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In the 21st century, researchers take on a difficult task of forecasting and controlling the development of technology. Futurology is starting to play an important role. Stanisław Lem created a series of visions of the future, which include not only the sci-fi works that everyone knows, e.g. Eden or The Invincible as well as philosophical works: Summa Technologiae or Biology's Development Over the Years Leading Up to 2040: A Forecast. His “metafuturological” work allows a new perspective of the reflection over the latest futurological research (Ray Kurzwell or Nick Bostrom).
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The article is devoted to coloristic range description of the novel The Smoke of the Fatherland by K.G. Paustovsky. The quantitative and qualitative lexemes composition, which forms it has been revealed. The functional load of color dominants and the ratio of national color picture of the world and the individual author’s has been established; as well as some special features of K.G. Paustovsky’s creative manner of color-writing.
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This article deals with the relationship between Fyodor Mikhailovich Dostoyevsky and Vladimir Sergeyevich Solovyov. At first, it focuses on historical and biographical facts about both Russians – one litterateur and the other theologian and philosopher. It refers to their mutual interchange of ideas and impact which they had on each other, especially in Dostoyevsky’s Legend of Grand Inquisitor, which was part of Dostoyevsky’s last novel The Brothers Karamazov. The article then analyzes the legend in the context of Solovyov’s ideas presented in his Lectures on Godman- hood and shows a development of Solovyov’s view of the Catholic Church. This provides the background for explaining the Legend – it should not be understood as a critique of Catholicism but as a critique of the abuse of authority.
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Syrian and Armenian influence has been felt in the Old Bulgarian culture by different scholars, such as archaeologists and architecture historians as well as historians of the earliest Bulgarian writing and manuscripts. Some of them, looking for a possible source of this influence, pointed to resettling a large Syrian and Armenian population from the former Roman Armenia's lands in the Caliphate to northern Macedonia in the 750s. An exhaustive overview of the literary sources related to this resettlement (in Greek, Syriac, Arabic, and Armenian) demonstrates that took place a translatio urbis of Theodosiopolis/Karin (modern Erzurum) together with a great part of Christian population of the Great Armenia and Melitene. The immigrants created new cities where preserved and developed their local cults, including the famous cult of the Fifteen Martyrs of Theodosiopolis/Strumica.
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Dennis Kelly (1970), contemporary British playwright and scriptwriter’s first drama Debris, appears in this issue in the Hungarian translation of dramaturge Júlia Sándor. The drama was first presented in London, at Theatre 503, in 2003. According to its interpreters, the text shows the stylistic features of in-yer-face dramas: this term was used by critics for the theatrical tendency of the 1990’s in Great Britain that tried to impress the audience with its shocking rhetoric. Kelly’s drama does not in any way resort to linguistic or thematic fineries, but still manages to explore the horror of human existence with refined theatrical fantasy and humour. The two characters of his play are the siblings Michelle andMichael, who approach their own dysfunctional childhood through the language of horror-fantasy, in which fiction and reality intertwine. Storytelling leads back to the traumatic origin of birth, where destruction has started – and apparently will always start. This is so because – next to the socio-graphic character of situations created by emotional void, aggression, alcoholism and poverty – the generalhuman, especially childhood experience of vulnerability is equally strong. The impossible struggle for life in a world that is hostile to the core – this is what Kelly’s characters express theatrically.
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The paper investigates new trends in the genre of memoirs in the beginning of the 21st century, taking as an example the family history of one of the foremost Irish writers. Rory & Ita, the first non-fictional work of Roddy Doyle, focuses on the paralleled lives of his parents and reveals Ireland in the complexity of its transformation through the 20th century. Dubbed by positive critics as a work of oral history offering a new standard in the memoir and biography, Rory & Ita has provoked a surprising amount of negative response. The paper seeks to find explanations for this reaction, and, pursuing such an aim, to discuss narrative strategies underlying the text.
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The article deals with the relationship between emotions and inspiration with artistic fantasy, and also determines its impact on the process of the birth of poetic work. The spiritual essence of emotions is an important constant in the author’s artistic world. The relationship between emotions and sensual – spiritual spheres of a person’s life is defined. The connection between emotions and cognition, motivation of activity, transcendence is proved. The specificity of revealing emotions in the poetic works of Jan Czykwin and Halina Twaranowicz, ways of disclosing the spiritual essence of emotions in their poems are analyzed. The researcher comes to the conclusion that an author’s emotional sphere in the emergence of a creative idea and its realization in an artistic text play an important role.
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Narrative strategies in the story “Weed” by S. Yanovich and in small prose by M. Straltsov are aimed at revealing the inner world of man. The heroes of the works of both writers are reflective people. The writers paid much attention to introspection.M. Straltsov preferred to modify the plot, the combination of lyricism and epic. S. Yanovich chose secondary artistic convention – satirical image.
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All components of the artistic world of literary works are medium of artistic concept. In contrast to the ideas of the image, the character, and the hero, the concept refers to the writer’s views; it optimizes the analysis of pictorial structure of a literary work. Scientific interest in the study of the characters’ conception in literature was intensified at the turn of the 20th and 21st centuries and has been relevant since then. An artistic expression of a personality conception in literary works has clear historical and national features. This article presents the results of the analysis of the artistic concept of the personality in Mira Luksha’s prose.
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The article explores the embodiment of spiritual search in the poetry of Belarusian poetesses of the second half of the 20th century and the beginning of the 21st century – Nina Matyash and Halina Tvoronovich, whose verses are a clear example of Belarusian spiritual poetry with its national characteristics. On the example of their poetry the ways of their personal moral progress and the search how to save the mankind have been conceptualized.
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The article discusses the question of the authorship of the poem “Зáграй, зáграй, хлóпчэ мáлы...” in Belarusian literary studies. The main focus is concentrated on the fact that, over the last century, philologists have not been able to establish any convincing arguments to confirm Pavluk Bagrym’s authorship of the poem, whereas the investigation of the context in which this work was published allows to claim that Ignatsy Yatskovsky was not only its publisher, but also its author.
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The article discusses the plays which have won the competition for the plays created for the drama theatre “Skaryna and Modernity” in 2016. These are “Francysk. Pripovest” by Timophei Ilievsky, “I Brought You the Word” by Mihail Turunovsky, “Viry Svoya” by Sergei Shidlovsky and Irina Andreeva, “The Doctor of Free Studies” by Nikolai Rudkovsky, “Doctor Raus’s Career” by Viktor Martinovich, “Skoryna. Beta-version” by Elena Ivanyushenko. Special attention is paid to the characteristics of drama time and space, characters’ typology, subject matter of the plays.
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The main aim of the study is to define the diversity of theoretical-methodological principles for analysis and consequent interpretation of the text, with emphasis on those approaches whose complexity allows us to cross the field of literary science as well as to enter other disciplines such as media studies. In order to achieve this goal, it is necessary to define the concept of text, to indicate the appropriate terminology and to justify our consideration of the text as an artifact with a certain verbal value (in our study we focus specifically on literary and media text). Emphasis is placed on current literary-methodological approaches to text analysis. We suppose that the selected methods of analysis and subsequent interpretation of literary texts have been useful in studying media texts as well (e.g. audiovisual images). We try to confirm/possibly refuse the assumption in the final part of the study, in which we summarize the data obtained and then compare the results.
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Starting from a plurivalent theoretical analysis of the Greek term nostos (both as a return to an identity of self, and as a formula for approaching the modern concept of nostalgia), this paper aims to follow the modality in which a literary thinking changes and it is sucombate by a more spatial cinematic thinking. More precisely, from the description of a singular affect (in the case of Thomas Mann’s narrative, Death in Venice, the representation of a nostalgic reality fluctuates into a dilute, synaesthetic exposure (in the case of 1971 Luchino Visconti’s film, Morte a Venezia).The purpose of this research paper is, therefore, to expand the analysis of Visconti’s cinematic intuitionism. The perspective changes through assembly, activating not the need for a fixed point of observation, but, on the contrary, distinct ways in which the sequences outline their own truth in relation to the eternal precondition (both at Mann and Visconti) of death tragedy.
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The text is a fragment from a novel written by Bedros Horasangian.
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This section contains excerpts from the writings, more precisely the short-stories of two Romanian writers.
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