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The twenty-five-year anniversary of Bourgas Free University, the "New Idea in Education", is unquestionably not only a time of reflection but also a jubilee of the respectful respect for the founders, all the professors, employees and students who built themselves in its creation and Development despite difficulties over the uneven road over the years. It is our duty and responsibility to transfer everything good from experience, effort and traditions to the future. This is good for the next, and it will not be much easier for them in the real world.
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Der Statthalter des Satans ist ein unegewöhnlicher historischer Roman. Schauplatz ist Ungarn in der ersten Hälfte des 17. Jahrhunderts. Noch befinden sich die Türken im Landesinnern. Der Habsburger Kaiser ist bereits Herr über das Land, teilt aber seine Macht mit den Aristrokaten. Die herausragenden Gestalten dieser Epoche sind der später unter geheimnisvollen Umständen verstorbene Miklós Zrínyi, der Palatin Ferenc Wesselényi, der Theoretiker der Gegenreformation Péter Pázmány sowie der grosse siebenbürgische Fürst Gábor Bethlen. Der Held des Romans ist eine aus unsicheren Quellen hervorgegrabene, schriftstellerisch trefflich bearbeitete satanische Figur: László Listius. Dieser vom Teufel besessene Giftmischer, unbarmherzige Mörder und unzüchtige Päderast hat möglicherweise bei den Jesuiten gelernt und auch Gedichte geschrieben. Seine Intelligenz stellt er aber in den Dienst seiner unbändigen Leidenschaften. Mit teuflischem Erfindungsreichtum hält er den Palatin in Schrecken, und durch die Alchimie gerät er auch in Kontakt zum Kaiser selbst. Gleichzeitig terrorisiert er auf sadistische Weise seine Umgebung und entschlüpft immer wieder den Fängen des Gesetzes. Die mitreissende Erzählung enthält entsprechend der Intention des Autors eine wichtige Erkenntnis: In der Gesellschaft sind fast immer unerklärliche dunkle Kräfte verborgen, die, wenn sie an die Oberfläche dringen, nur um den Preis schwerer Opfer zu bezwingen sind.“Károly Szalay has dug himself so deep in the 17th century that it clearly deserves admiration: for instance, he publishes two letters in the novel which we read in the total belief that they are contemporary documents. However, in actual fact, they were both written by Szalay! That is, once again we experience the style mimicry that Kálmán Thaly produced with the “authentic” 17th century Kuruts poems… However, our author is able to evoke the air of the 17th century not only with the style of the era but also with his ability to create the right atmosphere… I am truly surprised that no one has yet considered turning this novel into film…”(The Governor of Satan)Albert Beke (1996)
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“I believe that not many in Hungarian literature painted love so coarsely in its charm. Theconcept is consistent and succeeds in creating its own peaks: expressing the rich contents of eroticism,of bodily fulfilment.Szalay also describes the lives of funnily pitiable characters. There is an archangel hoveringover the destructively filthy flow and flood of university expulsions. Luis Majer’s shrunk astral body,too, turns to nothing, just like a shadow when dusk falls. …Yet, the subject of our nostalgia is youth,that of our sympathy is the omniscient fog-knight, and that of our love is Gabi Udvari.Are you still alive, and where have you disappeared to, Gabi?Her character turning into a woman, a mature human being, enchants not only the characters ofthis book but also the reader. Because, after all, in their lamented boyhood, who was not wrappedaround the fingers of a genuine city student girl in the process of learning what love is? However,Gabi is more than that. She is the missed opportunity, the eternally regretted completeness…What we have unfolding before us is a dimming picture, yet glittering with colourful lights,which is animated and enjoyable throughout, a peculiar drawing, with exciting shades, of the lostimage of our common ground.”(Our Years in Love)József Domokos (1985)
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“The book was one of the great successes of the 1988 Book Week…The sex scenes, perhaps overly explicit in their details, the action carryingthe reader away, and mainly, however, the most convincing, most authenticand most sincere description to date of the events of the 1956 uprising,which form integral parts of the story, probably all contributed to thesuccess. This topic has been manipulated by so many and in so manydifferent ways that we who actually experienced them in real life recognizethem at last.”(Parallel Relations)Emil Kolozsvári Granpierre (1988) “I do not particularly wish to celebrate this kind of elimination of traditional taboos sinceliterary criticism, as is widely known, has, for a long time, been of the opinion that the bluntdescription of erotic topics is aesthetically indifferent; the only thing that matters is how the subjectfits into the novel composition, and what aesthetic value the description in itself has. Well, in thisrespect, the eroticism of the Szalay novels is aesthetically correct and is, at times, assigned none otherthan a “poetic” role… Csarody, the protagonist of the novels, is incessantly faced with thedevelopments of tyranny.. mostly, however, with the political comedy of the era which is described bySzalay in a series of particularly apt episodes. These episodes are real satires…”(Parallel Relations)Béla Pomogáts (1989)
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The present monograph is devoted in full to the issues of translation. The articles are the outcome of academic reflection upon the problems of interrelations between language and culture, upon the phenomenon of intercultural transfer, upon the functioning and reception of translated texts. The research results presented here take into consideration various methodological and ideational approaches. The volume is intended for both theoreticians and professional translators, as well as for all those who are interested in this area of study.
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The third volume of the monograph presenting the diversity of hispanic research is devoted to cultural phenomena and traductology. The issues presented by researchers from Polish and foreign research centres include the following: linguistic means of ideological discourse, analysis of the programme of the Ibero-American Exhibition in Seville, a press image of the Portuguese-Spanish relations, concepts of translation equivalence, specialist translations, reception of Czech and Spanish translation theories.
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In his work, the author discusses the issues of the religious sphere associated with every human being and their everyday existence, regardless of the different doctrines or points of view. Furthermore, these issues find their way into literature which aims at reflecting human life. Such poetic experience of religion can be seen in the works of Tadeusz Kijonka, Stanisław Krawczyk and pr. Jerzy Szymik on which the author based his research.The author reviews the classic religious study works, such as the theories of Rudolf Otto, William James or Mircea Eliade who view the contact with the sacrum through the prism of the feelings associated with it. Given, however, the distant time of the theories’ development, the author does not abstain from mentioning other deliberations resulting from the poets’ inveteracy in the Catholic thought circles. The poems by Kijonka contain references to JohnPaul II, whereas the theology of Benedict XVI is significant when attempting to interpret the works of Szymik.The three aforementioned poets, although associated with Silesia (with its’ traces visible in their works) do not represent, in the authors’ view, the ‘Silesian religiousness’ stream. It does,however, serve the purpose of evoking that which is universal or it may become a pretext to reflect upon experiencing the sacrum and profanum.While analyzing the work of Kijonka, the author points out, above all, the contrast between the faith of a trusting child and that of a doubtful adult (which is to be understood as a reflection of the struggle with reality). The poet often returns in his memories to his childhood, irreversibly lost (as the past Christmas) once the border (of the forest or city) is crossed. In his works, an adult is depicted as someone who feels abandoned and looks at the sky expecting a miracle. They yearn to return to the distant past or even to the heavenly state. God, in Kijonkas’ writings, is both close and distant. The author of Time, places and words (org. Czas, miejsca i słowa) deals with the matters of one’s body, sickness (even his own one) and death, as well as with the image of the mother (both earthly and heavenly — Mary).In the chapter devoted to Krawczyk, the author discusses the issue of a man standing in the centre of a world undergoing destruction, where the surface resembles a volcanic landscapeand the protagonist wanders in search of faith. In his poems, the poet dwells upon the matters of the mystery of the interrelation of both man and God (the incarnation of Christ, co‑experience of suffering), the human fate and ‑ what is significant ‑ the mysteryof his own (the creators’) ‘self’. He performs a self‑evaluation.In Vowels and colours (org. Samogłoski i kolory), Krawczyk focuses also on the intriguing, incorporated in the religious codes of his poetry, thread of the woman (through the comparison of his wife and Eve from the paradise).The last section of this thesis is associated with the wor of Jerzy Szymik. The author especially focuses on the prospect of the man continuously getting nearer to God through everyday life, as portrayed by the priest‑poet.Included in the work of Szymik are the categories of suffering (Incarnation and its mystery, similar to Krawczyk), sickness (similar to Kijonka — his own state), death, but also priesthood, the Resurrection and even common, everyday events. The description of the image of Mary or the references to journeys, both local ones to Pszów or Lublin and more distant ones to Italy or the United States, are not different. The author of Gods’patience (org. Cierpliwość Boga) notes a remarkable relation between the sacrum and profanum (the example of the temple and the city).When it comes to the Creator himself, Szymik refers to him as Love, after Ratzinger.Religious experiences, in the view of the author of the thesis, permeate the poetry of Tadeusz Kijonka, Stanisław Krawczyk and Jerzy Szymik regardless of their own beliefs or the similarities and differences one can find between them. This is due to the fact thatthey are associated with something greater ‑ the personal struggle undertook by the poets which we can find reflected in their works.The doctoral thesis was created under the supervision of Professor Marian Kisiel.
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The monograph Refurnishing (in) the eternity. Visions of the underworld in contemporary Polish poetry is dedicated to the analysis and interpretation of significant poetic creation of the Other World which can be found in poetry written after 1945. However, it should be noted that the selected material represents secularised vision of the afterlife, and from the analysis were excluded poems which, after Stefan Sawicki and Maria Jasińska-Wojtkowska, can be classified as religious. In the selected materials new, extemporary beliefs and eschatological hope are formed inside the textual world, just to fight this overwhelming nothingness which attacks postmodern society. These works are a kind of projection of social thoughts, but the reader has to deal with them in individual attempts to find God, or, more generally, contact the Higher Power, or simply an attempt to soothe the fear of death which ends all — the existence deprived of opportunities for further duration. /fragment of the introduction/
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Jan Brzechwa is mostly associated in readers’ minds with children’s poetry. However, a great part of his literary heritage are lyrics written for grownup audiences. Brzechwa would often express disappointment over his adult-oriented poems failing to win over readers and literary critics. The publication includes poems from Brzechwa’s entire literary output, selected on the basis of their subject matter which covered the current political, social and cultural events. The lyrics come from the following collections: Imię wielkości. Wiersze o Józefie Piłsudskim (The name of greatness. Poems about Józef Piłsudski) (1938), Palcem w bucie (Toe wiggling in a shoe) (1947), Pokój zwycięży (Peace shall prevail) (1951), Strofy o planie sześcioletnim (Stanzas on the six-year plan) (1951), Cięte bańki (Wet cupping) (1952), Wiersze wybrane (Selected poems) (1955, 1957, 1959), Miejsce dla kpiarza (A place for the mocker) (1967), but also Liryka mego życia (The lyric poetry of my life) (1968) – from the last volume published after the poet’s death.
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Wincenty Ignacy Marewicz, whose literary activity peaked during the Four-Year Sejm, counts among the “destitute writers” of the king Stanisław August Poniatowski times. Although he was sometimes labeled as a “graphomaniac”, such a summary assessment has been increasingly regarded as unwarranted or at least questionable. A careful interpreter of opinions on Marewicz's literary achievements, Anna Petlak presents the reader with the poet’s early works, originally collected in three volumes, Samotne zabawki wierszem (A lonely play with verse), Sielanki (Bucolics) and Różne wiersze (Miscellaneous poems), published in the years 1786–1788. The author of the study has compiled a critical edition of Marewicz's poems, which starts with an analytical and interpretative introduction including the poet's biography.“The publication of the poems – created in various aesthetics and taking on a wide range of themes – 230 years after their first edition aims to protect them from oblivion. Reading these poems can provide a lot of satisfaction to all interested in the culture of the Polish Enlightenment; moreover, it paves the way for further research on the poet's work.”
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Series: Niemiecka Literatura Kobiet (3), ISSN 2719-8170 Sophie Mereau-Brentano (1770-1806) was one of the few first professional German writers. She was given the opportunity to publish under her own name, publish magazines or negotiate with publishers. However, she owed her position on the publishing market largely to the support of her 'colleagues' - Friedrich Schiller and Achim von Arnim. The publication "Sophie Mereau-Brantano. The dilettante on the Weimar Parnassus", edited by Renata Dampc-Jarosz and Nina Nowara-Matusik, brings the readers closer to this little known Polish author of the classical-romantic era and her two prose works translated into Polish - the epistolary novel Amanda und Eduard and the novel Marie. The monographic studies of the third volume of the German Women's Literature series focus on those aspects of Sophie Mereau-Brentano's work which illustrate the stages of her creative development, the influence of the cultural field on the formation of personality (Renata Dampc-Jarosz/Katowice), cooperation with Schiller (Norbert Oellers/Bonn), co-creating the history of women's literature, in particular the epistolary novel genre (Karina Becker/Paderborn) and the artist's and art paradigms in Marie's autobiographical novel (Nina Nowara-Matusik/Katowice). Also translated as part of a translation project, involving research and teaching staff as well as students and doctoral candidates at the University of Silesia, the novel Amanda and Eduard and the short story Marie deal with themes of art, the self-fulfilment of women in the bourgeois society of the time, and - or above all - the constant search for love and happiness.
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This richly illustrated book presents the writer Eduard Bass as a talented storyteller of short fairy tales. Inspired by the German tradition of storytelling, it contains a first ever edition of 43 fairy tales from around the world paraphrased by Bass. A part of the texts were published in magazines during his lifetime and some appeared later in selected works. However, twenty stories were left in the remains, untouched. The complete edition has been prepared by Hedvika Landová, a graduate of the Faculty of Arts. The result is a carefully crafted book which will captivate children and adults alike.
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The dramatic trilogy Beehives by the award-winning author Ružica Aščić places in the centre of each play one family with their key problems. The protagonists want more from their life than just passively going with the flow, but their endeavours face the opposition of their community that pushes their desires in the area of unacceptable. Because of the circumstances the characters become apathetic, and too weak to change their situation. The atmosphere of emptiness and hopelessness, realised through apparently empty dialogues, emanates strongly from the texts, and wraps the reader like cobweb. The plays show a reverse gradation of the lack of willpower, and weakness, beginning with the first one, where the desire is clearly articulated but hits the wall repeatedly. In the second play, there is no desire anymore, just the sense of impossibility of realising any closeness. The third play is dominated by the general prohibition of love and humaneness. Ružica Aščić creates Antonioni-like atmosphere of desert where one has difficulty with finding a landmark, not to mention an oasis. Ružica Aščić was born in 1987. She published the short story collection The Good Days of Violence (2016). For the plays It Grows Inside of Me and Beehives she won the »Marin Držić« Award. She has published short stories in numerous Croatian magazines and one of them was included in the anthology Without Doors, Without Knocking: New Croatian Writers of Fiction.
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It is difficult to describe the way Radmila Karlaš writes, because it really is not something that is encountered every day. Her stories take place in an undefined time that may be ours, but it may also be fifty or a hundred years ago, because they are deprived of everything that could be burdensome in terms of a specific timeline, and focused on the essential. There are only people in them, their mutual relations and the forces that affect them, and which do not have to be from this world. And it's something that sometimes makes you shudder, because those stories are sometimes on the verge of fantasy, but it's not epic, or science fiction, or some fiction from horror literature, but something that strikes at the very core of our collective imagination and doesn't stop until we don’t stop with reading, and sometimes after. Radmila's language is extremely polished, her descriptions are clear and we can easily imagine everything she writes about in front of our eyes. And because of that, everything we read leaves an even stronger impression on us.
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This is poetry that does not run away from confessional, but the author does not intend to present her childhood struggle to the readers and burden us with personal experiences. Her obsession is more with the world she sees, the one around her, closer and further, foreboding in the past and the one that is just becoming through forebodings - one at the same time a magical and cruelly naked world, all built in opposites. In tenderness and rudeness. This is where the strength, dynamism and beauty of her poetry begins. And in the ability to easily describe things in many ways and from completely different and often opposing perspectives. Her range of interests, which find their place in poetry, is very wide - from philosophy, through classical art, feminist icons, geography, tourist maps of cities, to pop culture. Here, in the same place, you will meet Aztec and Mayan gods, heroes and heroines of Mexican series, paintings from the Sistine Chapel, women from Caravaggio's paintings, heroes from anime, Roman goddesses and many close, everyday deities that the author revives before us, which she finds on the streets of distant cities or on a bus while driving to work.
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The volume brings together some of the presentations made during the symposium "Around and Across" organised by the Centre de Réussite Universitaire of "Gheorghe Asachi" Technical University of Iasi as part of a larger project, entitled Transversal(ité) dans l'Univers(ité), supported and funded by the Agence Universitaire de la Francophonie in Central and Eastern Europe in 2021-2022. The general topic of the volume - circularity and linearity in sciences and arts, and in knowledge in general - was intended to be approached in a trans-disciplinary or in a multidisciplinary perspective.
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