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The author of this article ascribes to Dostoevsky text boxes in "Peterburgskoe obozrenie" ["St. Petersburg review"] of Vladimir Meshchersky ("Grazhdanin", 1873, no. 8) and in the chronicle "Iz tekushchey zhizni" ["Ongoing life"] (1873, no. 19), "Ezhenedel’naya khronika" ["Weekly chronicle"] (1873, no. 37). In addition, the notes to the article of Victor Putsykovich "Khivinskiy pokhod" ["Khiva campaign"] (1873, no. 24) and the editorial remarks in the publications of Ivan Nekrasov, Konstantin Pobedonostsev, Victor Putsykovich are also attributed to Dostoevsky.
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Ovo je pjesma „Mustafa Krilaš daje izjavu o službi kod grofa Lava Nikolajeviča Tolstoja“ koju je napisao Abdulah Sidran. Mustafa Krilaš je rođen u selu Gunjani kod Kreševa. Prema opširnom razgovoru s njim je Mak Dizdar objavio dugu reportažu u tri nastavka u listu „Jugoslovenska pošta“ u Sarajevu 1940. godine. U njoj je navedeno da je Krilaš služio u grofa Lava Nikolajeviča Tolstoja tri godine i osam mjeseci.
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This paper is an overview of a literary and cinematographic approach to the problem of relations between an individual and a regime in totalitarian and free societies at the example of The Conformist, the novel by Alberto Moravia and the movie of the same name by Bernardo Bertolucci. The focus is on the descriptions of the fascist regime in Italy and the free world of Paris directly opposed to it. The Conformist is a story of confrontation between the normal and the abnormal, truths and lies, freedom and servitude. One of the ways to illustrate this confrontation is by comparing and contrasting the motifs in the movie and the novel: Rome and Paris, Clericis and Quadris.
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The article is dedicated to analysis of repercussions of the book “Heaven and Hell” (1688—1772) by Emmanuel Swedenborg in the creative work of Dostoevsky. The moment of acquaintance of the author with the treatise of the Swedish theosophist is studied. The article summarizes the research results on the theme “Dostoevsky and Swedenborg” in national and international literary studies. The author of the article focuses on the traces of Swedenborg’s book’s impact on genesis of the fantastic story of Dostoevsky “Bobok” (1873), and proves the opinion that the artistic space of this writing is similar to “the world of spirits” of the Swedish mystic, that is seen as a transitional sphere between mortal life of a Man and his eternal being in Hell or in Heavens. At the same time, the differences between an artistic conception of Dostoevsky and the doctrine of Swedenborg are emphasized. The evidence of the author’s awareness of the treatise “Heaven and Hell” is also found in the preliminary materials to the novels “Demons” and “the Brothers Karamazov”.
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The article is devoted to the problem of the genre of commentaries on the translation of “The Epistles” of Horace made by A. D. Cantemir. In particular, a genre structure of remarks is studied in the article. In preparation of the translation and commentaries on it Cantemir used West-European editions of Horace’s works, prevalently A. Dacier’s edition. But compared to West-European editors he wrote notes not on the Latin text but on his own translation. Therefore, his commentaries do not copy Dacier’s notes. He cut some of them and extended others. His comments are divided into historical that contain a variety of details on the ancient world among others the names of Roman dishes, explanations of the philosophic ideas of the Antiquity, and philological ones that comprise the interpretation of Horatian images and complicated expressions of the Latin text. The notes on Russian historical reality and various encyclopedic data constitute a separate category of the commentaries. Thus, Cantemir’s commentaries on his translation form a kind of encyclopedia both of the Ancient world and of contemporary knowledge and ideas.
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n the 18th–19th centuries, there were attempts of literary appropriation of folklore heroes and genres. One of the literary characters was the epic and fairy hero Alyosha Popovich. N. A. Radishchev used this name as the title for his poem (1801). Imitating folkloric and literary genres, the unfledged writer created an original work, which comprised a synthesis of bylina (heroic epic song), fairy and bogatyr tale, heroic and sentimental poem. It is difficult to consider Radishchev’s hero as a bogatyr who vanquishes his rivals by force of his sword and strength of his mind. He uses magic items and transcendent capacities in his fight with wicked and hostile enemies. Having become the hero of a fairy tale the epic hero ceases to be a bogatyr; the poetics of the fairy tale disrupts the poetics of the bylina. In the fantasy world, there live and act heroes of another age who deliver sentimental speeches in accordance with the literary fashion, chop logic exaltedly, weep and suffer, in spite of reflection they accomplish their feats of love and create family happiness: Alyosha comes back to Kiev with his found wife, and the bogatyr becomes sexton again. In defence of these genre experiments and transformations, it is possible to showcase the success of another poet — “Ruslan and Lyudmila” by A. S. Pushkin who was inspired by Radishchev’s poetic fairy tale.
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The features of the psycho-pedagogical training are revealed in the article, its role in personality harmonization of the future teacher, warning of the professional stress, prevention of the "emotional burning out". Experience of training practice providing is described with future teachers. The content meaning of the psycho-pedagogical training, form and methods of its realization are described.
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The paper is focused on comparison of two papyri: PDerv and PHerc. The second one belongs to the treatise of Philodemos of Gadara De pietate. Both of them have very similar semantic level and after very careful analysis we can conclude that the fragment PHerc. fr. 14 which contains the thouhgt of Empedocles is very similar to Derveni Papyrys and the Orphic religion (e.g. using verb θύω or other words which refer to rituals).
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With the help of anthropological categories and tools I shall “take apart” an airplane so as to put it together again and view it as a key for comprehending global processes of the contemporary world: the role of innovation, invention, and technology in the cultural activity of man, as well as its impetus and influence upon life within a daily, local, global, etc., dimension. I wish to show the airplane as a site, a flying modern museum, a space of free thought and invention seen as the arch-human attribute of man. The airplane and the airfield will be treated as links in the evolution of widely understood communication brimming with borrowings, interferences, and inventions.
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K.F. bio je čovjek od riječi. Glave od riječi raport, trupa od riječi metamorfoza, ruku od riječi paljba i nogu od riječi upotpuniti. Sjedio je na kauču u dnevnom boravku, ispružio upotpuniti i prekrižio paljbe. Onda su ušli P.T. i V.S. V.S. je bez riječi otvorio hladnjak, a P.T. je promrmljala nešto riječi pa nervozno sjela pa nervoznije ustala pa izašla.
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A text about the phenomenon of the Bieszczady belles letters, which emerged in the course of the past decade. These works comprise an affirmation of life in the Bieszczady Mts. seen through the personal perspective and experiences of the authors, who even when reaching for fictionalisation remain documentalists of the Bieszczady lifestyle and create an image of the region. An acquaintance with this prose, written both in the spirit of the imagery and myths about this distant part of Poland (i.a. the myth of a land of mellowness, the pioneer-cowboy myth, the myth of an uninhabited wilderness, the multicultural myth) and countering both approaches, demonstrates the operations involved in constructing the Bieszczady self-presentation and rendering indelible regional specificity in such a manner so that the reader rejects all associations with fiction. The author pondered on the status of the literary work as seen by an anthropologist and proposed reflecting on anthropological methods of analysing literature – the product of culture of interest to him. In doing so she advised approaching written narration perceived as cultural praxis and a form of activity. The Bieszczady example illustrates the purposes of the literary text, the way in which it assists the interpretation of the context and aids the cognitive process in those cases when we are particularly interested in self-presentation practices and narrations about the past, i.e. the way people portray themselves and what they want to say about themselves to others, not only to anthropologists.
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The correspondence between T. I. Filippov and M. P. Pogodin of 1873–1874 is published accompanied with detailed factual commentaries. Epistolary materials through light on various aspects of the author’s participation of T. I. Filippov in the weekly “Grazhdanin” (“The Citizen”) and give an idea of the business environment in the editors office complicated due to the situation of the journal having two “owners” — editor F. M. Dostoevsky and publisher (an unofficial coeditor) V. P. Meshchersky. The letters particularly fix on Filippov’s work on a series of the articles on the issues of Old believers uniformity (Edinovertsy), written for “Grazhdanin” based on the discussion materials in Saint Petersburg Department of the Enlightenment Society.
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The Romanian intellectuals and their political commitment become one central issue in focus of Manea-Kanterian dialogue (before and after 1990). The different situations of intellectuals's position towards the regime (overt or covert political commitment or, on the contrary, total disapproval) are honestly and objectively approached.
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Bien nourrit par la norme du fantastique intélectuel de Baconski ou des éléments folcloriques, légendes qui se sont reposées même dans l´écriture de Mircea Eliade (on voit „Mademoiselle Christina”) le fantastique de Blandiana ne surgisse pas à la frontière étroite qui sépare le réel de l´irréel (dans le sens de la définition de Tzvetan Todorov), mai il est, dans son essence, une résémantisation du réel. On parle, dans ce cas, d´une prise extérieure, établie conventionellement-esthétique sur l´inexplicable, sur l´étrange, tandis que Blandiana prends sur soi la descente dans un surnaturel touché soit fantasmatique, soit étrange, soit grotesque. On peut ainsi relever un fantastique issu parmi les volutes du soi, dans le sens dans lequel l´auteur manifeste une évidente préférence pour le récit secret où le je narratif essaie surtout une auto-représentation plutôt qu´une simple translation de la matière épique du réel vers l´irréel et contrairement. On ose à dire que le fantastique de Blandiana naît de ce besoin-là du soi créateur d´évader du processus de la dénaturation du je par une dimension flagellante du réel.
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The text refers to the article published in print in 2000, by Fr Conrad DeMeester, OCD, entitled Two Unpublished Poems (French original: Deux poésies inédites, “Carmel” 2000, no. 2, 33–44). It is a theological commentary on two poems written by Elisabeth in her youth: P 72 bis and P 72 ter. She composed them before entering Carmel, toward the end of the first stage of her spiritual life, which was the path of active purification (active night of the senses and spirit). Elisabeth expresses her longing for God, for entering Carmel, for being entirely united to Jesus, her Beloved, and configured to Him. These desires, with the help of God’s grace, will become a firm foundation for the relationship with God and will allow her to take the path toward holiness.
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The author, inspired by philosophical aesthetic reflection, presents one of the aesthetic qualities: ugliness. Based on the assumption that “Grimms’ Fairy Tales” directly reach the realm of the unconscious, utilising towards that end not only symbolic meaning, but also a wide range of operations through imagined sensory perception, she identifies in the texts such fragments of the stories which relate to specific sensations caused in the real world using physical stimuli. The analysis constitutes only a case-based introductory study of the issue of senses in literary texts. She does not focus on the tale as an independent existential creation, which carries a multitude of interpretative references and meanings, only the possibilities offered by the analysis of a work, which consists of a transfer of a literary description to the imagination of the sensory experience occurring (hypothetically) in the receiver’s imagination.
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This study deals with exploring absurd drama, Death of a Salesman as a model through social media. The study emphasizes on sharing more than one student with their teacher for the analyzing the play. The information and details are exposed according the students' sharing in a dialogue way with their teacher and then they conclude an analysis paragraph for each section. In their analysis they focus on exploring absurd drama "Death of Salesman tragedy" to enlighten the modern literature theories. The study consists of two parts: the first is a literary analysis paper and the second is the investigation of the EFL students' attitude towards English literature after using social media.
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