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The article consists of five parts: 1. Preface (the literary families and a development of the literary institutions — periodicals, literary circles etc.), 2. Father and daughter (Alexander Sumarokov and Ekaterina Sumarokova‑Knyazhnina) (the poems in the periodical “Trudolubiwaya ptchela”, P. Berkov and G. Gukovskyi polemics), 3. Sisters (Alexandra Magnickaya and Natalia Magnickaya) (the translation of the Letters on Italy by Ch. Dupaty), 4. Wife and husband (Mikhail Kheraskov and Elizaveta Kheraskova) (the literary school of Kheraskov, the periodicals by Kheraskov), 5. Conclusion. The article concerns the history of the Russian literature from the sixties to the nineties of the 18th century.
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This article concerns the theory and practice of a variety of approaches to the literary creative process. The main thesis is that scholarship of this kind – quite popular outside of Poland – may be seen as interesting proposition and simultaneously as a challenge for contemporary (and future) Polish literary criticism. The author argues that Polish genetic criticism stays in touch with both the “cultural turn” and the idea of the “return to the philology.” In conclusion, the category of the “trace” and its applicability for the purposes of genetic criticism is discussed.
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The goal of the article is to present and analyze the key problems of cultural studies on copyright law – a relatively new area of literary and cultural research, developed mostly in the United States since 1980s. The main objective of thus oriented research is to introduce an alternative perspective to studies traditionally carried out by copyright lawyers – a perspectiveallowing one to recognize the complexity of ways in which legal solutions may impact cultural practice. The article chronologically discusses the most important publications representing this subdiscipline, including text by such authors as Martha Woodmansee, Mark Rose, Paul K. Saint-Amour and Caren Irr. The critical presentation of the material focuses on ways of defining relations between copyright law and literature, on the impact of analyses carried out within this model upon our understanding of the cultural phenomena under discussion, and – last but not least – on research methods within the area. Additionally,the argument presented in the article serves the purpose of deriving a more general formula of thinking about literature from the existing research and of confronting it with other modes of reflection about the relations obtaining between various disciplines of academic research.
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