SPROVË PËR NJË LEXIM TË RI TË EPOSIT SHQIPTAR: NGA KËNDVËSHTRIMI I RAPORTIT TË GJINISË ME FUQINË
This article has been withdrawn as of 07.07.2022.
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This article has been withdrawn as of 07.07.2022.
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The paper investigates the relatively little-examined journalistic film review genre from discursive, pragmatic and rhetorical perspectives. To illustrate the presented framework for genre analysis, we have selected 32 French and francophone journalistic reviews of two different film genres: a comedy (from 2017) and a drama (from 2019). The persuasive strategies of the pathotic dimension in the film review we focus on leverage two of the Aristotelian modes of persuasion (ethos and pathos) in order to instill particular views and concepts. Our study centres around those persuasive strategies that draw on the discursive construction of the reviewer’s ethos and pathos in the film review based on the concept of emotive argumentation.
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The article discusses the book Caracterización lingüística de los procedimientos de creación léxica by Érica Vega Moreno. The aim of the work is to delineate the most important concepts of neology and to show proceedings of how the Spanish language can enrich its lexicon. In this paper special attention has been given to qualities of the book but it also shows passages which may be subject to further discussion.
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Review of: -Оксана Пухонська, Поза межами бою. Дискурс війни в сучасній літературі // Oksane Puhonske Van bitke. Diskurs rata u savremenoj književnosti (Брустури: Дискурсус, 2022)
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This article will question the way in which time is established in the sacred narrative by God the Word and in fiction by the narrator and will analyze the way in which unfolded time contributes to the ontological construction of being. I will dwell on the articulation of the three temporal instances past-present-future in the definition of real human existence or in the universe of fiction.
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Medical studies, knowledge of the human spirit and adventurous character characterized some of Asclepius' disciples. This is also the case of the French doctor and writer Louis Henri Boussenard (1847-1910) who traveled through the French colonies as a doctor, bringing together his life experiences in unique literary pages. Following the Franco-Prussian war, Louis Henri Boussenard remains with a nationalistic nostalgia that can be found in some of his literary writings. Satirical accents, the use of slang language and the investigation of social mores are some of the characteristics of Boussenard's novels demonstrating the acuteness of this doctor's observation.
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The given paper addresses a complex issue, concerning both literature and translation studies. Literary texts’ rendering is one of the most difficult types of translation, since at this level are important not only the meaning, content and key themes and motives used by a certain writer, but also those formal aspects, such as rhythm and rhyme. The comparative analysis of several translations of some of Lermontov’s poems has shown that the differences between the original text and its translations occur at one or more of the following levels: on some cases the headings are the ones that differ, sometimes the translators use stylistically different synonyms and even the cultural outlook itself may not be the same, although in all examples the target culture and language is Romanian. But the basis of our article is precisely the heterogeneous nature of such texts, considering that they do actually belong to the same space, but not to the same translator. This is the main criterion in selecting the material we decided to analyse before establishing the degree of translations’ accuracy as well as its conventional fluctuations.
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Poet, fiction writer and playwright, bilingual writer, this is how George Astaloș could be briefly described. He debuted as a poet, he will first publish a volume with some of his plays. After 1971, he received a scholarship and will leave Romania and settle in Paris. He will also abandon the Romanian language, in favor of French, but he will not abandon literature, he will continue to write and publish theater, essays and poetry, being considered the founder of the "intrusion theatre", ”revolver theatre”, ”floral-spatial theatre”.
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With a modesty worthy of all appreciation, Voiculescu does not perceive literary success as the peak of his artistic career and does not give up his ideals, continuing his work of promoting culture among the popular masses, seeing it as a completion of his personality. The medical profession is not seen as an obligation, but is honored with great love and passion, so he proves to be a selfless nature, always ready to help others. The specialized literature, produced for three decades, represents the living proof of the spiritual valence of Voiculescu. Loving his fellow men and gifted with artistic talent, Vasile Voiculescu puts himself at the service of people both as a doctor and as a writer. The freedom of choosing his own horizon of knowledge accompanies him permanently, and his intellectual curiosity is reflected in his bookish concerns, being passionate about books and fascinated by the total experiences that could be glimpsed. He avoids compromises which would do no honor to his honest but exhausting existence, and diligently fulfills the medical obligations imposed by his chosen profession, but these cannot at all keep him away from reading, which gives him innumerable inner experiences and increases the pulsation of his inner life. Trips to monasteries or historical monuments, as well as those through the mountains, help him discover a completely new, different world that piques his interest and draws him to it with an unknown but all- consuming force.
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The aim of this research project is to analyze the anecdotal spirit of G. Călinescu that includes him in the line of the greatest storytellers of our culture. Capturing not only the frames of the literary works, but also the human essence of their authors, G. Călinescu has the gift of creating narrative plots that are inherent in the critical act. The role of the anecdote is, on the one hand, to humanize the critical discourse and decrease the distance between the reader and the writers, usually seen as unattainable figures, and, on the other hand, the anecdote has, undoubtedly, a playful dimension. Through his monumental pages, G. Călinescu emphasizes the universal tendency of men to crop the quotidian sequences of other people’s habits and to integrate them in the largest form of narration which is Life.
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When talking about the author Alfred Gong, we must start from the Bukovina group, to which the author belonged. His birth in 1920 places him in the second generation of German-speaking Jewish authors from Bukovina, who were born not in the Habsburg monarchy but in the Kingdom of Great Romania. The Romanian socio-political environment brought the young Arthur Liquornik values as well as pain and suffering. On the one hand, he was taught the knowledge and depth of a folklore that he would later have wished to deepen in Romance studies at Chernivtsi University. On the other hand, Romanian politics meant recurrent persecution, which put him and his acquaintances in danger. Just as for Paul Celan, alienation, homelessness and attempts at refuge are not only literary motifs and themes for Alfred Gong, but also personal experiences. Alfred Gong experienced the exile and the feeling of horror before "tomorrow" several times and on several levels. This work attempts a twofold analysis. On the one hand, this work presents the exile experience of Alfred Gong. Second, it looks at European urban topoi to see to what extent these topoi can be seen as both cities of exile and places of transition. Bucharest, Budapest, Vienna, Lesum are the cities that compose a literary map of refuge and exile.
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The second half of the 20th century is characterized in the humanities by a paradigm shift in relation to space. In architecture, urban space is reconsidered, rethought, and reshaped under the new parameters created on the one hand by postwar capitalism in the West and on the other by communist ideology and doctrine in the Soviet and Central and Eastern European countries. Also, in philosophy and sociology, the relationship between the (urban) space and the individual is analysed and reconsidered on the basis of reciprocity, materialism, and social interactions. Last but not least, both literary criticism and literature as a form of artistic expression will engage with what we now call the Spatial Turn. Bakhtin’s coining of a concept to represent the relation time-space gave a very significant impulse in the literary studies for new approaches regarding the importance of space in literary texts. Among more recent works and theoretical approaches, we can find Westphal’s Geocriticism or Tally’s Literary Cartography. As far as this paper is concerned, we approach the significance of the Bucharest literary topoi in the autobiographical work of Gregor von Rezzori “Memoires of an Anti-Semite” from a literary cartographical perspective. We would like to determine in which terms Bucharest is remapped in the literary text and to which extent this text could be considered a city novel.
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Review of: Shefkije Islamaj, Ligjërimi, gjuha dhe stili në krijimtarinë letrare moderne dhe postmoderne të Rexhep Qosjes, Prishtinë, 2021, 827 f.
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Review of: Shpresa Ismajli Aliu, Veçori leksikore dhe stilistike në romanet e Rexhep Qosjes, Instituti Albanologjik, Prishtinë, 2021, 332 f.
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The picture book Flotsam depicts a boy who meets animals at a beach and finds an analog camera as flotsam, with which he discovers a peculiar underwater world. In the book, human-animal- relations are reflected dialectically in the context of visual perception with art, namely photography and fine arts, as well as literature, being used as the medium of reflection.
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Post-anthropocentric tools are needed to think about relations between humans and more-than-human others. In order to meet the challenges of the interspecific entanglements and interdependencies of a postmodern world, alternative models of collectivity must be designed from scratch with heterogeneous actors in mind. In Saša Stanišićʾs narrative Fallensteller [Trapper] and Olga Tokarczukʾs novel Drive Your Plow Over the Bones of the Dead, human and more-than-human protagonists engage in extraordinary relationships with each other. These are analyzed here based on Gesa Ziemer’s theoretical work on complicities as ‘multispecies complicities’. This new perspective on more-than-human collaborations aims to go beyond literary studies to explore multispecies collectives.
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Review of: (Ne)mogućnost povratka (Javier Marías: Berta Isla, VBZ, Zagreb, 2022.)
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The boom of electronic media, which increased the availability of information, the speed of its distribution, and the options of its selection in an unprecedented way, is reflected in a fundamental way also in the genre preferences of the percipients. What is in demand are also, or especially, topical, short, apt pieces of communication, which are concentrated, and which bring a quick punchline. New dramatic genres that respond to these trends include the stand-up comedy concept, which spread in Slovakia in the early twenty-first century. This study sheds light on the contentual and formal structure of pieces of communication of the stand-up comedy type against a background of analyses of seventy Slovak stand-up performances. It defines the term itself, specifies the determining features of this new genre, which has not been complexly defined in Slovakia yet, and focuses on the characteristics of the forms of the comedy used, the thematic starting points of the stand-ups, and their genesis and development (abroad, too, but mainly in Slovakia). It places special emphasis on the analysis of its dominant stylistic and intonation features.
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Dystopia, which is the opposite of utopia, referred to with pessimism and negativity, has a wide meaning. The concept, which expresses the concerns of the individual about the time, the world, life and the future, focuses on the suppressed, limited, and unfreedom life of human beings. As a general framework, while dystopia is shaped by a pessimistic view of the future, it also deals with the negativities woven by the current conditions. Dystopia, which describes both the present and the future with negative lines, takes its place with different forms of expression. The concept, which is seen in different fields from literature to cinema, has a different position in the literary field. The expressive ability of the literary field, its imaginative richness, the diversity of meaning possibilities, its strong relationship with imagination, its premonitions about the vision of the future open a wide field for dystopia. Literary areas where dystopia is told and fictionalized, especially in novels and short stories, draw attention. Along with these, it is witnessed that dystopia is seen in some texts in poetry. One of the contemporary poets, Aydın Uzkan's poem Dystopya can be given as an example. Everything from the title of the text to its narration and from its imaginative expression to its fiction coincides with the concept of dystopia. First, after the definition of life, the outer world and other meaning patterns move around the concept. Each expression; A responsibility that overlaps with the previous and next statements, gathers the mana units around dystopia, and reveals the dystopian elements. This dystopian poem, created by dystopian elements, expands and contracts throughout the text. These dystopian elements, which spread the meaning to the environment as it expands and deepen the meaning when narrowed, constitute the strongest aspect of the text. In particular, the imaginary narrative, on which dystopian discourse is loaded, makes the text alive as content and provides different meaning possibilities to the text every time it is read. In this study, it is aimed to reveal the dystopian elements in poetry, to analyze the atmosphere of meaning they create and to determine the image.
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