace Conference on 1919, diplomat and envoy in the Balkan Conferences during the years ‘1930, etc. Given the great poetic, cultural and political baggage of Fishta, whose works had been banned by communist dictatorship during 1945-1990 in Albania, this article aims to elaborate the role of archival data as evidence of cultural and historical heritage in relation to the content and management of Gjergj Fishta’s archival fond. By other words, the primary sources (manuscripts) deriving from his diplomatic activities, insights into world literature and literary translation, features of oral and aesthetic literature and aspects of musicology - are just some of many elements of the fond - and these elements will be elaborated from the perspective of their role in Albanian opinion and their impact on Albanian culture and history. A special treatment will be given to the comparison of archive fond management during the communist period and the period after it, as well as the perspective of preserving and making available these materials to the Albanian public.
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The book before you is dedicated to our dear colleague and friend Zef Mirdita. In this way, we want to thank him for his exceptionally fruitful, almost 50-year scientific work, and especially for the days he has spent and still spends with us at the Croatian Institute of History in Zagreb from 1993 to the present day. Professor Mirdita has also been an honorary member and advisor of the Albanian Institute (Albanisches Institut) in St. Gallen (Switzerland) since its foundation in 2002. Although he retired in 2004, the scientific community of the Croatian Institute of History will always consider him its distinguished member whose research results are an indispensable part of not only Croatian and Albanian but also European historiography. His life and scientific path took place (and still actively takes place) between Croatia and Albanians (especially Kosovo).
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Adem Istrefi: ”Kumtesë e parashkruar për vitin 2037: Si përshpirtje letrare në njëqindvjetorin e Lindjes së Anton Pashkut - Shkrimtarit më Shkrimtar Ndër Shkrimtarë Shqiptarë”
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Një histori e plotë e letërsisë shqiptare nuk mund të hartohet ende për arsyen e thjeshtë që akoma veprat e autorëve të së kaluarës nuk janë të gjitha të botuara, dmth. ka vepra që ngelin akoma dorëshkrim në fonde arkivore ose ne fonde të bibliotekave të ndryshme.
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