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Ovo je zbirka od dvanaest priča i četiri projekta teško odredivog književnog žanra, moglo bi se reći sinkretičkog, jer je posredi pastiš priča, eseja, pripovedanja i analiza, stvarnosti i njenih refleksija u umetnostima, društvu i našim ličnim čitalačkim ogledalima. Sećanje i melanholija su prirodno okruženje u kojem se mešaju i druže stvarni i izmišljeni likovi, autentični događaji i konfabulirane situacije. Atmosfera koja ispunjava ovu knjigu izrazito je beogradska, ukoliko taj izraz još ima neko značenje, ne samo zbog velikog broja beogradskih toponima već i zbog asocijacija i retorike. Projekti, odnosno predlozi projekata, prirodno se naslanjaju na naraciju i beogradsko okruženje. Oni su ujedno vizije nekog novog grada i društva koje će umeti da ga ceni. Reč je, najzad, o svojevrsnim otkrićima u vezi sa životom u Beogradu, njegovim zamkama, iluzijama i darovima. Ova knjiga glasnik je nekog novog doba koje ideje crpi iz naših nostalgičnih sećanja, ali će biti satkano od vrline i okrenuto budućnosti.
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Oslanjajući se na stvarne događaje i ličnosti koji pripadaju jednom burnom periodu istorije Beograda i istorije jednog pozorišta, autor se, po sopstvenom priznanju, nije libio da ta zbivanja prekraja, izmešta iz vremena u kome su se odigrala, a da osobe koje su u njima učestvovale menja, kombinuje njihove osobine ili ih, jednostavno, izmišlja. Knjiga Male tajne počinje odlukom bogataša Petra Radovanovića, milionera, čija je supruga nestala u Bad Klajnkirhenu na skijanju, da osnuje pozorište. Njegov kraj, uz ispijanje šampanjca do jutra 6. aprila, gde na brokatnom čaršavu, dok padaju bombe na Beograd, stoje dve flaše Perrier – joueta i dve čaše, puna za nestalu suprugu i jedna iz koje je pio, kao da je slika iz literature, a ne iz života…Čitaocu će se neizostavno nametnuti pitanje: Da li je Petar Radovanović postojao? I da li je ikada ispijen taj šampanjac?
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A man with no memory wakes up on the deserted staircase of a gigantic building. Gradually he learns about his identity and mission: he is Petr Brok, a detective sent to rescue Tamara, the princess kidnapped by the ruler of the monstrous Mullerdom, the house of a thousand floors. Ohisver Muller is a ruthless tyrant with many faces, eyes and ears in the most remote corners of his empire. But a revolution is spreading through the floors. Yet Petr Brok soon realises that, parallel to his Mullerdom adventure, he is living another life into which he keeps drifting against his will. What is dream and what reality? What is the flickering light inside a skull he sees in the darkness? And what is Mullerdom, a nightmarish reality or a figment of a fevered imagination, an allegory of the capitalist world or a dystopian vision of the future? With its humanistic message and imaginative power, Weiss’s The House of a Thousand Floors, first published in 1929, is a masterpiece of many genres, both unconventional and still contemporary, that has withstood the test of time for close to a century now.
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„Pierwsza połowa Marcina” to zbiór tekstów o twórczości Marcina Świetlickiego. Redaktorki książki: Joanna Roszak i Emilia Kledzik stworzyły tematyczny wielogłos krytyków, badaczy i artystów, składający się na monografię poświęconą jednemu z najbardziej charyzmatycznych twórców polskich czasów poprzełomowych. Założeniem tomu jest polifonia i poligatunkowość: zaproszeni do tomu autorzy mieli prawo wyboru formy, w jakiej nawiązali do postaci bądź działalności artystycznej krakowskiego poety. W książce znalazło się więc miejsce zarówno na klasyczne rozprawy krytycznoliterackie, wywiad, jak i wiersze oraz fragmenty prozatorskie.Wśród autorów zawartych w książce tekstów są: Krzysztof Gajda, Jacek Gutorow, Jerzy Jarzębski, Anita Jarzyna, Izolda Kiec, Emilia Kledzik, Wiktoria Klera, Katarzyna Kuczyńska-Koschany, Karol Maliszewski, Joanna Orska, Joanna Roszak, Marcin Sendecki, Andrzej Niewiadomski, Błażej Warkocki, Wojciech Wencel, Elżbieta Wójcik-Leese, Elżbieta Winiecka, Piotr Łuszczykiewicz, Artur Szlosarek, Wojciech Bonowicz, Jerzy Borowczyk, Paweł Próchniak, Małgorzata Dawidek Gryglicka, Agnieszka Wolny-Hamkało.
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First translation of the Romany language of the classic work of Dante Alighieri`s "Inferno".
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William Shakespeare is considered to be one of the most fruitful neologists in the history of the English language. Although Shakespearean scholars are at variance in their estimates of the exact number of his neologisms,1 they are in agreement that he was “a most prolific coiner of words” (Willcock, 1934, p. 12). It seems surprising, therefore, that there are so few systematic, analytic studies of Shakespearean word-formation. Such established books as Evans (1952), Jorgensen (1962), Hulme (1962), Joseph (1947) portray the vocabularyof Shakespeare merely as a tool for achieving stylistic artistry, and they are not truly linguistic in their approach.2 The most celebrated linguistic accounts of Shakespeare’s language either disregard the word-formational component altogether (Abbott, 1883; Blake, 2002), or present only a brief, general discussion of the most productive processes (Brook, 1976; Blake, 1989). The most detailed word-formational accounts are studies by Garner (1982), Dalton-Puffer(1994), and Salmon (1987). These, however, are article-length and thus do not exploit the subject in full. The present monograph is an attempt at delivering a comprehensive studyof one aspect of Shakespearean word-formation, namely the category of Nomina Agentis. The greatest weight is attached to the morphological and semantic aspects of agentive derivation. The formal analysis, which covers the combinatorial properties of the agent-forming suffixes with respect to the etymological and syntactic features of their bases, is supplemented with the study of semantic effects of a given type of nominalisation. Although the approach is primarily synchronic, diachronic information is also provided where it seems beneficial in supplying a wider context, for instance, for the further attestations of a given Shakespearean neologism, or for a contrastive juxtaposition of a Shakespearean agentive formation with the Modern English one. Conceptually, the monograph falls into two parts: the theoretical-descriptive, whose main aim is to formulate a working definition of an agent, as well as todevelop an appropriate model within the frameworks of which the study could be conducted, while the second part is the proper morphosemantic analysis of the sampled data. Structurally, the work is divided into six chapters. Chapter 1 focuses on the problem of nominalisations in selected linguistic theories, such as, among others, TGG, GS, and Cognitive Linguistics. Attention is drawn both to those aspects of a given grammar which could profitably be employed in the study of nominalisations, as well as to the problems and difficulties stemming from the holistic application of a given model. The selection of the frameworks discussed in the chapter has been made with a view to develop the methodology that could be successfully applied to the analysis of the data sampled in the corpus of Shakespeare’s plays.Chapter 2 discusses the notion of productivity in word-formation. Different modes of the conceptualisation, operationalisation, and evaluation of productivity are surveyed, and a special emphasis is put on the problem of estimating the productivity of a given process in historical language studies. The following two chapters (3 and 4) relate Nomina Agentis to the theory of categorisation. It is shown how the prototype semantics, developed originallyby Eleanor Rosch and subsequently borrowed by cognitive linguists, can be employedto deal with fuzzy boundaries between some linguistic categories, like, for example, Nomina Agentis and Nomina Instrumenti. The theory also proves effective in incorporating denominal performers of actions into the category of agents (the problem is discussed in Chapter 4). Chapter 4 also discusses finer distinctions within subject nominalisations, for example, the notion of an experiencer. A brief survey of Modern English methods of deriving agent nounscan also be found here. Chapter 5 presents a linguistic and extralinguistic background of EarlyModern English. It provides an insight into external and internal factors that shaped the language of the Shakespearean epoch. The chapter focuses on issues directly connected with word-building and word meaning, hence the discussion of internal features of the language has been restricted to word-formation and semantic changes.Chapter 6 is the empirical part of the study, where Shakespearean agent-forming techniques are presented and analysed. Each suffix is studied from both the formal and the semantic perspective. An attempt at evaluating the productivity of a given process is also made.Since, as has been shown in Chapter 1, none of the currently available theories is inclusive enough to deal with the complex aspects of nominalisations, I have adopted a rather eclectic approach, the core of which constitutes the Generative Semantics framework enriched with the prototype theory attitude towards category membership, while the formal analysis is performed in conformity with the basic tenets of TGG.The corpus has been compiled from The first folio of Shakespeare: The Norton facsimile (2nd ed.), and the Arden Edition of Shakespeare’s Plays (second, and, where available, third editions). The etymological information, as well as the glosses, are cited after the OED. Line numbering and quotations are from the Arden Shakespeare. The glosses are illustrated with exemplary references. I have not provided references to all the occurrences of a given sense in the corpus, as presenting a complete typological compilation is not the aim of this study. (Introduction)
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The book Cyprian Norwid. A Poet of the Nineteenth Century is first and foremost devoted to Norwid’s poetic oeuvre. For the author of the monograph, a major point of contention remains treating Norwid mainly as a brilliant philosopher and theologian, which has lately become quite customary. The monograph addresses the issue of Norwid’s belonging to a particular literary period: until not so long ago, it seemed obvious to everyone that he was a Romantic, and this view has only recently been challenged. Hence the title of the book – indicating the complexity of the Norwid phenomenon, the poet whose output cannot be contained within a single artistic movement and who, therefore, needs to be studied through a prism of the “nineteenth-century-ness” concept that has been advanced in the recent years.
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Knjigu sam pisala za svog tadašnjeg štićenika i mlađeg prijatelja: prvo poglavlje je napisano oktobra 1981, kada sam mu odnela prvo poglavlje romana u žanru koji je voleo (a tada ga nije bilo mnogo) za rođendan. Nastavili smo svakog petka, ja sam pisala, on davao smernice i primedbe. Eksperiment je za mene, tada još uvek mladu naučnicu, bio zabavan i koristan – izučavala sam žanr, i ovaj – pustolovno-ljubavni roman – bio je jedinstven primer kontinuiteta: bez prestanka je živeo od prvog veka naše ere pa sve do danas. Nekih šesnaest godina docnije napisala sam i objavila i studiju o ovome žanru. Knjiga je bila gotova maja 1982, porasla je do kupusare od skoro 700 strana. Da podsetim, to je bilo doba kada se kucalo u mašinu. Prijatelji su savetovali da damo roman u štampu. Saglasila sam se, s tim da knjiga bude objavljena pod pseudonimom: izabrala sam F.A. Suli, jer je zvučalo francuski, a pročitano kao jedna reč znači “pasulj” na grčkom (prosto k’o pasulj), pa još u muškom rodu. Knjiga je uistinu izašla dve godine docnije u dva dela, u uglednoj biblioteci dečije književnosti Plava ptica.
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The subject of my analyses and interpretations is eight novels by Maria Krüger (1904–1999) - Polish journalist, editor and, after World War II, author of books mainly for children and teenagers. The novels I interpret include a novel for children aged 8 to 12 (Klimek i Klementynka, 1962), novels for teenage girls (Szkoła narzeczonych, 1945; Petra, 1957; Godzina pąsowej róży, 1960; Po prostu Lucynka P., 1980; Odpowiednia dziewczyna, 1988) and women (Brygida, 1970; Gorzkie wino, 1975). Krüger’s best known novels are Karolcia and Godzina pąsowej róży. Many studies concerning Polish novels for children and teenagers point to the innovative nature of Krüger’s writing, however, no study of her literary output or her biography have been written thus far. My dissertation is the first attempt to interpret her novels. I have based it on the literary output of feminist criticism and gender studies, mainly the texts of Lissa Paul concerning three strategies of gender reading of literature for young readers: rereading, reclaiming, redirection.My book has been divided into two parts. The first one – entitled Image background. Girlhood novel as a safe place. – deals with what the heroines of Krüger’s books say and think about the genre called “novels for girls”, especially the type called “boarding school novels”. It turns out that the life portrayed in such novels is a dream of one of the heroines, and other ones perceive the world presented in the boarding school novel as safe, as topophilia written about by Gaston Bachelard and – in relation to novels for young readers – by Alicja Baluch. The world of these novels can be perceived in such a way due to the fact that in the real world, when Krüger was writing Szkoła narzeczonych and Petra, it was the time of World War II. Krüger spent that time in occupied Warsaw. Many characters in her books mention the war, the occupation and the Warsaw Uprising, and talk about the cruelty of the world and their wish for peace and happiness after the war.In part one, I also mention the references to films in Krüger’s novels, the filming of Godzina pąsowej róży and the differences between the world portrayed in this novel and in Gorzkie wino – a book for women, the action of which takes place around the same time as in the case of Godzina...The second part of my book has been divided into three chapters – portrayals of heroines. In the first chapter – Dressed – I discuss the function of clothes in Krüger’s novels. Clothes are, among others, a way to express subjectivity and construct identity – also the sexuality (two female heroines dress as boys to do forbidden things) – to take control over another person, but they are also a source of pleasure (buying clothes is entertaining).Another portrayal – Appropriate – is an attempt to retrace the characteristics of heroines which allow them to be perceived as girls appropriate for men they marry or will marry in the future. I look at the model of femininity that the author sets in her novels. On the one hand, it is an exemplary housewife, and on the other hand – a girl, an independent woman, an artist.The final chapter of part two is entitled Mother. It discusses the relations of heroines with their mothers and (despite the title) fathers. I focus on the two novels for women – Gorzkie wino and Brygida. Their protagonists – Adelajda and Brygida – were brought up by domineering mothers. The fate of these heroines confirms the thesis that the relations with parents, especially mothers, greatly influence one’s life. In conclusion I write about autobiographic motives in Krüger’s novels for children, teenagers and adults. However, due to the lack of sources that could confirm my presumptions and conclusions, this part is, unfortunately, not very long and exhaustive.
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“This publication aims at examining the mysterious parallels shaping the works of the four writers, as well as showing the uniqueness of each author’s personal vision of fantastic literature as a genre, filled with intertextual references to both fantastic and mainstream literature. Some interdisciplinary articles of the monograph concentrate on the issues arising from the translation of their fiction.” (from Preface)
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The thesis consists of three parts. Each of them is divided into separate chapters devoted to particular authors. The composition of those chapters is determined by the level of representativeness of a particular issue in a particular prose text. Therefore, in the first part, dedicated to the strategy and fragment poetics, the author takes into consideration their updating firstly in the works of Krzysztof Varga, then of Zygmunt Haupt, and finally, of Stanisław Czycz.Reaching back to the past and the rise of importance of individual experience of loss constitute the axis around which the considerations are developed in the second part. It opens up with issues concerning brooding as a particular way of being in Haupt’s prose. Also, the fragments of Czycz’s short stories which are the trace of cherishing of a particular loss in the narrative are marked and discussed. In Varga’s prose, the author attempts to save the myth of the past, instead of the past itself.In the third part, the questions about the status and the way of being of the authorial subject are raised, as well as about conceptions of subjectivity in the works of Haupt, Czycz and Varga.The considerations proposed in the thesis, concerning the prose of the three different authors refer to thinking about literature in terms of both performance and representation. Each careful reading of a literary work understood in these terms should subsume not only what is represented, but also the act itself as well as the fact of representing. Then the text is understood, or imagined, as a scene from which a voice is heard. This is a phenomenon of the very communication, of the contact itself, whose symptom is all that is happening in the text and via the text itself on every formal and content level. In texts of those authors, the voice belongs to someone who can come into existence as the voice only. The identity of such a person, or rather his image, consists of life experience of the personal author, shreds of his biography, his consciousness, but also his unconsciousness, social and cultural norms, linguistic mechanisms and, finally, the literary tradition. The question about the “who” of this voice is in fact a question both about a particular, historical unit, but also about psychosocial, linguistic and literary norms and practices. Just such questions are posed from the scene of writing in this prose, while the specific answers are inscribed into the “I” field of this voice.Both the “who” of this voice and his “what” are to large extent powered by the experiences of the authors themselves. Characters who appear on the scene of writing have traits that are similar, or even identical with the traits that could be attributed to the people hidden under the names of the authors. Often enough, those characters point out to, or even declare, this similarity themselves. They narrate stories about themselves, about their past evoked by the power of their memory. By talking about it, they also talk about more or less conscious manners of shaping depictions of the past, about culturally determined mechanisms of not so much reproducing, but of producing it. They appear in texts as actors and narrators of the story. They will not refrain from speaking about that second activity. It gives them the semblance of authenticity, the semblance of being, but still this is just the semblance.The possibility of presence is undermined by the voice, which unceasingly performs the act of disillusion, being the act of disillusion itself. The way of its existence is paradoxical. It is not personal, or certainly, not only personal. It is a result of pure productivity of the act of writing, to be exact, of writing out, writing up and writing to show off. The voice says: I am here instead of; I mean something here because soand-so on the scene of writing is not able, or does not want to spring into existence as himself; By thus speaking and marking I am supplanting him here (that is the cynical voice of Czycz’s writing out). Some other time: I am not the voice of any individual, not even of a community, but a voice of collectiveness. I am not only the voice which presents, speaks about something, I am the voice of the dialogue itself (the dialogic voice of Haupt’s writing up). Finally: I am the voice of the scene itself, of writing, of representing” (the spectacular voice of Varga’s writing to show off).The voice attempts to head to its source, but the only thing it is left to do is to mark the source’s impossible presence. Literary marking and emulating in texts do not lead to any purpose (of retrieving what is lost, restoring the presence, establishing identity and expressing it in a complete work), as it is the purpose itself. That is why the author of the thesis states that in the prose of the authors mentioned above, the literary staging of the desire itself is effectuated. This desire renders any communication possible, which becomes here an act of summoning, corresponding with, and, as a result, saving only the remnants of what is not present or unavailable.The works of Haupt, Czycz and Varga are read as a project of the redeeming loss: occurring in the voice which comes from the scene of writing during the process of redeeming the remnants of a particular presence, by destroying and dispersing it in its literary articulation.
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This volume is a continuation of a series Na boku (On the Side), which undertakes reflections on different ways of permeation of literary theory discourse with literary discourse in modern and postmodern Polish literature. In the following volume, the research area has been extended to the 19th century (represented by Henryk Sienkiewicz). The authors of these essays continue their search for writers’ statements about literature formulated beside strictly literary discourse (Zbigniew Herbert, Jacek Dukaj, and Henryk Sienkiewicz), but also subtly filtering into this discourse (Jan Zych, Stanisław Barańczak), or even engulfing it in its entirety (Joanna Bartoń, Piotr Goźliński, and Witold Gombrowicz). This volume also develops reflections initiated in the previous volume of this series concerning the literary output of career literary scholars, in which the theoretical language is being relocated from „on the side” to the center of literature (Zofia Mitosek). In the opening essay by Józef Olejniczak, a new understanding of the „on-the-sidedness” emerges, one which was absent from earlier volumes. It stems from the perception of change in the situation of theory-dominated literature. “Not longer than a few years ago, the standing of literature seemed to be unswerving. Today – if Olejniczak is to be believed – when theory rules, the position of literature is “on the side”. On the other hand, the works collected in this volume demonstrate that theoretical discourse still draws on literary discourse, albeit in the postmodern formation, it is the other way around – literary criticism discourse and literary theory discourse forerun literary texts” (from the editorial review by prof. dr hab. Anna Węgrzyniak).The following volume is addressed to the academia and post-middle school students interested in the humanities.
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The world of contemporary culture puts differences and multiplicity in opposition to the former urge of uniformizing; it eliminates continuity in favour of contingency; it values diversity and otherness over identity and similarity, and it rejects the neatness and safety of theoretical conceptualizations. An attempt at validating the claim that also today a certain aesthetic and literary movement lives on, which for some scholars is nothing more than a historical phenomenon from the past, may seem to be an empty and hopelessly unreal rhetorical strategy. Yet, for the present monograph, the point of departure is an assumption that artistic texts appearing and functioning in a specific cultural environment and tradition should have a feature in common. And to this particular feature, defined as expressionism, the present work has been devoted.The two introductory chapters discuss the origin and evolution of historical expressionism at the beginning of the 20th century, with a special emphasis placed on the Italian varieties of this tendency, i.e. the futurism and the aesthetic views of artists affiliated with the Florentine magazine “La Voce” (1914–1918). Expressionism is usually defined as an artistic movement that originated at the beginning of the 20th century in German-speaking artistic bohemia as an opposition to impressionism. It was only with the passing of time that this novel artistic technique, that also contained a new idea of the world and the man, spread into the field of literature. The basis for the research on the characteristics and constant features of the movement of this period are thus theoretical texts written both by German authors and artists (i.a. Hermann Bahr, Wilhelm Worringer, Gottfried Benn), as well as by Polish (Erazm Kuźma) and Italian scholars (Gianfranco Contini, Paolo Chiarini). The German and Italian artistic and literary avant-garde of the beginnings of the 20th century is, however, merely one of many forms in which the expressionistic tendency has been realized. Literary historians (e.g. Contini, Segre, Isella) frequently emphasise the view that Italian literature from the very beginning has been marked with the attitude of rebellion towards settled canons and aesthetic authorities.This rebellious form of artistic expression has been termed a developmental line of literature. It is undoubtedly an ahistorical tendency, not subordinated to any particular literary movement, but still active and valid as a reflection of a particular intellectual, philosophical, and moral attitude towards reality in which a man lives and creates. The expressionistic tendency understood in this way contains a specific set of features, such as combining contrasts, linguistic experiments, resemantization, discreteness, the episodicity and ellipticity of narration, the chaos of the world depicted, the contingency of events, hyperbolization and distortions of imaging. The expressionistic effect arises as a result of foregrounding one of those features, defined as an expressionistic dominant, and as a consequence of artistic transfiguration (transformation).In the following chapters of the book, the texts written by Italian prose-writers of the end of the 20th century have been subjected to analysis for the presence of understood in this way expressionistic dominant and ways of artistic transfiguration of individual compositional layers of a literary text. The spectrum of the authors under analysis might seem to be too broad or even inconsistent, as it encompasses both the so-called young writers, who made their debut in the 1980s and 1990s (Tondelli, Ammaniti, Nove, Scarpa, and others), as well as more “classical”, well-established authors (Consolo, Bufalino, Volponi, Testori). All the aforementioned authors are brought together by a strong desire to construct a new experimentalism originating from the awareness of a definite crisis which a contemporary category of language has faced.At all the three levels of the works analysed (linguistic, narrative, and thematic), certain permanent features have been distinguished that characterize expressionistic writing. Upon the linguistic layer, it is mainly concerned with going beyond the norms, hybrydyzation of language, incorporating neologisms, archaisms, dialectisms, specialist terms and spoken language into the literary repertory. All these procedures aim at exposing and emphasizing the expressiveness of text. The analysis of narrative patterns and the relations such as author-narrator, text-reader brings out the basic features of expressionistic diegesis, i.e. variability of focalization, metanarrative tendencies, and the simultaneity of episodes. The outcome of these devices is the impression of staticity and subjectivity of time, which are features of the narrative also present in the literature of modernism. The basic components of expressionistic imaginarium are the motifs of a town, moon, and dream, which are also present in the expressionistic literature of the beginning of the 20th century and updated by postmodern narrators by means of combining contrasts, exposing the effect of strangeness, allegory and hyperbolization. An exact specification of what expressionism is today, in times when it is difficult and even awkward to talk about an artistic or literary experiment, seems to be as hard as it was at the beginning of the century, in the age of historical avant-garde, since the historical avant-garde, and therefore expressionism as well, have long become a part of contemporary cannon. The expressionist techniques of artistic means have become common and they have lost their transgressive character; also, their role and way of functioning in an extensive koine of postmodern literature has changed. Those changes, however, do not imply the loss of meaning of artistic productivity.As a style and function of text, and also as a certain philosophy and idea of a man, expressionism is constantly present, acting in the melting pot of multiplicity and multifariousness of contemporary literature that is devoid of limits and theoretical references.The function of expressionism today is mainly communication. It is primarily a very dynamic and changeable artistic code that maintains vitality thanks to its nature, as it makes the literary past and present relate to each other and cooperate. The tradition of expressionism, being a part of the history of literature, generates new and unpredictable effects in postmodern literary texts, in this way becoming an emblematic example of postmodern creative technique. It is a communication code open to all kinds of thematic and stylistic novelities. This unusual combination of classics and experiment gives rise to a new quality, new aesthetic value, perfectly reflecting the polysemy and incongruity of contemporary literature. The expressionist writers of the postmodern epoch faced against the crisis of the functions of language, and the functions of literary language is particular, offer to establish a new relation with reality, which has always been, and still remains, the basic inspiration and matter of literature. This new relation treats reality as a dynamic process, or, rather, as a multiplicity of simultaneous processes that can only be verbalized by expressionist literature. The writer is therefore a recorder of dynamic processes, also of internal, the most intimate, unusual, irrational hallucinations, who tries to grab a fragment or a version of the most conspicuous feature of our times – unpredictable changeability.
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Seitsemän veljestä (The Brothers Seven), the 1870 Finnish novel by Aleksis Kivi (1834-1872), is one of the most (in)famously unknown classics of world literature—unknown not only because so few people in the world can read Finnish, but also because the novel is so incredibly difficult to translate, the Mount Everest of translating from Finnish. It is difficult to translate not only because it blends a saturation in Homer, Shakespeare, Dante, Cervantes, and the Bible with a brilliantly stylized form of local dialect, but because it is wild, grotesque, carnivalistic, and laugh-out-loud funny on every page. It has been translated 58 times into 34 languages—but somehow the translations always seem to fall short of their flamboyant original.Douglas Robinson’s new translation is a bold attempt to remedy that. He aims to make Kivi as rhythmic, as alliterative, as brash, as grotesque, and as funny in English as he is in Finnish. Since Kivi deliberately used an archaic Finnish, but used it playfully—and since Kivi was steeped in Shakespeare, to the point of memorizing whole plays—Robinson translates him into a playful Shakespearean register. As he notes in his Preface, this makes the translation a bit difficult to read—but the original is difficult for Finns to read as well, and the Finnish readers who love Kivi (and that is most of them) read him with pleasure despite the words they don’t know, because his prose is so intensely alive.
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Моје родно место Сантово је село које је постало позиато по прелазу људи из римокатоличке у православпу вeру. To је било крајем девeтпаестога века. Раније је то било чисто шокачко село. А знаш ли ко су Шокци? To су исто Срби који су примили римокатоличку веру. Срби који су се касиије доселили у Сантово нису имали коме да се приклоне у верском погледу, јер тамо није било православне цркве. Тако су се и они полагано некако прилагодили Шокцима и римокатоличкој цркви. А већ моји родитељи припадају генерацији која се вратила на православиу веру. Моји дедови и баке су још били крштени у римокатоличкој цркви, али су касније и они прешли иа православље. У то време су почели градити садашњу православну цркву. Прво је била саграђена једна дашчара, црква од дасака, и она је служила док није завршена градња ове садашње. Та данашља је велика, лепа црква, грађена је за отприлике две хиљаде душа. А шта је био разлог тог враћања у православље? У оно време су сe почели насељавати Мађари у Сантово. Опи су тражили да се миса, то јест литургија, служи иа мађарском језику.
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Interslavic reader is a collection of working texts for teaching the Interslavic language which is an auxiliary language being very similar to the ethnic Slavic languages spoken in Central and Eastern Europe and continuing the tradition of the Old Church Slavonic language. Interslavic shares its grammar and common vocabulary with the modern spoken Slavic languages to serve as a universal language tool that Slavic people can understand without any or with very minimal prior learning. It is an easily-learned language for those who want to use this language actively. Interslavic also enables passive (e.g. receptive) understanding of the natural Slavic languages. Non-Slavic people can use Interslavic as a door to the big Slavic world. / Čitateljnik jest spisok tekstov služečih do učenja medžuslovjanskogo jezyka.
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In his 1907 review in the Słowo Polskie daily published in Lwów, the Polish writer Kornel Makuszyński ventured a tentatively critical judgment on The Vows, suggesting that appropriate distancing might be prerequisite when evaluating Przybyszewski’s work. That condition seems to have been met today: the passing of over a hundred years since the original publication has created not only a temporal but also a cognitive distance. A re-edition of the play offers an opportunity to read it anew. The word “read” is key here, since The Vows is by all means a literary text.
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The talented Slobodan Karl lives and writes anticlimax. For fifteen years he has been trying desperately to write “the best novel in the world” by which he will cross the self-imposed limit and call himself a writer - a man who lives exclusively from writing. As a guide for weekend trips, he turns interesting ideas into weak endings, and in relation to people - impressive first impressions into disappointments. Slobodan is convinced that in order to turn his talent into success, he needs material security and time, which exist in his life as mutual exclusivity. Uncertain, he finds solace in superficial relationships. When his life is further complicated by the divorce and the condition of his son, Slobodan is ready to do what he can do best - write another average novel that no one needs, least of all. A chance meeting with Dušan Jadrančić, a self-proclaimed risk trader and a man of seemingly vague intentions, will initiate a series of emotional and structural changes in Slobodan that will bring him to the brink of success.
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