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Культурный потенциал словаря и жанровые поиски современной литературы

Author(s): Valentina Danilovna Chernyak,Maria Alexandrovna Chernyak / Language(s): Russian Issue: 6/2016

The article investigates the properties of dictionaries and other reference books that are relevant for everyday awareness and sought-after by contemporary literature. Dictionaries and their genre variations (encyclopedias, handbooks, thesauri) become the focal point of and give an impetus to human creativity. Alphabetical order as the crucial characteristic of the diction-ary form is utilized by modern authors to develop new genre forms. Written works exploiting the dictionary form may be described in terms of deliberate hypertextuality that is pertinent to the mindset of a contemporary person and meets readers’ expectations. Dictionaries can be seen as a genre matrix whose properties include strict order, dynamic nature and stability, or as a structure allowing room for creative developments. The article deals with the examples of Russian contemporary literature (a novel, a collec-tion of essays, a novelized encyclopedia) that employ the dictionary form. Most commonly, such example include non-fiction, contain elements of mixing genres, gamification, different forms of linguistic reflection, deliberately mimic the academic style, and are often targeted at children.

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FAKTI DHE FIKSIONI NË ROMANIN E PASHKUT DHE ATË TË LË KLEZIOS

Author(s): Avdi Visoka / Language(s): Albanian Issue: 36/2017

This paper aims to interrogate two different national literatures/authors through the common literary procedures, topics, and style within the spectrum of Fact-Fiction interplay. Regarding the literary preoccupations since the prose writing origins,the relationshipbetween the fictional and the referential pact seems to be crucial. Many times they are opposed to each other. However, within the fictional structure, the factual power could vary. According to the context, it can interact with the plausible, with the likelihood, and depends directly from the real facts infused into diegesis.The contemporary novel is characterized by a powerful awareness of real referenceshandling within the fiction. Anton Pashku, in Albanian literature, and Jean-Marie Gustave Le Clézio, in French literature, represent two original models of handling with the fictional and factional pact in their prose writing. The novels Oh and The Desertare characterized for a complex meta-textual perplexity.This is why a comparative examination between them is important for the literary research of the relationships between fact and fiction, and for the comparative approaches between these national literatures as well.

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ARTI I ARKIVAVE

Author(s): Ag Apolloni / Language(s): Albanian Issue: 36/2017

The novel I confess to the tombstone of Agron Tufa, as a fictional hypertext written on documentary hypotexts, is a novel with two narrative lines that contain stories by and about two raped women in two systems: communism and democracy. The story of the novel narrated by the female perspective turns the narrative into gynocentric discourse. The stories of raped females are given as facts, documents and recordings, as they are also taken from real files and then modified by the author.Agron Tufa with this novel turns the confessions founded in archive into a thrilling art that penetrates deep into the psychology of abusers and victims. The novel can also be read as a complaint and as a tribute: as a complaint of two women about their fates in two political systems and as an author’s tribute for the victims. The novel I confess to the tombstone of Agron Tufa combines the documents with the fabrications and the individual anamnesis with the collective amnesia, to articulate an aesthetic denunciation which is not meant to lynch, but to make a national catharsis.

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ARKITEKTURA REALE DHE AJO FIKSIONALE E GJIROKASTRËS TE KADAREJA

Author(s): Adem Jakllari,Silvester Manaj / Language(s): Albanian Issue: 36/2017

The object of this paper is the analysis of three main novels of Ismail Kadare: Chronicle in Stone, Questions of Lunacy and The Fall of the Stone City, where the references to this city’s cartography, as well as to its citizen’s are explicitly obvious. Based on a wide theoretical set since the Antiquity to the present days, which reviews the boundaries between the real and the fictive, we are looking into shedding light on the amalgamation of these planes in Kadare’s novelistic poetics. The main focus of our study is the way in which a unique universe of anthropological signs and symbols, architectural coordinates, and of the psyche of this city’s citizen are transformed into an artistic matter and structure. The intensive relation that this great author creates with his birthplace in an anthropological and symbolic level, feeds a same relationship in the linguistic idiom. So, the topos of this city, which can easily be identified in the real world, is not only the product of some references to lived experiences, but also of the linguistic material used to build the linguistic discourse. It will also be argued the ways in which this mimetic world that is present in Kadare’s work does not infringe on the character of the artistic narrative.

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“TREBESHINA & KADARE – FAKTI DHE FIKSIONI NË DAFINAT E THARA, KËNGA SHQIPTARE DHE DIMRI I VETMISË SË MADHE”

Author(s): Edmond Çali / Language(s): Albanian Issue: 36/2017

In this paper we observe the importance of the factual linkage and fiction in the structure of two works of K. Trebeshina, in the autobiographical novel Dafinat e thara, Romani i jetës sime (Tirana, 1988) and the novel in five volumes Kënga shqiptare (Tirana, 2001). We examine the subject by comparing the two works between them and the two works with the autobiographical records of K. Trebeshina. The novel of I. Kadare Dimri i vetmisë së madhe is examined by comparing it with the information of the archives that the author consulted during the process of writing and which was later published (Enver Hoxha, VEPRA 19, June 1960 - December 1960, Tirana, 1975). From the analysis of two works of Trebeshina, we find that creative repetition guarantees the presence of the connection history-literature. By comparing the historical material (facts) with the subject of the novel by I. Kadare we have another evidence that this work is a very important text of contemporary Albanian letters and a great historical novel.

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GJENDJET FIKSIONALE TË FAKTIT SI GJENDJE TË LEXIMIT

Author(s): Ermir Xhindi / Language(s): Albanian Issue: 36/2017

What do we call Fact? Can we agree on what produces it, on its state as an object? If yes, is a Fictional State of Fact possible and does it make sense talking about it? On what degree the meaning of literary text made through the reading is affected by our experience about the Fact? In our paper we answer these relevant questions accordingly to our outlook on the existence of a Dominant Meaning Matrix (DMM) in a given period, constructed by respective readers despite the literary nature of the texts, through a time interval with different diversity peaks. This Dominant Meaning Matrix (DMM) as “will and practice” of a given, definable community of reading in the shape of the Possible Reader, appeals as an Integral, relatively temporary in relation with a category of permanent facts as i.e. notion of ‘Death’ in literary texts. We explore the indication level of this relationship on different texts of Ismail Kadare, on corresponding structures and meanings, trying to formulate the contours of a possible process and its typology.

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FIKSIONI VS. FAKTIT NË VEPRËN EPIKA E YJEVE TË MËNGJESIT, TË RUDI EREBARËS*

Author(s): Lili Sula / Language(s): Albanian Issue: 36/2017

Regardless of providing a significance which derives from the personal, social, historic, religious and ideological “fact”, of the superiority of human freedom against dictatorship, the various plans of narration aim at creating a “poetic” of “the intermediary mood”, as the author himself has defined it, by openly challenging the cult of correspondence between the fact and literature in socio-realism. In the novel Epika e yjeve të mëngjesit R. Erebara brings sketches and pieces of a frightening tableau of the personal and collective fate in the dictatorship period, which are artistically erected as a memorial of our fresh national memory

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MINO MES FAKTIT DHE FIKSIONIT

Author(s): Serafina Lajçi / Language(s): Albanian Issue: 36/2017

Zef Skiro's literary work is an embodiment of the reality and the art. As such, it is a reflection of the author's preoccupations and concerns, not only of personal ones, but also of great concerns related to the fate of Arbëresh's reality. By disclosing his creative art, Skiro, with a special talent aesthetically concretizes his confrontation with reality. In this way, the poems of Skiro, are expressive of certain circumstances and situations, part of which is the poet himself.'Mino' at the center of our study is a literary experience of the tragic death of the poet's son, Mino, who was the victim of a political assassination. It will be precisely this tragic situation, which will significantly affect the health and life, already troubled of Skiro. This poem that reveals a shocking truth to the poet, merges between the fact and the fiction, as two important components that distinguish its composition. The fact, as concrete realistic life of the poet, and the fiction, which melts into artistic side of the poetry.

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PASARDHËSI MES FAKTIT DHE FIKSIONIT - Romani Pasardhësi i Ismail Kadaresë

Author(s): Orjela Stafasani / Language(s): Albanian Issue: 36/2017

The Successor of Ismail Kadare is a novel about the historical truths of 1981-’82 in communist Albania, where through an analeptic narrative, the author presents events that proleptically had been foreseen. By playing with the heterodiegetic narrator, through the Architect's narration, which is converted in a homodiegetic narrator and through the final monologue of the principal character, Kadare shows us the suicide/homicide of the Successor, intertwining skillfully the real story with the fiction. Therefore, this work aims that through remembrance, intertextual and intermedial relationships to find the connections between fact and fiction, considering the interdependence between these two as a fictionalization of the facts. Across the real and fictional characters, Kadare shows the most sensational suicide/homicide of the last century in the communist Albania, that of the Prime Minister Mehmet Shehu, and also the involvement and the later arrest of the Interior Minister, Kadri Hazbiu, events who were ordered by Enver Hoxha.The Successor is a model of interweaving the fact with fiction and a proof of how many hypotheses can produce a hidden fact.

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ZHVILLIMI I LETËRSISË SHQIPE

Author(s): Maksimilian Lamberc / Language(s): Albanian,German Issue: 22/2018

The oldest monument significant for Albanian language has its origin in the time of Skanderbeg (Skënderbeu), precisely in northern Albania. This is the baptismal formula, published by the archbishop of Durrës, Pal Engjëll, friend and aide of Skënderbe, in his 8th of November, 1462 pastoral letter.The oldest text in Tosk Albanian has its genesis at a later time (in southern Albania); it consists of two short linguistic records that remain printed in Greek letters in the front and back of a parchment of a Greek codex which dates back to the 14th century. The oldest authors treat mainly religious themes. Authors were priests. The earliest of them was Gjon Buzuku, born in the Northern Highlands; he published “Meshari” [The Missal] in 1555, which contains religious prayers to Saint Mary, psalms on forgiveness of sins, litanies, a catechism and the masses of the ecclesiastic year.Albanian folk songs are either lyrical or epic. Lyric songs include choral songs, mourning songs, love songs, nuptial songs dhe cradle songs. Epic songs incorporate songs of bravery, songs of warriors (Këngët Kreshnike) and legends. The songs of bravery are short rhapsodies.No other nation has dealt with its own folk poetry in such an early phase of its spiritual development and in such intensity, such love and in such a conscious act; no other people has been able to recognize its worth, has discerned it, collected it and studied it with such scholarly seriousness as the Albanian people. Folk poetry occupies a central position in Albanian spiritual life. The cult of Skënderbe takes its strength from the kindling of nationalistic feeling and love for autochthonus folklore. The hero from Mat becomes a symbol of the national unity of disperse and divided tribes and the object of passionate research. Folk literature and written literature centered on Skënderbe emerge vigoroulsy. The songs that treat the figure of Skënderbe and the continuity of his existence for Albanian people are of national significance. Albanian youth enters adulthood adoring the hero and celebrating his deeds. Albanians are open-minded; for them, research is rather easy; they are a healthy people, with a fresh mind, and they deserve appreciation with regards to their seriousness and depth at which they attempt to absorb and spread scholarly/scientific knowledge. Many scholars, especially in the field of linguistics, which is so dear to Albanian people, have already emerged and need to be taken into account for further study. Additionally, lyrical poetry is, from early on, the most congenial creative field for those eager for literary creation. And there are many who are eager for it.The determination of Albanians to learn from great nations is a sincere one. Manifold translated works from other literatures are an evidence of this. Apart from Ancient Greeks and Romans, the English, Germans and Italians are preferred. Detailed and extended treatment based on the value and type of translated literature into Albanian is an attractive task, one that must be an object of a separate study.

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DIMENSIONI EROTIK NË POEZINË E MIGJENIT

Author(s): Marjela Progni-Peci / Language(s): Albanian Issue: 22/2018

Millosh Gjergj Nikolla – Migjeni is one of the Albanian writers who brought forth a new creative movement as well as motifs and themes that others neglect, shun or remain indifferent toward them. Hegel’s expression the tendency of art is to reveal the truth in the form of a sensitive artistic configuration seems to best suit Migjen’s art due to the fact that the thrusting truth of life in the environment and society in which it occurs is projected in his texts through fierce rebellion as well as deep pain and sensitivity which emanate from the soul and the heart, full of compassion, melancholy and sadness.On the other hand, his erotic poetry, the subject of this paper, delves into the intimate world of the poet, his complex experiences projected through sensations, wishes, dreams, pain, suffering, contemplation, fear and prayer. In these poems love is panegyrized (turned into hymn), feeling claims the highest pedestal, the erotic is aimed at but is also sanctified, at times becoming the internal thrust of the author, and at times the erotic object, the damsel. Eros is constructed by means of various motifs developed through diverse methods which create a rich spiritual world for the reader, pleasant and beautiful verse that ardently sings to the passion for love, for pleasure, for the beautiful, for a being that is as earthly as she is heavenly, the woman.

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Gde su ti Suncokreti

Author(s): Xhevdet Bajraj / Language(s): Serbian Issue: 60.6/2000

Poem by Xhevdet Bajraj.

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“Heart” novel of Edmondo De Amicis in the Albanian language

Author(s): Polo Olieta,Manjola Sulaj / Language(s): English Issue: 1/2018

The novel “Heart” (“Zemër” in the Albanian language) of the Italian author Edmondo De Amicis, published in Tirana in 1923 is the first book of the Italian literature for children translated into the Albanian language. Ever since the novel was published 13 more times by various translators. For two decades until the beginning of the First World War the novel was part of the schools’ didactic schedule. In Italy the novel conveyed secular values as nationalists, liberals and intended to renew Italian culture, which was backward and extremely subordinate to the Catholic Church. While in Albania, during the Communist dictatorship (1945-1990), the novel continued to be preferred in schools due to the ideals included which matched with the communist ones as well as the morals that offered the children a pattern to imitate in terms of feelings and behaviours. The “Zemër” (“Heart”) popularity began to vanish in Albania when the democratic system was established.

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“KËNGA “USHTARI I SKËNDERBEUT” E FRANQISK ANTON SANTORIT DHE KËNGA “I ERDHI NJË LETËR TRIMIT” E JERONIM DE RADËS”

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“KËNGA “USHTARI I SKËNDERBEUT” E FRANQISK ANTON SANTORIT DHE KËNGA “I ERDHI NJË LETËR TRIMIT” E JERONIM DE RADËS”

Author(s): Zeqirja Neziri,Merita Sauku-Bruci / Language(s): Albanian Issue: 48/2018

Enclosure materials and some transcripts from Zeqirja Neziri's work and Merita Sauku Bruci "The song "Skanderbeg Soldier " by Franqisk Anton Santori and the song "A letter came to the brave" by Jeronim de Rada"

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Topika e udhëtimit në letërsinë shqiptare

Author(s): Kastriot Gjika / Language(s): Albanian Issue: 37.2/2018

"Travel" represents one of the oldest and most natural topos of general literature. But ëhat is its place in Albanian literature, starting from its beginnings? Ëhat is the variability of this topic in the course of the development of albanian literature (travel as pain and suffering, travel as pleasure and reëard, travel as recognition, travel as a challenge, mental journey etc.)? The paper undertakes to address some problems related to this topic in Albanian literature, such as: its presence (or its absence) in relation to other literatures, travel and individual, travel - the destinations and the itineraries, travel and return, the romantic travel etc.

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Topika në krijimtarinë poetike të Dritëro Agollit

Author(s): Anila Mullahi / Language(s): Albanian Issue: 37.2/2018

Agolli started his creations with poetry and he wrotte all his life poetry, never separating from this literature gender. The poetry creations that accompanied the writter in different life situations was reflected in the variability of the topics. Althought sometimes it has been very engaging, his poetry has been very pleasing for the reader and part of it is part of the Albanian poetry tradition. Agolli was a concreteness writter. He wrote for the earth, the peasants, the nature, the wind, the rain, the animals, the fragrances. Althought it seems that he is describing his homeland, the way that he handles the topic gives it a unversal form. Part of his poems, the ones before the '90, having the tendency to be part of concrete events, loose their coherency. Of this period are even some poetry with erotic nuances, that have been written with the folklore spirit, that prove powerfull emotions and touching lyricism. Some creations, the ones written after the '90, syntethize within a obvious form of disappointment and sometimes they describe a grim atmosphere of the moment that his country is passing. In this period the writter will writte of the youth that fled away, the disappointmens that the life offered him and even for the death that he felt was coming.

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Censura në letërsi gjatë mbretërimit të Zogu I

Author(s): Brunilda Prifti / Language(s): Albanian Issue: 37.2/2018

Censorship is commonplace, not as a phenomenon, but a "law" that has led Albanian literature over 45 years of communist dictatorship. But history has shoën that censorship is not applied only during the second half of the tëentieth century in Albania. And it’s enough to take a quick look at King Zog's ruling time.King Zog was very careful not only to learn, but also to control everything that ëas said about him or his regime by delegating clear directions of ëhat ëould go to the reader’s hands.In the Central State Archive, exactly in the Secret Fund of the Ministry of Internal Affairs, there are dozens of files and thousands of orders, reports and decisions, related precisely to the control and censorship of publications, whether they were newspapers, magazines or books. In the Albanian Monarchy all those books, brochures or neëspapers that criticized and attacked the King and the Kingdom were forbidden. But Zog was also so strict about the Bolshevik and communist literature. In one of the many reports of the Press Directorate of the Ministry of Foreign Affairs, in 1936, we find "the opinion of the press director of the Ministry of Foreign Affairs on the general guidelines for the control of books", according to which “It is absolutely forbidden to publish anything written: Against Our Sovereign August, or Royal Family, Albania and its politics; Those related to the spread of communist and socialist ideas ...; Those related with pornographic descriptions, which are intended to stimulate sexual feelings ...”. There were categorically prohibited biographical books on Lenin, Stalin, or the philosophical works of Marx and Engels. Likewise, even other authors, who presented a leftist ideology in their works, such as Gorky, Ibsen, etc.Other reports testify that Fan Noli and Jusuf Luzaj were also censored, while witnesses of that time talked about the constriction of Migjeni, until the withdrawal of his volume with poetry "Vargje të lira" (Free Verses), which was spread underhand, but didn’t got a normal distribution, at least for as long as the author was alive.

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Arketipi i apokrifës

Author(s): Orjela Stafanasi / Language(s): Albanian Issue: 37.2/2018

Gjergj Fishta, being Franciscan friar, was familiar with the religious topics, which are included into his works. The tragedy "Judah Maccabee" is structured as a biblical parable, which through the archetype of the hero, derived from the apocryphal texts of the Old Testament, gives the patriotic message that in Fishta's works always appears as the binom of homeland/religion. Being a hypertext, Fishta’s tragedy has the hypotext signs since the title and throughout the dramatic text, which, as a text related to the theater's medium, and also to the context of the public, is enriched with universal motives and ideas.Judah Maccabee is a Biblical archetype, categorized by exegetes in the apocryphal texts, but conducive for the Christian religion because of the educative function, which, as in all biblical parables, in this tragedy is realized through the medieval doctrine of four meanings.

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Qyteti politik në prozën e Faik Konicës

Author(s): Loreta Loli / Language(s): Albanian Issue: 37.2/2018

The city, understood as a way of life, sensibility, spirit, mindset, reflection on rights and obligations of relationships, for representations and models, to reach the culture of civilization became the center of Albanian literature with Koliqi and Migjeni, while the first steps are seen in Konica’s work. Many innovations in form and spirit in Albanian letters and generally in Albanian culture came from Faik Konica. This fact is a beautiful coincidence, seen from the perspective of the reader and the researcher, while from the point of view of the author it is expected, because such qualitative contributions are in line with Konica's distinctive western and patriotic vision and activity.The traditional Albanian literature up to the that period was centered on the romantic hymns of the national ideal, where the beautiful Albanian nature, the virtues and values of our people, proudly inherited from generation to generation, could not see the "modern city" as their normal habitat to develop and generate patriotism; on the contrary, romantic and sentimental style required unlimited spaces, elevations of proud Albanian mountains, the width of the fields to appeal with affection the land of the Albanians or to proudly evoke distinguished national hero, Gjergj Kastriot – Skenderbeg.The prose that Konica wrote in the beginning of 20th century brings the town into literature in its definition, centralized and limited "settlement", which has an administration and a supply structure, so, brings it as a central place. But, in particular, he brings us the political dimension of the city, with the mechanisms of government, the figure of the officials and the highest executive hierarchies, their mentality and affiliation as part of the oriental inheritance. The deeply overlooked mentality that appears and collides with our eyes through irony, satire, and humor from the literary character or Konica as narrator, will be the focus of our work. We will keep in mind during the analysis a fact well known but less pronounced, that of literary character as the intellectual from the Albanian Diaspora.

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“Shkëlqimi dhe rënia e shokut Zylo” – kryevepra e Agollit romancier

Author(s): Klara Kodra / Language(s): Albanian Issue: 03-04/2016

In this article, the novel “Shkëlqimi dhe rënia e shokut Zylo”, is called like the masterpiece of novelist Dritëro Agolli, even one of the masterpieces of albanian and balkanic prose. This is explained, from one side, with meaningful message of the work: the condemnation of buzen crazy of the life in dictatorship, an unusual case but essential and, at the same time, the spiritual eviction of people, affirmation of incapable person who earn in the war against the able ones and, in consequence, the creation of prototypes of bureaucrats and serviles. On the other side, the high value of the novel, is argued in esthetic plan with the harmonisation between message and form where is smelt the psychologisation, social character, satire and humour, that arrives the highest level, in this work of Agolli. Moreover, this novel is looked as a disident one, perhaps without the consciencity of the author on this, as a case in which the esthetic disidence, the breaking of rules of socialist realism, is transformed in ideologic plan. On this theses is argued with other scholars. In supporting of these theses are given many arguments from the same work which is read in textocentric plan, but in the same time is put in the frame of Agolli’s novels and albanian prose of the time. In this novel are seen, behind formal shield of socialist realism the elements of critic realism, which predominate some modernist teomquest, too. So, we arrive in conclusion that the most important result if this satiric novel is the creation if types who have survived the time and are transformed in synonof the bureaucrats and servile, Zylo and Demka.

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