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Kod mene uglavnom dolaze bakice, kratko ošišane kose. Raskomote se, i mislim da su sretnije što duže čekaju na šišanje. Meni to prija, volio bih znati zašto. Čak sam se do te mjere navikao na izviklane, bučne ženice da ne mogu zamisliti prvu jutarnju kavu bez njih.
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Kad se gazda Kuster iz sela Ešenbaha - zaleglog podno same Riken-ceste između Togenburga i Lint-zaravni - naprasno, ljeta hiljadu devetsto šezdeset i osmog, dne 13. avgusta naveče s dušom rastavio, on već bjaše kod mnogo svijeta tokom bezmalo dvije i po decenije kao travar i rukopipatelni gatar ili iscjelitelj molitvama nemali ugled stekao; oprezniji uzmigoljiše da ga baš i nisu bogzna kako dobro poznavali i nevoljko se upuštahu ma iukakvo potanče procjenjivanje rečenog vidara, ili to ne mogahu, smatrajući oduvijek Jozefa Kustera bezopasnom doduše, ali, tako im zdravlja, i tajanstvenom klatnicom i predskazivačem što kišnih što sušnih prilika; tek nekolicina rekoše bez duga nećanja kako on i nije bio ništa drugo do prevejan podvaladžija, doktor budžaklija, puki lakrdijaš i vještac, a uzimao je živima, jes bome i kapom i šakama objema, vazda.
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Kada sam podigao krzneni rever njegovog kaputa, pogledah da li je ozebao. Zapravo, njegovo blijedo, crno lice, požutjelo je kao vosak. - Ozebao si -rekoh. Podiže obrvu. Nije bilo krvi na mjestu čira na obrazu. Zastadoh. Uzeo sam mu lice među dlanove i protrljao.
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Ulaziš u autobus i student si književnosti. Već na prvi pogled ova rečenica zvuči ti vrlo efektno. Tu je radnja, narator u drugom licu cijelu stvar oneobičava, a i lik studenta čini se najboljim materijalom od kojeg se može napraviti ova priča. Zamišljaš ga i on je ti: naočale, kratko ošišan, blijedo lice, trodnevna brada i tragovi nesanice; pod rukom dvije-tri knjige iz teorije književnosti sa nerazumljivim naslovima... I priča se dalje nastavlja sama od sebe. Ti si već nad njom izgubio kontrolu i ona se odmotava po tajnovitim zakonima literature
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Bilo je očito da će to potrajati. Nakon što je u neviđenom blitz-kriegu svatko zauzeo i počistio ono što mu je bilo pred nosom, linije su se formirale. Iskopali su su se rovovi, artiljerija je postavljena u dubini, uspostavljena je logistika i sve kako spada u dobre ratne običaje. U svakom slučaju hrvatski vojnici bili su bolje i modernije opremljeni, dok su muslimanski borci uglavnom bili opremljeni lakim pješačkim naoružanjem. Našao bi se tu i tamo koji minobacač ili top većeg kalibra koje su po potrebi šetali po frontovima, tako da Hrvati misle da ih imaju više, ali i bez toga u ljudstvu nisu oskudjevali.
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Već je mjesec dana Sarajevo bilo uronjeno u kotlu žege. Sve vrijeme niti kapi kiše, niti osvježavajućeg lahora s Igmana. Miljacka kao da je napola isparila i cijedila se polako otkrivajući pješčano dno. Noću se temperatura malo spuštala, ali već ujutro bi sunce ponovo počinjalo peći, a grad bi obavijala magličasta para. Život se odvijao iza prozora potpuno zamračenih roleta i rebrenica. Mnogi su ljudi padali u nesvijest. U novinama su se povećali stupci nekrologa s fotografijama umrlih.
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Budim se uz šum lišća. Pa to je znači, bio samo ružan san. Ne vidim ni naoružane stražare, ni podzemnu tamnicu u koju su me trebali baciti. Sam sam u hladu drveta. Zabezeknuto razgledam okolicu: stepa se rasprostire u nedogled. Crvena, od sunca spečena zemlja, ogoljeli brjegovi i vrlo vrlo daleko, jedan bunar . Dakle, nedavno mi saopštiše da ću biti kažnjen. Zabrinuto sam čekao u kancelariji dežurnog oficira . Ušao je jedan visoki, smrknuti oficir i naredio mi da pođem s njim. Sjećam se da smo išli dugim, loše osvijetljenim hodnicima . Njegove su se čizme blistale čak i u polumraku.
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Овој труд содржи кус историски преглед на положбата на жената во театарскиот живот во Република Македонија. Oсобенo се бележат првите обиди за појавување на жени на сцена во втората половина на 19 век, како и нивниот придонес кон напорите на основоположникот на македонската драма и театар Војдан Чернодрински (1875–1951) да ја поддржи револуционерната борба за ослободување на Македонија во првите две децении на 20 век. Исто така, трудот ја истакнува работата на четири (меѓу многу други) познати жени на македонскиот театар – Тодорка Кондова, Милица Стојанова, Елена Дончева и Јоана Поповска – кои оставија крупна трага во втората половина на 20 век.
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Considered “a new poet” and deemed “a valedictorian,” Dimitrie Stelaru (1917–1971) constitutes a telling example of a modernity viewed as surpassing the modernist radicalism represented mainly by purism and surrealism. Thus, for the Romanian poetry of 1937–1947, being modern is no longer synonymous with being a modernist.
More...Perspective narrative dans « La Maison Tellier » : réalisme, ironie et humour
The social and literary atmosphere of the second half of the 19th century led Maupassant to apply a sharp criticism on the French society; he used the whole range of satirical tones, from the kind irony to the biting sarcasm. In this essay, we emphasized the realistic aspects, entangled with the narrative and stylistics proceedings including irony and humour. We established the narrative perspective by a comparison between the narrative typology of Lintvelt and Genette’s theory of “focalisation”. Here the ideological position of the “model author” is to be deduced from the precise fictional universe that he describes. We proceeded with an analysis of several memorable scenes, in which the omniscient narrator excels in introducing, in an implicit way, his derision of this mercantile world, based upon the contrast between the apparent morality and the secret debauchery of some honourable citizens, along with the moral nonchalance of a few prostitutes.
More...La Figure de l’écart dans « Une partie de campagne »
"'A Countryside Excursion", written in 1881 and almost immediately incorporated into the collection The Maison Tellier, is nowadays considered as emblematic of Maupassant's mastery in the art of short story. Under the comforting, easy appearances of bourgeois ribaldry (which did fool some), this tale of a foursome country excursion depicts a world where perception remains limited and fragmented; a reality deepened by the tension between the urge to stray and the pressure to stay, between difference and reproduction, conformity to a moral, aesthetic, or discursive norm. Captivating his readers by sensuality, Maupassant lastly invites them to ponder the weakness of human condition and the parallel, irreconcilable tragedies of men and women.
More...Des représentations de l’animal chez Maupassant
This paper approaches the issue of the representation of the animal in Maupassant's short stories. It aims to display the abundance of functions and the broad significance spectrum that is covered by the animal in a work which echoes the interest in the animal question during the second half of the nineteenth century in France. The paper also deals with the animal-man relationship by creating a classification scheme according to three degrees of proximity between these two types of characters in Maupassant's textual frame.
More...Maupassant et l’impressionnisme : autour d’un malentendu
The connection between Impressionist painting and Maupassant's work is a particularly attractive object of study – and more than one has succumbed to it. However, it is important to beware of the purely thematic links (water and its reflections, worship of the outdoors, leisure activities such as canoeing) between these two art forms or of the fascination for a colourful, luminous palette that changes with the seasons and hours of the day. The Maupassantian approach in the evocation of places always exceeds the notation of sensation. Moreover, what can we do with the large number of aesthetic and technical questions that impressionist painters tried to answer?
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The theme of migration is a constant feature of contemporary Francophone literature. Published in 2016, Gaël Faye’s novel Petit Pays is one of them and is questioning about an identity space populated by expatriation, deterritorialisation, alienation and loss of identity. We have analysed the novel from the aesthetic point of view as well, and we have concluded that Petit Pays falls under the category of Ionic novels at the Doric insertions. The critical and aesthetic model applied has been proposed by Nicolae Manolescu in this famous essay Noah’s Ark, published in ’80 of the last century.
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The present navigable Danube-Black Sea has little in common with the topic of the present study. Gheorghiu-Dej’s project, initiated at the end of 1949, was in fact a place for the re-education of the anti-communist intellectuals and dissidents. Gone without a trace, under the works from the 70s, it remains a mythical, infernal place that has been reconstructed less from numbers and official documents, and more from the memoirs and the recollections of detainees. The shattered mirror of the recollections, which sometimes overlap, and sometimes diverge, reconstructs an approximate image of the incipient Romanian communism.
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