Юбилеят на Татяна В. Цивян и XIV Балканистични четения в Института по славянознание към Руската академия на науките
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Anniversary; Scientific Life; Scholarly Conference
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This paper will examine the concept of the Other in Literature by introducing many cultural, philosophical, religious, ethical, and aesthetic issues. In fact, the Other can be considered in the function of cultural, ethical, ethnic, and social belonging. The perception of the Other is also inseparable from self-construction and personal identity preoccupations, as well as from the construction of relationships with the other:This is a sui generis articulation and self-articulation within illusion, fiction, and reality.The Concept of the Other has a very particular resonance in the novels of Camus (The stranger) and Pashku (Oh). The concept of absurd as a perception of the Other, as an articulation of the self and as a generator of mutual relations makes these authors very special in literature. The examination of convergences and differences in the novels of these authors will shed light thorough this paper by interrogating the lieuxcommuns between Albanian and French literary space, with a special regard to the relationships of us versus them.
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The concept of "the other" initially studied in philosophy as a self-reliance (Hegel), as an inter-subjectivity foundation (Husserl), as an inevitable manifestation (J. P. Sartre), as a mythical, historical, sociological approach, where "the other" is the female (S. De Beauvoir); as an opposite part of the self (Lacan), as the other after the other (Derrida) etc., but also studied in the literature, psychology, sociology and culture, has marked its development in several directions. "The other" is considered as the different, the unacceptable, the differentiator, the stranger, etc. depended from the study's point of view, thus generating the meaning that it takes in every case. This paper will examine how the "other", known since at the beginning as an Albanian typical social part (The sworn virgin), becomes a motif of inspiration, cultural lending and transformation in the Alice Munro’s story, gaining so new functions literary motivated. This "other" borrowed from far away, appears as the exotic "other". Taken from a distant reality for her (Munro’s) readers, especially vitalized with its exotically function, this "other" will be discussed in our point of view from a philosophical, moral, sociological and cultural perspective referred to the relevant theories (Derrida, Todorov, Baumann, Jenkins, etc.)The concrete subject of study is: an introduction to the typical sworn virgin as an Albanian social phenomenon. Defining it as "the other" and displaying its integration in the Munro’s text while facing the other culture. The Albanian sworn virgin as the Munro's "Exotic Other".The cultural refraction of this social "other" made by its unique code and recognized in its psychology of the place where it works, comes throughout the fantasy and narrative structures from an author without real contact with the culture from she borrowed the model. Reactivation in the exotically context, of the seduction from the unknown, vocative, etc., becomes a version of connection of time and mankind. It serves to the modern human being to accept and respect the other and it comes to us as a free choice where the literary fantasy disengages the connection from the genesis, and the whole scheme is understood by enriching the meanings that ‘the other’ takes as: the only one-other in relationships with others through differences or similarities.
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This article presents the methodological grounds for teaching Comparative Literature of the Balkans as a subject within the syllabus of the Balkan Studies master’s degree programme at Sofia University “St. Kliment Ohridski”. The examples borrowed from the reception of Romanian literature in Bulgaria show the absence of targeted interest in neighbouring countries’ literatures. The reasoning continues with the discussion of cases in which a hypotext from French literature acquires a unifying role and allows for finding grounds for comparative studies (around ideas expressed in Naturalism and Symbolism) of the otherwise indifferent to one another South-Eastern European literatures, and quotes examples from Romanian, Bulgarian, and Greek literatures.
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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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The songs of the Epos of Kreshniks (Heroic Songs), part of Albanian folk literature, belong to an ancient period of our history, related to the Ancient Medieval. This has been proven by different aspects of these creations, one of which being the archaic elements in the grammatical structure. Among the archaic grammatical elements preserved in the Epos of Kreshnik, we can clearly note: the neutral gender of the names (for ex. ata bukë), paradigms of the feminine gender with a theme in the consonants (for ex. lodja), the ablative case without a preposition (for ex. Ndalnju gurrave), indefinite masculine names without case ending (for ex. t’vllat), the forms of the genitive-dative cases in the plural with the ancient ending -e (for ex. krushqet), the interrogative pronoun pre-articled (for ex. i cili jush sarajet m’i dojtë?), the short form of the third personal pronoun plural u, instead of the second person ju (for ex. a u ra n’mend për babë e nanë), the optative mood in the function of the subjunctive mood (for ex. kush dalsh t’ligt nuses me m’ja hjekë), paratax constructions (for ex. kanë nisë kangën e po këndojnë,/ kanë nisë lodrën e po lodrojnë) etc..
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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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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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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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Gjergj Fishta, a prominent figure in Albanian literature, wrote epic, satirical, dramatic, lyrical, and publicistic works during the course of his career. He covered the journalistic side, which assessed aspects of Albania and its environment, in great detail. The majority of Fishta's prose works were released in periodicals and newspapers of the era, including “Hylli i Dritës” (1913) and “Posta e Shqypnis” (1916). The considerable work of Gjergj Fishta is a significant addition to Albanianology, theology, and cultural studies. Our inquiry will center on the newspaper article “The Riots of June 1924.” This writing in the Fishtian pen takes the form of a historical testimony, bringing historical events, facts, and real individuals in addition to its vast lexicon. As he noted, Gjergj Fishta, the demagogues of political and social life were the target of this article. In particular, the authorities, particularly those in Albania, the Assembly, the Parliament, specifically the high officials, starting with the prime minister, witnessed an undress spiritual and national, ignorance to the point of regret, extreme impudence, and nonsense motivated by greed, with serious repercussions for the Albanian world and its people. With this study, Gjergj Fishta aimed to uphold Albanian identity, the call to serve the country, and the need to modify the law to better suit Albanian society. At the end of the day, Gjergj Fishta wanted the best for his people and the preservation of the Albanian identity based on the code of tradition, just like many other patriots, intellectuals, and albanologists.
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After the Albanian Communist Party came to power, the Beauty, as an aesthetic category, received less attention in front of the new mission which literature held on. The faithful reflection of reality was not enough for the new art. As well as the simple mimetic production was not required. The purpose of the new literature was “the true reproduction of typical characters in typical circumstances,” as F. Engels suggested. This meant that the production of new aesthetics in this case, as E. Dobrenko noticed, comes through the re-adaptation of the Marxist equation to workers "Commodity – Money – Commodity" to "reality-realism socialist-reality". The refutation of the Beauty from the new proletarian art, which had appeared also in the Albanian’s literary horizon, did not come as a result of any rejection of this concept by the postmodernist factor. The negation of the Beauty came due to the involvement of realist socialist literature in the same structure with propaganda and ideology. The first group of Albanian authors of the 1945s-1950s, considered the Beauty as a true and exact reflection of the reality. While for the second group, of the 1960s, the idea of describing reality was converted into the idea of transforming the reality by literature. While the first group had simply created a simulation of reality, as a reflection/imitation of a process, that actually takes place in life, the authors of the second group had created a form of realism that describes imaginary realities, future and expected realities, which produced a simulacrum, as J. Baudrillard named the practice. The simple question is: did realism exist in the socialist realism method? The debate on realism in the Albanian literature after the 1950s, developed between “traditionalists” and so-called “modern” poets. Without any new stylistic researches, the poets of the first group reflected the heroism of the WWII and the experiences of the first stages of the motherland's reconstruction. The poets of 1960-s refused to collect simplified impressions from their metric museum and also the stylistics of the ancestors. They opposed as an “avant-garde demiurge”. Their poetry addresses to the skies more than to the earth. It retains the “messianic inspiration” of the messengers on the new (communist) planet, which speaks about the future to the mass. This generation of poets did not take over the reflection of the daily life. They offered the future of Albania, but still inherent in the future of socialism. The Albanian poetry of 1960s inherits also some of the formal features of Russian futurism and some other points from the Italian Manifesto of Futurism. This is reflected in the launched of city subject, cosmos theme, technological-industrial dreams, metropolitan future and the refutation of any past legacy. In formal terms it seems that some similarities are found between socialist realism and the futurist movement, but, more than decades later on, their compliance are noticed mostly in rhetorical fields. The opposition between “traditionalists” and “modernists” in Albanian literature was not included just in aesthetic categories, but for literary influence and territories too. This war, which began as a struggle between “classical rhyme” and “free verse”, did not ends only on expressional terms. It touched the thematic issues too. One such it among others was the theme of Eros, the love poetry. It began killing the sentimental hero of the years 1945s-1950-s, to replace him with a militant Eros of poetry of the 1960s, which was rarely a lyric one. Despite the differences, the poetry of those years remained a diligent implementator of the utopian project and the poets as “soul engineers”, which directed the reality toward that particular form of realism that did not respond to reality, but to socialism. This process treated the Socialism as an aesthetic category, with the same equivalence as the Beauty itself.
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