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The international affirmation of contemporary Croatian philosophy is connected with the journals which have presented, each of them in its period, the two most productive generations of modern Croatian philosophers. The first established Praxis with the well-known procea« of neomarxism of the humanistic provenance, which responded to the temporal trends of the mid-twentieth century modernism. In contrast to the one-dimension al marxist praxis-orientation, the journal of the second generation - Filozofska istraživanja (Philosophical Investigations) - was profiled as a fruitful debate of a critical and creative spirit, open in the direction of theoretical pluralism, toward new reflective orientations, tow ard new topics and ideas. Through its international edition titled Synthesis philosophica, the journal, together with its authors, has also achieved international success.
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Considering the fact that about 100,000 research and professional journals are published annually (Swales 1990), the abstract plays a significant role when members of academic discourse community are faced with the difficulty of finding specific data in lengthy research articles. Therefore, the abstract, as an independent genre, is of crucial importance, especially when potential readers have to decide whether to read a specific research article or not. This paper presents an analysis of research article abstracts in English written by academic writers. The analysis is based on 48 abstracts randomly taken from prominent British journals in three areas of political science: social, election and foreign policy. The focus is on their rhetorical structure, identified using Bhatia‟s model (1993). The analysis goes further to outline the distinctive discursive and grammatical features of such patterns. More precisely, the aim of this paper is to provide an insight into the use of tenses in each move respectively as well as possible reasons for the stated.
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Monografije, posebno o bošnjačkim bratstvima su se posljednjih godina umnožile toliko, da ćete prije nabrojati bratstva koja nemaju monografiju o sebi, nego ona koja ih imaju. U načelu to je veoma pozitivno, posebno ako se ima na umu potreba ljudi da saznaju što više o sebi i svojim srodnicima u vremenu kada globalizacija u biti tjera ljude na otuđenje i diktira posve drugačije potrebe od onih vezanih za identitet i porijeklo. Autori ovih djela su uglavnom entuzijasti (vrlo često iz bratstva) koje ne obavezuje nikakva naučna niti stručna potreba izučavanja ovog problema već mnogo češće svečarska lukrativna težnja koja ponekad može rezultirati i vrijednim djelima. Ali ipak to je rijetka pojava. Prvo zbog toga što je heuristička osnova izučavanja ovog pitanja jako sužena, zahtijeva specijalističko interdisciplinarno znanje. Zbog toga, u svim tim monografijama već postoji obrazac, diktiran nekim prestižnijim etnografskim školama koje su "nauku" utemeljili na naraciji, često starijih ljudi koja u biti njihovo sjećanje, pripovijedanje, pamćenje pretvara u činjenice, koje se potom uzimaju kao neprovjerljive. Bez obzira što moderna nauka takav metod naziva "babologijom" ili pričama "đedova i baba" ipak ga u cjelosti ne odbacuje, tim prije što obrazac tzv. Oral history na zapadu koji se primjenjuje u izučavanju zajednica koje nemaju pisanih svjedočanstava o sebi, postaje veoma raširen i služi naučnicima da sve to objedine u korpus naučnih disciplina najčešće podvedenih pod pojmom antropologije. To je moderan interdisciplinaran pristup koji u metodi istraživanja koristi više različitih pristupa, te u analizi dobijenih rezultata značajno proširuju nivo znanja. Toga naravno ili nema ili ima veoma malo u savremenim monografijama o bošnjačkim bratstvima. U njima se raširio stereotip preuzet iz starije etnografske škole Jovana Cvijića i njegovih đaka. Zato svaka od njih počiva na istom obrascu u objašnjavanju porijekla. Najčešći obrazac je onaj koji počinje sa: bila su dva-tri brata koja su se zbog nečeg ili sa nekim posvađali i oni obavezno bježe iz mjesta (plemena) porijekla, jedan po pravilu je konvertit (mijenja vjeru) a ovaj drugi, treći...ostaje u "staroj vjeri" jer je on "svjedok" porijekla konvertita. Kako "krv nije voda", biološko srodstvo obavezuje i ono se poštuje. I o tome ima mnogo zapisa. Ali nema "dokaza" da je baš tako bilo pa se na ovu osnovnu nit vremenom nadovezuje bezbroj priča, koje kada se zapišu postaju činjenice na koje se pozivaju oni koji koriste te priče. I naravno, svaka priča je "istinita" dok se ne dokaže suprotno. I to je proces koji zavisi od generacija, a ne od pojedinaca. Otuda svaki napor u tom smislu zaslužuje poštovanje i svaka monografija o bilo kojem bratstvu je vrijedan prilog. Motiv za pisanje ovoga teksta je u tome što smo sasvim nenadno došli u posjed jednog rukopisa koji ima pretenciozan naslov "monografija", ali za koji iz više razloga cijenimo da je vrijedan doprinos razumijevanju onog čime se bavi. Prvo, zato što je pisano u jednom posve drugom vremenu (1987). Drugo, što je osoba koja je to očito radila nenamjenski, filantropski iz najboljih namjera. Treće, što se služila metodom "oralhistory" u posve drugačijim okolnostima od današnjih. Treće, zanimljiva zapažanja, naročito o prezimenu (Rasoder, Rastoder) se mogu potkrijepiti izvorima za koje autor vjerovatno nije znao. I na kraju, potreba da se ispoštuje amanet ovog autora: "Poželjno je da ovu monografiju umnože, svi koji to imaju uslova, kao i da se upoznaju svi rođaci sa njom i o postojanju ovog pisanog dokumenta o bratstvu Rastodera". Kao pripadnik tog bratstva i neko ko je bio žrtva primitivnog i divljačkog napada dijela instruiranih polupismenih bratstvenika i pored jasnog iskaza da nemam motiv, niti ambiciju i stručni izazov da se bavim istorijatom tog bratstva, vjerujući i dalje da se "istorija ne može napisati, ona se piše", kao urednik "Almanaha" uz podršku ljudi iz redakcije, smatrao sam da objavljivanje ovog priloga ima dvojak značaj: to nije samo zanimljivo štivo o jednom bratstvu (Rastoderima), već istovremeno i dragocjeno svjedočanstvo o njima iz vremena kada je nastajao ovaj spis. Spis u originalu ima 21 gusto kucanih strana na pisaćoj mašini i do mene je došao zahvaljujući Refiku (Huzeirovom) Rastoderu kome dugujem neizmjernu zahvalnost i poštovanje. Činjenica da se zahvaljujući njemu pojavljuje danas ovaj tekst, koji je, bar prema zapisu autora, bio u posjedu još nekoliko ljudi, govori o tome da ipak ima onih koji znaju sačuvati svjedočanstva za potomstvo.
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The author aims at demonstrating – using cultural history – that two of the most important ethnologists from the 19th century Banat (south-eastern Romania), i.e. Athanasie Marienescu (1830 – 1915) and Simeon Mangiuca (1831 – 1890) have founded their mythology and comparative folklore studies on a certain method. This method is referred to as magical – metaphysical or scientific. In this regard, the study refers to cultural archetypes and symbols that have created sacred genealogies (eg. the wolf – as a symbol of the Romanian cultural and spirituality). These genealogies were developed by (metaphorical or metonymical) transfers of the significant over new socio-cultural data. These data appear in history revealing internal and external connexions. The method was elaborated by Simeon Mangiuca and was confirmed (independently – most likely it was not known) by Mircea Eliade, within the second half of the 20th century (cf. Eliade, De la Zamolxis la Ghenghis Han).
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Your Eminence, Venerable Brothers in the Episcopate and the Priesthood, Dear Brothers and Sisters, It is a great joy for me to meet you in this basilica, in which some of the greatest geniuses of architecture and sculpture have had a hand. Welcome!
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The paper presents unknown details concerning Bruno Schulz, found in the memoirs of the Cracow critic, writer, and poet Henryk Vogler (1911–2005). Vogler wrote quite a long article, “Two Romantic Worlds. On Bruno Schulz and Witold Gombrowicz” [Dwa światy romantyczne. O Brunonie Schulzu i Witoldzie Gombrowiczu], published in 1938 in Skamander. Both writers thanked him in letters, which initiated their correspondence that continued till the outbreak of World War II. Schulz exchanged with his younger colleague opinions about literature, evaluated his attempts to write fiction, and described his dreams. They resumed writing letters to each other in 1940 during Vogler’s stay in Lviv – he actually invited Schulz to pay him a visit. Their meeting, however, never took place: already on his way, Schulz returned home. That situation may be considered in the contexts of similar events from Schulz’s life and an interpretation of his fiction and art proposed by Jerzy Jarzębski, who saw in both a “record of … an encounter realized in many different ways.” This encounter almost never brings about a harmonious connection, but instead leads to “pain, shame, comedy, and irony.” On his correspondence with Schulz, lost during the war, as well as on Schulz’s influence on his own work and the meeting in Lviv that did not take place, Vogler wrote in his Self-Portrait from Memory [Autoportret z pamięci] – three volumes published in 1979–1981. In his autobiography Vogler also mentioned the first postwar publication of Schulz’s fiction in 1957 by Wydawnictwo Literackie, of which he was editor-in-chief. Still, his account does not explain the details of a conflict between Artur Sandauer and Jerzy Ficowski, which began on that occasion and continued for many years. The closing part of the paper focuses on the traces of Schulz in Vogler’s novel, The Man Who Was Dreaming [Człowiek, który śnił], written before the war but published with some revisions in 1960.
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Among many people present in the social and professional milieu of Bruno Schulz, was Emil Zegadłowicz (1888–1941), a writer who during the interwar period was famous mainly for his novels critical of Polish socio-political realities (Zmory, Motory). The essay presents almost all the available evidence concerning the two writers’ mutual artistic inspirations, correspondence, and personal contacts that have survived to this day. Crucial for this reconstruction was a search in the family archive of Zegadłowicz. Unfortunately, even though he certainly did his best to document his literary connections, the traces of Bruno Schulz’s life and work in the archive are scarce. It was much easier to find there the evidence of Zegadłowicz’s recognition of Schulz and his work. For example, the name of the artist from Drogobych was found on the mailing list of the copies of Zegadłowicz’s works, and handwritten remarks were discovered on the published texts of Schulz’s stories. Also, a letter written by Schulz includes remarks on one of Zegadłowicz's novels. Among the archive’s holdings, particularly interesting is the documentation of the two writers’ only meeting which took place in Drogobych in February 1939 during Zegadłowicz's lecture tour, and the author’s analysis of Schulz’s artworks that Zegadłowicz received on that occasion, including his portraits. A description of the two writers’ meeting includes also contextual information about Schulz’s family and his professional relationships with Drogobych. Today, while some documents seem to suggest that in the late 1930s Zegadłowicz and Schulz were close friends, there is no good reason to believe that it was really so. After all, Zegadłowicz’s archive contains no relevant evidence in this respect.
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Bruno Schulz used to portray his students. They were usually glad for it, although some claimed that Schulz at times crossed the comfort limit of female students. After many years, students portrayed him in their testimonies in which they tried to remember what he was like, and their perspective was different from that of Schulz’s friends. Students always remain lower in the school hierarchy and usually they cannot get to know their teacher very well. Thus, they have to rely on what they observed during lessons or outside of school. Corporeality played an important role in students’ stories, simply because they had visual access to it: Schulz appeared in class in his bodily form. As a teacher, he used his body to work – he spoke, drew, walked, etc. He played with his body and was observed as a central figure in the classroom, playing his role of an authority before an audience. Consequently, students drew conclusions about his mental traits in reference to physical ones. Generally, the teacher’s body should be asexual, sterile, aesthetically pleasing, and reliable. Therefore, Schulz’s body was not entirely his own since it had to fit his social role, which it did not always do. Because Schulz’s corporeality was quite uncommon, students talked about it and then Schulz specialists asked their professional questions. Students described in detail his figure, gait, face, look, hands, clothes, voice, and sexuality. The essay is an attempt to collect all the relevant texts that address the topic. It proves that especially corporeality impacted how Schulz was perceived as a teacher and a human being. Students saw him either as rather withdrawn and stressed, or as a strong magnetic personality. It is hard to judge the truth value of their opinions – probably they tell us little about the real Schulz. However, dozens of statements by Schulz’s students that refer to his corporality greatly enhance his picture known from photos. A gender perspective makes the problem even more interesting, as we can see a difference between the memories of women and men: the former seem to resemble Schulz’s drawings and portraits of female sitters, while the latter his portraits of the male ones. Unfortunately, we have only a few female testimonies since Schulz taught mainly in a school for boys.
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The paper is an attempt to shed light on Bruno Schulz as a man seen in a specific social and historical context. It is a kind of reconstruction of his (un)manliness. A starting point was an intuitive supposition that for Schulz being a (“real”) man might have been a genuine ordeal and that few people actually perceived him as one. The reconstruction is based on testimonies, letters, and individual observations of the writer’s colleagues and friends. They questioned those elements of Schulz’s male identity which did not fit the accepted social model. The picture that has been revealed by a number of memories, distorting or exaggerating his actual features and attitudes under the influence of the stereotypes of the times, consists of at least six elements: (1) Schulz was an ugly weakling; (2) a sickly mamma’s boy always in depression; (3) a sexual impotent, maniac, and pervert; (4) a sluggard and a schlemiel; (5) a parasite depending on his clever, socially prominent, and wealthy elder brother; and (6) a burden to the family that he should have supported. The author opposes that stereotype which, even though impressive in literary terms and well rooted in Schulz’s biographical myth, significantly simplifies his picture and biography by reducing him to a caricature of a great but socially castrated artist. Paradoxically, what made Schulz an artist: his talent, sensitivity or perhaps even hypersensitivity, gentleness, shyness, a unique (maybe pretended?) sense of separation from reality, as well as deep insight in it somehow deprived him of manliness as defined by society and made him unmanly. On the other hand though, all those traits contributed to an explanation, a shield, and an alibi of the stereotypical unmanliness. Thus, sometimes some people were able to forgive him his weakness since after all he was an artist. But what if had been a shoemaker or, for that matter, a dealer in textile fabrics?
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A plan of Bruno Schulz's monument, designed by the Polish sculptor Marek Tomza in 1980s but never finished.
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Despite the general negative perception, informality in urbanism is not always bad and does not only emerge in housing and economic activity areas. It also appears in and contributes to public spaces in DIY urbanism form. DIY urbanism includes informal, small scale, spontaneous interventions such as seats and signboards. This study aims at exploring the formalization process of DIY urbanism through co-production and showing possible contributions to urban space and decision-making process with examples from Turkey. Web-based search, direct observation and visual recording are research methods. The findings show that DIY urbanism appears as a positive informal action while citizens solve their problems and meet their needs themselves rather than waiting for government or public institutions. Yet it is only positive and to be formalized if they consider public interest and do not hesitate others’ interests. Formalization of DIY urbanism by co-production strengthens collaboration and communication in public space.
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This study makes an attempt to convey a bibliometric investigation on the public trends in Palatography literature published from 1940 to December 2019. For doing so, in the first part of the paper, using the Scopus database, the keyword “palatography” and “palatograph” were searched in the title of the documents, keywords, and abstracts within all areas of disciplines. In the second part, the search pattern was limited to the domains of “Art and Humanities” and “Social Sciences” including Language and Linguistics from 2010 to 2020. The data was collected from Scopus freely accessed at Alzahra University, and network analysis of research outputs was carried out to analyze the research trends in the Palatography literature. The quantitative analysis of the publications, i.e. publication years, authors, keywords, countries and affiliation, citation per year, subject area, documentation type, were investigated in both parts. Based on the results, Palatography and its applications are fluctuating in recent years. The results show that documents with the focus on Palatography in “Art and Humanities” and “Social Sciences” have deteriorated in citation rate, as the authors were researching in multidisciplinary zones. The top research keywords in all publications investigated in the first part of our study concentrated on “speech”, “palate”, “articulation”, and “tongue”. While, as demonstrated in the second part, the main focus has been on “dental”, “speech”, “palate”, and “phonetics”. The trends of publications on Palatography provide a perspective on the future of research and identifies potential opportunities and challenges.
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After the war, the Communist Party of Slovenia (KPS) in the then People’s Republic of Slovenia was the only proper political force that controlled all levers of power. Those who held key positions in the Party also held the most important positions in the leadership in the so-called mass organisations, and also in authorities, the economy and other key segments of the society.
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The article presents a description and edition of a foundation charter issued by Jerzy Iwanowicz Ilinicz for a church in Biała Podlaska. The information contained makes it possible to determine, among other things, a new date of the establishment of the parish or lists of patron saints. The charter also includes the oldest mention of Biała Podlaska as a town.
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The article presents a so far unknown personal dedication of Martin Luther for Prussian Prince Albrecht von Brandenburg-Ansbach (Hohenzollern), on the title page of a copy of an anti-papal print titled Wider das Bapstum zu Rom vom Teuff el gestiff t (Wittenberg, 1545), kept in the old-print collection of the University Library in Toruń (no. Ob.6.II.2382). This is probably a reminder of their last meeting at Wittenberg Castle in December 1545. The author discusses the content of the publication and the circumstances of Albrecht’s visit in that town.
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The article discusses the cipher key which is kept in Stanisław Lubieniecki the Younger’s (1623–1675) materials in the Special Collections of the University of Amsterdam. Only a draft of the code is preserved and it is uncertain whether it was used or not. The paper also aims to determine the purpose of creating such a code.
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The first Polish translation of the so-called “conversation cards” (Gesprachblatter) byFranz Kafka – the notes which the writer, dying of laryngeal tuberculosis, used to communicate with others in 1924. Łukasz Musiał, the translator, chose as a source the following edition: Franz Kafka, Briefe 1902-1924, Hrsg. von Max Brod. Frankfurt am Main: Fischer Taschenbuch, 1989.
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Polish translation of the preface to Franz Kafka’s log by Reiner Stach, Kafka von Tag zuTag. Frankfurt am Main: S. Fischer Verlag, 2017.
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The article deals with the seal of Prince Casimir Jagiellon (the second son of King Casimir IV) from the period of his claims to the Hungarian Crown in 1471–1472. After presenting the source material, the author interprets his ideological and political programme in the context of the rivalry between the Jagiellons, Habsburgs and Corvinus in the third quarter of the fifteenth century.
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