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An Interview with Transylvanian Poet and Writer Hans Bergel.
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The thoughts presented here are from a conversation made in the fall of 2019, with which we say goodbye to the writer, publicist Hans Bergel, who died on February 26 this year at the age of ninety-seven.
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Bene Zoltán's, Paths. Second Fragment From The Novel "Igazak".
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Wirth Imre - "Name is a Pothole, Bathing Boars, Ruins, Love - 22."
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In the series Twin Peaks, Mark Frost, David Lynch and others create a mythological framework structured by and filtered through Shakespeare in a postsecular exploration of the posthuman. Twin Peaks exemplifies a cultural postsecular turn in its treatment of the posthuman, taking the religious and spiritual perspectives to new —and often extreme—heights in its use of Kabbalah and other traditions. Twin Peaks involves spiritual dimensions that tap into other planes of existence in which struggles between benign and destructive entities or forces, multiple universes, and extradimensional, nonhuman spirits question the centrality of the human and radically challenge traditional Western notions of being. Twin Peaks draws from Shakespeare’s expansive imagination to explore these dimensions of reality that include nonhuman entities—demons, angels, and other spirits—existing beyond and outside of fabricated, human-centered worlds, with the dybbuk functioning as the embodiment of the postsecular religious posthuman.
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Text by Petru Cimpoeșu - " Alte note pentru același viitor roman"
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This article is a little tribute that a drama teacher, an editor and translator and a lecturer in English Literature would like to contribute to this Special Issue in Honour of Professor Dr Jan Kott, the most influential non-English speaking Shakespearean Critic in the second half of the 20th Century and early 21st Century. In the initial part of the essay we will overview Kott’s influence in the development of current Shakespearean tradition(s) in Spain from the early 1970s to the present day. In fact, his writings and critical views on William Shakespeare’s Works have been a decisive point in the development of new approaches to this playwright in some University Departments and Drama Schools in this country. The whole discussion will take the notion of hybrid and hybridization as the point of departure and we will draw some conclusions for discussing new critical thinking in Art (Science,) and Humanities.
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Poems by five Romanian poets. Poems by Nicolae Coande - "Frumusețe cafea", "Orașul". Poems by Augustin Ioan - "Cămin", "Luna Park USA", "2200 Maplewood Avenue", ȘPAN (1986-1989), "Far", "Nu mai plânge, baby!", "În coloană", "Carne, pricepi?", "(E)cranieră", "Îmbrățișare", "CFR", "Cariera". Poems Otilia Țeposu - "Portret", "Tata", "Raniță de soldat", "Promisiuni uitate", "Întâlnire", "Întrebare". Poems by Tatiana Ernuțeanu Poems by Elisabeta Boțan - "Poeta", "Noapte de august", "Năzuință", "Ireversibil", "Un loc-paradis", "Artă poetică", "Lumea lui Narcis", "Ars Poetica", "Fish", "Hazard", "Ying și yang".
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Short Prose by Krisztina Lovász - "Körfolyosó", "Arról, hogy mi a jó (1.)", "Arról, hogy mi a jó (2.)", "Kényes", "Sir David Attenborough szomorúsága".
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Forgách András - The Execution (Fragment from the novel "Zehu").
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In 1612, the Jerzy Schonfels’ printing house in Braniewo published Tomasz Treter’s posthumous work titled Symbolica vitae Christi meditatio. This cycle of ascetic and mystical reflections was considered by Janusz Pelc to be one of the most interesting emblem books written in the Polish Commonwealth. Also Tadeusz Chrzanowski, an art historian, referred to Treter’s work as quite a unique work of Polish emblem art. The same researcher quoted the originality of some of the concepts and ingenuity of many icons (lacking direct correlates among contemporary emblem collections). In 2018, Alicja Bielak wrote an article in which she identified the three 16th-century emblem works (i.e. Hadrianus Junius’ Emblemata, Claude Paradin’s Devises heroiques and Aneau Barthelemy’s Picta poesis) as graphic sources of Treter’s cycle. The main goal of this paper is to identify another, non-emblematic source of inspiration for the Polish author, namely the 14th-century encyclopaedia Summa de exemplis et rerum similitudinibus by the Italian Dominican Giovanni da San Gimignano. It is argued here that Treter might have come into contact with Giovanni’s treatise during his first stay in Rome (1569–1584) and transposed it into the language of emblems. The first section of the paper shortly discusses the life and work of the Italian Dominican, with the particular emphasis on his encyclopaedia. The core of the article consists of the comparison of Treter’s eight emblems with selected passages from Summa de exemplis and setting these emblems against the background of the European tradition. The following emblems are discussed in detail: Fides, Conversatio sancta, Spiritualis profectus, Humilitas, Poenitentia, Correctio fraterna, Fortitudo and Mansuetudo. The study concludes with the claim that even though Treter uses symbols rooted in contemporary emblem art, he interprets them in a different way than other creators did. On the other hand, one can observe a striking accordance between Treter’s interpretations and the ones by Giovanni da San Gimignano. Unlike other 16th and 17th century emblematists, the Polish priest provides a religious rather than a moral interpretation.
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