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Family roots and the rebellious movement of students as a journalist's genesis
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Family roots and the rebellious movement of students as a journalist's genesis
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From letters to her beloved famous revolutionistshows her attachment to Polish cultureand poetry by Adam Mickiewicz
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The author briefly justifies the concept of chronopoetics. He refers to Lec’s aphorism, to Aleksander Wat’s poetry and his autobiographical prose. Chronopoetics exposes the clock as an object presented in literature and as a carrier of philosophical issues, of a modern experience of time. The author’s explorations focus especially on the motif of the clock striking (tick tock).
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Wirth Imre, Name is a Pothole, Bathing Boars, Ruins, Love - 21.
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Poems by Zoltán Ferencz-Nagy: -1+1, Régi asszonyok régi férfiakhoz; Vasárnap esti üzenet egy Kauflandból; Ne legyetek perzsák; A havasok építészetéhez.
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An excerpt from Gabriel Liiceanu's opera: The Tragic. A phenomenology of limit and overcoming (Univers Publishing House, Bucharest, 1976, pp. 37–41).
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This article analyzes Zuzana Nováková’s poetry from the perspective of Franciscan spirituality – throughout all of her poetic texts for adult readers it searches for inspiration by Franciscan spirituality on the thematic, motivic and formal level. Poetic texts written by Nováková are full of the attitude of trust, harmony of the inner world in contrast with the danger of the world outside, they are often inspired by nature in the sense of fraternity and connection of all that is created; calling plants and animals “brothers” and “sisters” is not rare in them either – as it is in St. Francis’s texts. Zuzana Nováková also wrote a whole long piece The Legend of Princess Agnes about Agnes of Bohemia (Order of St. Clare) and rewrote some legends from the life of St. Francis of Assisi. Franciscan point of view is one of the constitutional features of Nováková’s poetry.
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Venancius Fortunátus. Život svätého Martina. Z latinského originálu preložil a úvodnú štúdiu napísal Róbert Horka. Bratislava: Rímskokatolícka cyrilometodská bohoslovecká fakulta Univerzity Komenského v Bratislave 2019, 154 s., ISBN 978-80-88696-77-3.
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Studia Bibliographica Posoniensia 2021. Zostavila Miriam Poriezová Ambrúžová. Bratislava: Univerzitná knižnica v Bratislave, 2021, 248 s., ISBN 978-80-89303-83-0. Proceedings on the history of book culture and current trends in their research.
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Europski glasnik, gl. ur. Dražen KatunarićPrikaz Europskog glasnika, br. 25, Zagreb, HDP, 2020.
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This paper deals with a relatively little known chapter of Bohumila Grögerová’s work, that of her radio plays. Grögerová, at the end of the 1960s, but mainly in the 1970s, the author (often in collaboration with Josef Hiršal), wrote a number of remarkable radio compositions whose genre fits what is known as the New Radio Play (Neues Hörspiel). She openly experimented with language and made productive use of the principle of stereophony. The first two radio plays, Lunovis and Zweiäugiges Wortspiel (Two-eyed Wordplay), were written for West German production at the beginning of the 1970s; her later plays had to be written for posterity, and many have still not been recorded. This paper focuses primarily on two plays in Czech by Bohumila Grögerová, the “micro-play” Už jenom dýchat… (Just to Breathe…, 1975), which was prepared for radio recording by Hana Kofránková in 1991, and the stereophonic composition Dokud se nade mnou nezavře voda (Until the Waters Close over Me, 1975), which only exists in typescript. This paper includes an edition of the two plays based on the manuscripts lodged in the Literary Archive of the Museum of Czech Literature, and has a link to the audio production of the first play. The two plays are remarkable in the way they combine the traditional illusion of the radio stage with linguistic reflexive approaches. The compositions represent a completely unique creative act in the context of Czech literature and radio.
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The convergence of textuality and multimedia in the twenty-first century signals a profound shift in early modern scholarship as Shakespeare’s text is no longer separable from the diffuse presence of Shakespeare on film. Such transformative abstractions of Shakespearean linearity materialize throughout the perpetual remediations of Shakespeare on screen, and the theoretical frameworks of posthumanism, I argue, afford us the lens necessary to examine the interplay between film and text. Elaborating on André Bazin’s germinal essay “The Myth of Total Cinema,” which asserts that the original goal of film was to create “a total and complete representation of reality,” this article substantiates the posthuman potentiality of film to affect both humanity and textuality, and the tangible effects of such an encompassing cinema evince themselves across a myriad of Shakespearean appropriations in the twenty-first century (20). I propose that the textual discourses surrounding Shakespeare’s life and works are reconstructed through posthuman interventions in the cinematic representation of Shakespeare and his contemporaries. Couched in both film theory and cybernetics, the surfacing of posthuman interventions in Shakespearean appropriation urges the reconsideration of what it means to engage with Shakespeare on film and television. Challenging the notion of a static, new historicist reading of Shakespeare on screen, the introduction of posthumanist theory forces us to recognize the alternative ontologies shaping Shakespearean appropriation. Thus, the filmic representation of Shakespeare, in its mimetic and portentous embodiment, emerges as a tertiary actant alongside humanity and textuality as a form of posthuman collaboration.
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The paper proposes to appreciate the play’s butcheries as an incision into the unstable character of the category of the human. The vividness of the “strange images of death” is thus analysed with reference to the cultural poetics of Elizabethan theatre including its multifarious proximity to the bear-baiting arenas and execution scaffolds. The cluster of period’s cross-currents is subsequently expanded to incorporate the London shambles and its presumed resonance for the reception of Macbeth. Themes explored in the article magnify the relatedness between human and animals, underscore the porosity of the soon to turn modern paradigms and reflect upon the way Shakespeare might have played on their malleability in order to enhance the theatrical experience of the early 17th century. Finally, the questionable authority of Galenic anatomy in the pre- Cartesian era serves as a supplementary and highly speculative thread meant to suggest further research venues.
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Albert Lewis Kanter launched Classic Comics in 1941, a series of comic books that retold classic literature for a young audience. Five of Shakespeare’s celebrated plays appear in the collection. The popularity of Classics Illustrated encouraged Seaboard Publishing to issue a competitive brand, Stories by Famous Authors Illustrated (1949-51), which retold three Shakespearean dramas. Although both these enterprises aimed to reinforce a humanist perspective of education based on Western literature, the classic comics belie a Posthuman aesthetic by presenting Shakespearean characters in scenes and postures that recall Golden Age superheroes. By examining the Shakespearean covers of Classic Illustrated and Stories by Famous Authors, this essay explores how Shakespearean characters are reimagined as Superhuman in strength and power.
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The human face, real and imagined, has long figured into various forms of cultural and personal recognition—to include citizenship, in both the modern and the ancient world. But beyond affiliations related to borders and government, the human face has also figured prominently into biometrics that feed posthuman questions and anxieties. For while one requirement of biometrics is concerned with “unicity,” or that which identifies an individual as unique, another requirement is that it identify “universality,” confirming an individual’s membership in the species. Shakespeare’s sonnets grapple with the crisis of encountering a universal beauty in a unique specimen to which Time and Nature nonetheless afford no special privilege. Between fair and dark lies a posthuman lament over the injustice of natural law and the social valorizations arbitrarily marshaled to defend it.
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