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The authors focus their attention on the analysis of the late 17th century edition of the manuscript “Sibirskij lestvichnik” (GIM. Sin. sobr. 120 (262)), carried out in 2015 in Tyumen. The publication received numerous praise in the local press, was among the winners of the competition for the best book. Meanwhile, the reference of the manuscript to the authorship of Philofei (Leshchinsky), established in science, raises great objections. The study of the manuscript does not give the right to make such conclusions. The authors express new assumptions about the reasons for the creation of the manuscript and its popularity among readers. The quality of translation, which does not take into account many peculiarities of the manuscript’s language (syntactic, morphological, and stylistic), is equally doubtful, as is the quality of its translation, which distorts the meaning and individual features of the language. The design of the edition does not meet modern requirements to the accuracy of the source of illustrations.
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This article deals with “Professor Arendt” – one of the protagonists of Sklepy cynamonowe (The Cinnamon Shops) by Bruno Schulz. Władysław Panas indicates that the Professor is not only a specially distinguished dramatis persona within the construction plan of the story but also an exceptional character in entire Schulzian prose, since he is the only mentioned by name whom Schulz transferred into his prose from the actual reality of Drohobycz. The first part of the article presents historical-biographical findings concerning Adolf Arendt – a teacher of drawing at the Drohobycz secondary school. Władysław Panas goes on to present an interpretation passage placing Professor Arendt against a wide backdrop of “nocturnal painting” and “graphic nocturnes”; by making use of of the strategy of “anagrammatical-hypergrammatical” analysis (inspired by notes by Ferdinand de Saussure on anagrams, anaphones, and hypergrams) he shows the structural relation between Arendt and Rembrandt and – more extensively – links the manner in which Schulz comprehended art and the vision of art present in his oeuvre.
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The article discusses and characterises the manner of perceiving Drohobycz inscribed in the works of Bruno Schulz. Małgorzata Kitowska-Łysiak recalls that the home town of the author of Sklepy cynamonowe (The Cinnamon Shops) plays a key role in his imaginarium, while the focus accepted by the artist is the reason why in his literary and visual art works Drohobycz appears as a “concrete place on Earth” (with recognisable topographic and architectural elements of reality) and, at the same time, as a space of creative imagination. It is precisely the latter – as the author of the article demonstrates - that processes the visible world and deprives it of reality, additionally placing upon its objective reality a filter of individualised sensitivity while, at the same time, reaching the real subsoil of visible reality, its invisible “bastion”. According to the interpretation proposed by the article the perception of Drohobycz suggested by Schulz possesses its imperceptible antecedents in the impact exerted by the spiritual and artistic aura of a town that co-created the culturally diverse milieu of painters connected with Drohobycz - widely portrayed by the author - and in various ways conceiving its iconographic “form of existence” (i.e. Leopolski, the Gottliebs, Lilien, Weingart, Stupnicki, and Lachowicz).
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Excerpts of conversations and notes dedicated to Bruno Schulz by Ihor Meniok, co-founder of the International Bruno Schulz Festival in Drohobych.
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The author (artist and performer) describes her first visit in Drohobycz /Drohobych: “Here am standing in my favourite spot in Drohobycz, at the corner of the market square, which inclines slightly downward. This is the cosmic angle of the Drohobycz market square. By means of this slightly folded corner Drohobycz is connected with the Cosmos. I imagine and feel this, and am convinced that this is where space is most translucent and pure and air is endlessly transparent. And at that exact moment when I had the impression that the air is crystal clear and transparent I opened my suitcase and filled it with air. Next, I shut the suitcase and set off to Bianka’s villa in order to open the suitcase during my performance and let the air out. While I was walking across Drohobycz carrying my suitcase towards Bianka’s villa I asked the people I met on the way about the words, which I wished to translate from the Polish to Ukrainian: first time – vpershe; space – prostir; air – povitrya; transparency – prozorist; purity – prozorist; comprehensible – zrozumile, pure – prozore.
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An essay about a gradual (since childhood) discovery of the atmosphere of Galicia, the oeuvre of Bruno Schulz, and, subsequently, Drohobycz / Drohobych while participating in successive editions of the festival and “Second Autumn” meetings commemorating Schulz (the name of the event comes from his prose) as well as simply wandering around Drohobych with a camera in the company of filmmakers – the brothers Quay. Or in the course of encounters with Alfred Schreyer, Schulz’ pupil and guardian of the memory of pre-war Drohobycz, ”an aristocrat of the spirit”, a person of extraordinary personal culture, speaking beautiful Polish. Finally, while making (together with Marcin Giżycki) Alfred Schreyer from Drohobycz, a film about this unusual protagonist.
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Nie sposób analizować pogranicza literackiego w oderwaniu od czynników historyczno-poli- tycznych, a także uwarunkowań społecznych, gdyż postmodernizm spycha literaturę do poziomu zjawiska elitarnego. W artykule podkreśla się konieczność demitologizacji kulturowego pograni cza, która miałaby opierać się na przewartościowaniu przekonania o wyższości polskiej kultury nad kulturą kresową i zlikwidowania stereotypu „oddalonych narodów”. Występowanie podob nych motywów literackich na przylegających obszarach kresów według autora nie świadczy tylko o możliwości wpływów, ale także o niezależnym pojawianiu sie podobnych treści. Publi kacja zwraca uwagę na stymulującą funkcję pogranicza kulturowego, która wzbogaca dziedzic two narodów kresowych. Badacz interpretuje literaturę pogranicza w kontekście szeroko pojętej sztuki, której granic wyznaczyć nie można. Ponadto rozpatruje omawiane zjawisko w aspekcie duchowej przestrzeni, w której uczestnicy odnajdują swą tożsamość. Autor stwierdza, że nie sposób udzielić jednoznacznej odpowiedzi na nurtujące problemy pogranicza, jeżeli badacze nie będą podczas analizy omawianego zagadnienia syntezować komponentów historycznego i strukturalistycznego.
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Gianina Cărbunariu’s For Sale premiered in 2014, directed by the author within the international project Hunger For Trade, in a co-production between Odeon Theatre from Bucharest and Deutsches Schauspielhaus Hamburg. Similarly to her other performance-texts, For Sale deals with social issues: it presents the conflict of interests between big Romanian and international investors in large-scale agricultural production and small farmers, through cases of shady land acquisitions. At the starting point of the story are interviews and discussions with the inhabitants of villages from the counties Cluj, Ialomița and Călărași, with anthropologists, sociologists and activists. The documentary material is built around a conflict between an anonymous international company, which tricks the selling rights of rented plots and the inhabitants of a village, the rightful landowners. The ending is a ballad-like story, which shows the impact of the conflict at the level of ordinary people. The state or the laws seem unable to protect the farmers exploited by the market strategies of globalized production, but it also looks as if such an action would not even serve their interests. The text was translated to Hungarian by Éva Patkó. Patkó’s Cărbunariu-translation will be published in a volume in 2019.
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The presented fragment comes from the book: Pusty Las (publishing house: Czarne, April 2019). Puste pole is the story of the author’s life in Wołowiec, a village in the Beskidy Mts., from which successive inhabitans vanished: the poor, seeking better fortune acrosss the ocean, visionary oilmen, Jews, Gypsies, and members of the Łemko community. It is also an homage paid to this place on Eartth, its history, Nature, and population. The author deciphers the Beskid Niski Mts. and Wołowiec – her place on Earth, the site of existence on memory meadow and in gaps left beind by the former inhabitants of the land of the Łemko people. These gaps and ranges of a void – invisible at first glance – appear amidst words, called by their name.
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Efrosini Manda Lazaru rođena je na Kipru. Studirala je grčku filologiju na Filozofskom fakultetu Atinskog univerziteta. U periodu od 1995. do 2003. godine radila je u Službi za edukativnu psihologiju pri Ministarstvu prosvete i kulture Kipra kao koordinatorka za specijalizovane programe kiparskih gimnazija i učestvovala u izradi edukativnog materijala. Od 2003. radila je kao koordinatorka za programe u Zoni obrazovnih prioriteta za škole u oblasti Faneromeni u Nikoziji. Dobitnica je Državne nagrade za poeziju za knjigu „Noje u gradu” (2012). Knjiga poezije „Skupljačica mina” (2014) peta je knjiga poezije koju je autorka objavila. Njena poezija je prevođena na italijanski i srpski jezik.
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Angela Kajmakljoti rođena je 1967. godine u Famagusti, na Kipru. Studirala je pedagogiju na Kipru i u Solunu. Od 1974. godine živi i radi u Larnaki. Član je Unije književnika Kipra. Objavila je tri knjige poezije i jednu zbirku priča. Zbirka pesama „Izbliza” predstavlja najdublje i najiskrenije suočavanje pesnikinje sa duhovima prošlosti. Njene pesme prevedene su na engleski i srpski jezik.
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Stela Voskaridu Ikonomu rođena je na Kipru 1981. godine. Studirala jemuzikologiju u Atini i Njukaslu. Radi kao muzikolog i, između ostalog, istražuje odnosjezika i muzike. Objavila je dve knjige poezije. Prva knjiga se našla u užem izboru zaDržavnu nagradu Kipra za najboljeg mladog autora. Proglašena je za pobednika Prvogmeđunarodnog Poetry Slam nadmetanja održanog na Kipru u martu 2017. godine.
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Stevan Tatalović rođen je 1987. godine, i živi i radi u Beogradu. Piše poeziju i akademske tekstove. Rukopis Ustupanje mesta je autorova prva (prava) zbirka pesama, koju je objavio Treći Trg 2016. godine kao nagrađeni rukopis poezije. Autor je prethodno objavio knjižicu O u izdanju beogradskog Pesničenja.
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Srđan Gagić je rođen u Bosanskom Novom / Novom Gradu, u Bosni i Hercegovini. Diplomirao je srpsku književnost i jezik sa komparatistikom na Filološkom fakultetu u Beogradu. Autor je dve pesničke zbirke: Deca u izlogu (2015, Bijelo Polje, Crna Gora), za koju je dobio Brankovu nagradu, i Prelazno doba (2016, Treći Trg, Beograd), koja je nagrađena na konkursu za poeziju Beogradskog festivala poezije i knjige. Pesme su mu prevođene na engleski, rumunski i slovenački jezik. Priredio je antologiju bosanske, crnogorske, hrvatske i srpske poezije Meko tkivo: izbor iz nove poezije regiona, koja je objavljena u izdanju Kluba A302 Filozofskog fakulteta u Zagrebu. Književnu kritiku objavljuje u časopisu za kulturu Prosvjeta iz Zagreba. Član je žirija za zbornik poezije i kratke proze Rukopisi u Pančevu, kao i koordinator 11. Beogradskog festivala poezije i knjige. Član je Srpskog književnog društva.
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Patrik Kovalski rođen je u Doboju, u Bosni i Hercegovini, a danas živi i radi na relaciji Novi Sad – Veliko Gradište, u Srbiji. Autor je knjige kratkih priča Sugarfree (2005) i dve zbirke poezije Žuč mikrokozma (2010) i Zlatna groznica (2016), koja je objavljena kao nagrađen rukopis na konkursu Trećeg Trga i Beogradskog festivala poezije i knjige. Poeziju objavljuje u književnim časopisima, zbornicima, a zastupljen je i u antologijama savremene srpske poezije.
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Ognjen Aksentijević rođen je 1994. godine u Leskovcu. Student je grupe za srpsku književnost i jezik sa komparatistikom Filološkog fakulteta Univerziteta u Beogradu. Uređuje studentski književni list Vesna u kom objavljuje književnu kritiku i eseje. Um za morem, smrt za vratom je autorova prva knjiga poezije (nagrada Beogradskog festivala poezije i knjige Trgni se! Poezija! 2017).
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Jovan Marković rođen je 1989. godine u Beogradu. Piše filmske kritike, scenarija i eseje iz oblasti teorije književnosti i filma. Znakovi i znaci je autorova prva knjiga poezije (nagrada Beogradskog festivala poezije i knjige Trgni se! Poezija! 2017).
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Natalija Jovanović rođena je 1989. u Beogradu. Student je doktorskih studija na grupi za srpsku knjževnost. Objavila je zbirku pesama I dosta (2014) i nekoliko naučnih radova iz oblasti književnosti i borbe sa zamenicama. Od svih jednostavnih stvari je autorkina druga knjiga poezije (nagrada Beogradskog festivala poezije i knjige Trgni se! Poezija! 2017).
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Stevan Bradić rođen je 1982. godine u Novom Sadu. Piše poeziju, eseje, prikaze i kritiku, prevodi sa engleskog. Objavio je zbirku pesama U kotlarnici (2013) i studiju Simulacija i gastronomija (2012). Zaposlen je na Odseku za komparativnu književnost Filozofskog fakulteta u Novom Sadu. Uređuje portal za književnost, filozofiju i društvenu teoriju Rizom. Na zemlji je autorova druga knjiga poezije (nagrada Beogradskog festivala poezije i knjige Trgni se! Poezija! 2017).
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