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Хетеротопиите се кодови, а не системи, така што тие се деконструктивни, а не структурални. Случајот на фаталната средба на просторот и времето е решен. Фуко е експлицитен кога помислува дека егзистенцијалниот ритам на нашата епоха повеќе се спојува со просторот, отколку со времето. Времето како да се распарчува во програмскиот и деконструктивен систем на просторот – прецизира Фуко. Следејќи го него, може да заклучиме дека програмирањето на егзистенцијата е продукт на авторегулативниот систем на просторот. Таквите системи, ја прават егзистенцијалната конфигурација на бидувањето во светот. Функционална е идејата да се пишува една историја на просторот, која ќе ја ефектуира и историјата на моќта. Избраните романи за анализа означуваат релационистички и хетерогени простори, празнини без содржина, утописки проекции, реализирани преку когнитивната интуиција и феноменологијата. Романите означуват хетеротопии, реални простори, егзистенцијални простори во кои се случува трагичниот и комичниот ритам на животот. Хетеротопиите го откриват привлечниот закон на кодовите.
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The article problematizes the formation of regional toponymic derivatives a well as identifying the attributes of their functioning in the journalistic and literary texts on the life of the Grodno region. Studies focusing on the analysis of regional features of onyms and toponymic derivatives of the Gomel region, Western Polesie, Poozerye are also referred to. The lexicographic registration of administrative names of the Grodno region (districts, village councils) was carried out by E. Rapanovich. The questions of systematization of toponymic derivatives, the degree of their standardization and conformity to the overall trends in the development of the Belarusian language, the manifestation of regional peculiarities in their formation and functioning need scientific consideration. Therefore, the study of this lexical group is of current concern and social significance. The analysis of toponymic derivatives of the Grodno region extracted from Old Belarusian and modern texts reveals common features in their word-building patterns, their ability to combine with certain lexico-semantic groups, which is attributed to the continuity in the development of toponymic system of different periods, stability of toponymic patterns, and methods and means of toponymic derivation. Toponymy-derived adjectives with the -ск- (-цк-) suffix used in the mass-media are employed in the nomenclature proper names of various organizations and enterprises. Тoponymic derivatives with the -шчына formant are used as the names of regions and territories, the names of residents of the localities of the Grodno region and built with the suffixes -анін, -анк-а, -ан-, -еўчан-е, -чанін/ -чан-е, -ец/-цы, -авец/-аўцы, -енец/-енцы. The relevant feature of toponymic derivatives in the analyzed works of V. Adamchik and V. Korotkevich is their direct connection with the overall Belarusian and specific Grodno region patterns, which generates the effect of reality and performs text-building, localizing, nominative, regional identification, and other functions. The differences in the use of toponymic derivatives by the authors stem not only from their original writing style and creative manner but also from the characteristics of the periods and events described, which determines how these means are selected and used in texts, as well as the range of functions that they fulfill.
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The article presents the interpretation of the Józef Wybicki’s opera “Samnitka” (“The Samnite”)(1787), which may be considered as a voice in the debate initiated and extremely lively at the end of the 18th century on the involvement of Polish women in active participation in the national community. One of the many patterns of behavior proposed to women at the time as a way to join the struggle for their homeland, was the model of a citizen-lover who rewards patriots with love and rejects and despises traitors. Such an attitude is presented, for example, by Franciszek Dionizy Kniaźnin’s Leucyppa from “Matka Spartanka” (“Spartan mother”) (1786). In this context, “Samnitka” seems to be an insightful and critical analysis of the pattern described above, undertaken only at the beginning of its popularization. It shows the ethical ambivalence of this pattern and undermines the effectiveness of this type of procedure.
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The paper includes two Polish translations of two Latin elegies of Jan Kochanowski. Their authoris a Late-Renaissance poet Jan Daniecki (died after 1611), known for his passion for the antique tradition since he also translates some works of Lucian of Samosata. The first work tells the heroic deeds and tragic death of the legendary princess Wanda; the second one presents the story of two lovers, Odatis and Zariadres, overcoming all odds to unite and live happily ever after.
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The poem, ”Ash Wednesay”, by T.S.Eliot was translated into Romanian by Ioan Radu Văcărescu, who also wrote the presentation and the foot notes.
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The study deals with the communicative interaction between the author, the hero, the text, the reader in a postmodern novel.A similar and ambiguous reality, on the one hand, sometimes led to the subjectivist hypertrophy, absolutizing the author’s world view, and at times minimized and devaluated the author’s identity, on the other. Therefore, from the end of the 1990s the ways of expressing author’s “Self” changed dramatically, which directly affected the means of creating a hero in the contemporary Ukrainian literature. An important place in the communicative literary model was occupied by the text as an independent semantic unit and the reader as an interpreter of the text.The specifics of deploying the dialog between the author and the hero point to the transformation of their functions in the Ukrainian postmodern novel. Considering the statement of the death of the author proclaimed by R. Barthes, the former stops being the main holistic text creator, thus rather becoming its product and the way of expression.The author, the hero and the text have a certain integrity aimed at the interpretative game with the recipient, who diffuses the newly created semantic integrity into a diversity of meanings.
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Giełda Staroci na Rynku Świdnicy jest terenem badań związków zachodzących między przedmiotami, miejscami i czasami. Zgromadzone tu przedmioty związkami przyczynowymi, czasowymi, przestrzennymi, materialnymi, znaczeniowymi, wartościowymi uwikłane są w zależności z innymi miejscami i czasami. Swoją obecnością na Rynku współtworzą jego prze-strzeń relacji. Jednocześnie wikłają tę przestrzeń we własne powiązania z wieloma innymi miejscami i chwilami bliższymi i odległymi. Wszystko to sprawia, że w szczególny sposób Ry-nek jest światem, a świat Rynkiem. Teraźniejszość jest przeszłością, a przeszłość teraźniejszo-ścią. Wnioski te dotyczą nie tylko świdnickiego Rynku, lecz także innych miejsc i chwil, pod-ważając nasze dotychczasowe postrzeganie tych relacji.
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In my article, I compare Cosmos, a novel by Witold Gombrowicz with The Investigation, written by Stanisław Lem, highlighting the similarities in showing the philosophical problem of the individual being confronted with chaos – the underlying element of reality.Recognizing that both works, apart from purely literary elements, contain phil-osophical reflections, I subject them to a detailed analysis in that scope, estab-lishing that both The Investigation and Cosmos refer to the notions of chance and chaos in the same way as these notions are shaped by existential philosophy. Both works, in their narrative layer, manifest a process, which initially aims to explain the reasons of a single phenomenon’s occurrence, but ultimately leads to the discovery of the lack of not only the principle explaining that particular phenomenon but also of the one ordering the whole reality – the characters in both novels are confronted with the chaos of singular and individual elements that intertwine with one another in an entirely random and casual manner, creating only an illusion of order. In this aspect, both aforementioned works are philosophical treatises ‘disguised’ as novels and, in terms of final conclusions, share a similar metaphysical concept, attempting to find and define the universal underlying element of the surrounding reality.
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The paper aims to give a comprehensive cognitive and semiotic analysis of translation strategies implied in the translation of the film “Darkest Hour”. Regarding a film as a communicative process mediated by certain semiotic features makes it possible to analyze the semiotic character of film discourse in translation. Thus, it was decided that translation is not just a speech-oriented process but a communicative act taking place within a definite semiotic space in a cross-cultural perspective. The semiotic model of cinematic discourse has a complicated structure and is analyzed based on semantic, syntactic, and pragmatic criteria. The choice of the semiotic system primarily depends on the communicative situation and its recipients. As the semiotic system of the film “Darkest Hour” is both socioculturally and situationally conditioned, the translator reconstructed the sense of the source language text by implying the translation transformations that assured the accuracy and adequacy of its translation into the target language text.
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