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Poticanje čitanja i razvijanje čitatelja
Review of: Helena Horžić - Marina Gabelica, Dubravka Težak. 2019. Kreativni pristup lektiri. Zagreb: Učiteljski fakultet Sveučilišta u Zagrebu. 396 str. ISBN 978-953-8115-02-8.
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Review of: Helena Horžić - Marina Gabelica, Dubravka Težak. 2019. Kreativni pristup lektiri. Zagreb: Učiteljski fakultet Sveučilišta u Zagrebu. 396 str. ISBN 978-953-8115-02-8.
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The article focuses on three representative literary works for children between 9 and 12 by Christos Boulotis, a renowned contemporary Greek writer of children’s literature. His works which are exemplary of a broader tendency of contemporary Greek historical literature for children revolve around the concepts of the personal and public past and of personal and collective memory. We show that the specific works by Boulotis tend not only to make the concepts of the personal and public/historical past an issue but also to stress the importance of these concepts for the lives of contemporary people. At the same time, we show that because literature for children is inevitably ideological, the concepts of the personal and public historical past are used by Boulotis as a resource for the promotion of specific contemporary ideologies which are at the forefront of the public debate in contemporary Greek society, such as the universality of the experience of being a refugee, anti-racism, and pacifism.
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It seems that the academic community is not interested in any branch of philosophy more than in ethics, the philosophy of morality. With the more pronounced questions of 21st century culture, the question of human action precisely in the context of the creation of “good or evil” is now becoming a burning issue, leading to contradictory scientific analyses and interpretations. We constantly discuss the ethics or lack of ethics in the world around us, too often only superficially understanding or experiencing this concept. In art and literature, it is the development of contemporary literary theories that contributes to the more intensive development of ethical criticism and to interdisciplinary links between philosophy and literary science. This paper, through various critical approaches, discusses the role of ethics and ethical criticism, aesthetics and ideology in children’s literature and critically analyses the positive and negative aspects of these phenomena.
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George Orwell’s works bear a political tone. Burmese Days is not only a narrative of Burma’s historical past, but a sociological document in which the cultural and social specificities of the country feature prominently. His realism is undoubtful (“I write because there is some lie I want to expose, some fact to which I want to draw attention”, he would confess in Killing an Elephant) and telling the truth about his contemporary world was only the first stage before reaching the absolute visionary prowess of 1984 – a novel whose dystopian character has already been surpassed by reality. Besides learning from his criticism of imperialist politics, we argue that the lesson he gives in Burmese Days – about human relations and the horrible way in which corruption affects them is worthwhile learning.
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Hélène Cixous’s Manifesto The Laughter of Medusa was first published in 1975 and immediately became one of the most frequently quoted texts on écriture féminine – women’s writing. How can the essay be perceived today and has the literary work of women become an emancipatory element or rather fell into a trap of an essentialism? Using the example of theoretical texts, my own work, and many years of experience in conducting creative writing classes, I critically discuss Cixous’s view. I refer to the theoretical works of Marguerite Duras, Izabela Filipiak (Morska), Katarzyna Bonda or Julia Cameron, trying to draw guidelines for women writers mentioned above and juxtapose them with the examples of their literature. I also reach for my own writing workshop and check, if the model of “a madwoman in the attic” by Sandra Gilbert and Susan Gubar is still valid in the 21st century.
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In this article, I reflect on the productivity of hermeneutic translation criticism, focusing on literary translation. I pose the question whether the hermeneutic mode of translation analysis and evaluation – largely based on the premises of the Romantic art critique – is capable of making a significant contribution to the contemporary discussion on the functional model of translation criticism. According to my argument, the source of the productivity (and functionality) of translation criticism is dialogicity –a feature that can be considered fundamental in the case of hermeneutics. Following the dialogical hermeneutics of F. Schlegel, F. Schleiermacher and H.-G. Gadamer, as well as H.R. Jauß’s aesthetics of reception, I formulate some major postulates of a hermeneutic critique of literary translations. This criticism is of an interrogative nature: it finds and poses questions that are answered by the examined statements. The critic’s questions include those about the original and to the original, about the translator and to the translator, as well as about the reader and to the reader. Finally, I show cases in which a critical dialogue around literary translations crystallizes. It is a dialogue that can be shaped and interpreted by the postulated hermeneutic translation criticism.
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In contemporary discussions on the condition and further perspectives of World Literature, the mood of disappointment and disillusionment seems to dominate. Reservations concern World Literature in its complexity – its canon, potential multilingualism, existing hierarchies and often contradictory conceptualizations. The crisis of World Literature is not, however, the result of a scandal, but rather of many years of progressive petrification resulting in actual monolingualism, formulaic narrative patterns, consolidation of the center-periphery hierarchy and abandonment of the real pluralism of interpretation. One of the areas that seems to meet the challenge of World Literature is undoubtedly translation criticism. Therefore, the aim of the article is to reflect on how contemporary theories and conceptualizations of World Literature as well as its far-fetched utopia can benefit from translation criticism’s input. The article also argues that translation criticism may become a field that dynamizes contemporary World Literature and restores its reordering or even revolutionary potential.
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This article concerns the reception of Romanian folk poetry within the European modernity of the twentieth century. The case under consideration is that of a small collection of Romanian folk songs which circulated all over Europe in the twentieth century. Their strange and enigmatic poetry, of dazzling and primordial beauty, has fascinated writers and intellectuals, marking the meeting of modernity with the most ancient and unfathomable face of traditional European culture. The songs were collected by Constantin Brãiloiu, a great scholar and theorist of popular music, in 1930, and were translated into French by Ilarie Voronca, one of the main authors of the Romanian avant-garde of the interwar period.
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The article discusses the relation between the factography and the fiction in literary reportage. The text proposes the term of quasi-factual narrative, which describes a rhetorical figure typical for the documentary genres amplifying their descriptivity. Second category: factual narrative is an intentional distortion that is unauthorised in the reportage genre. The theoretical proposal referring back to the tradition of literary studies that dates back to the interwar period was discussed using the example of oeuvre of old and contemporary authors such as Wanda Melder, Melchior Wańkowicz, Hanna Krall, Anna Kaszuba-Dębska, Wojciech Jagielski and Anna Fryczkowska – the author of factual narrative.
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The article reflects on the chosen aspects of the Czech reception of the so called Polish school of reportage. Using a few specific examples, it analyses which Polish reportage texts appear in Czech translation, how are they received and which picture of Polish reportage emerges from such reflection. For analysis purposes chosen were first and foremost these texts, which in some way present the genre characteristics of the Polish reportage or the cultural differences in its reception by Polish and Czech readers.
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The aim of the article is the search for the sources of fascination with Kapuściński’s oeuvre in the Spanish academic milieu. In the essay discussed were the examples of actions taken by the researchers in Spain and in Poland whose idea was to propagate the thoughts of the author of The Shadow of Sun. The article shows that Kapuściński’s reflections on the topic of the journalist and corespondent profession are still relevant and many Spanish journalists invoke them in their work in a direct or indirect manner.
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As a journalistic genre, reportage is determined by the context in which it is produced. It transports the reader to a specific time and place, but, unlike the news, it does not depend on current events. Therefore, a reporter is not constrained by brevity and, like any other author, aims to develop their own style. This was the case of Ryszard Kapuściński, who was the Polish Press Agency’s only correspondent in Latin America from 1967 to 1972. After this experience, Kapuściński returned several times to the continent from 2001 to 2005 and gave lectures for the Fundacion Nuevo Periodismo Iberomericano, founded by Gabriel Garcia Marquez. His reportages about the continent are considered highly political (in fact Artur Domosławski describes him as a naive “true believer” in communism during his stay as a correspondent). This article, however, views the significance of his time on the new continent from a different perspective. Was the most important Latin American influence on Kapuściński actually the style and genre that he developed as he explored a new kind of reportage: ‘‘magical journalism”?
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The article is an attempt at analysing the foreign reception of Jacek Hugo-Badera’s reportage books on the former USRR. Looking at the method of publishing and promoting the translations meant for the American market, the author points out the embedding of these texts in the global genology (the category of survival non-fiction). The testimonies of a professional and non-professional reception of White Fever in Ukraine (where the Polish school of reportage is an important point of reference) become in themselves a pretext to sketch out the post-colonial context. The author deems the lack of Russian translations of Hugo-Bader’s books to be important. From a wider perspective, the proposed case study indicates the different ways of the Polish reportages being relevant abroad.
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The aim of the article is presentation of writing activity of Polish women at the turn of the 19th and 20th century, which covered not only knowledge of various areas of life - “unscientific knowledge”, but also “scientific knowledge” comprising diverse, intensely advancing scientific disciplines. In the first part of the article, the author presents stages of education that is the preparation of women for popularizing activity, while in the second part she makes preliminary classification of popular science literature because of subject matter and genre forms. The author indicates thematic and genre groups, by specifying adequate work examples (titles), taken from 19th century bibliographic catalogues. She assimilated paraliterary works (didactic and moralizing novels, novels of manners, historical novels as well as fictionalized biographies of famous scholars) to genres popularizing scientific knowledge. Scientific monographs, lectures, readings, and novels make up a separate group. The author notes that genre patterns of popular science literature came to Poland from Western Europe and initially were in nature of translations and excerpts of texts with Polish commentary and paraphrases. Over time, original works speaking about Polish scientific discoveries and inventions began to arise.
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The purpose of my work is to present the influence that Ryszard Kapuściński had on the shape of the genre itself as well the impact it made on the younger generation. I performed the comparative study using texts written by modern authors. The cognitive value of my work relies on the indication which of Kapuściński’s theoretical assumptions refer to the form of modern literature journalism, including those one can find in his books that influenced the works of such authors like Wojciech Jagielski, Paweł Smoleński, Wojciech Tochman or Mariusz Szczygieł. I argue that some poetical elements (e.g. the skilful use of stylistic media), adequate to the challenges presented in the book as well the personal signature of the text, reflectivity, humility and respect to reliable knowledge discovered in Kapuściński’s books, became the pattern that has resulted in varying results realised by younger adepts of literature journalism.
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During ethnographic research into newly established suburbs around Sarajevo, which are mainly inhabited by Srebrenica’s population who survived the persecution and genocide of 1995, I had the task of recording certain lifestyle changes of these refugees. This paper analyses the oral literary lyrical heritage of the Srebrenica region, ie. oral songs which were remembered mostly by women. Since I was myself one of those populations I relied on my personal experience that expanded my insight into more detailed knowledge, as well as the various circumstances that shaped the way of life of my respondents. On the other hand, the research aimed, among other things, to examine the role of Srebrenica women in the memory of the intangible cultural heritage of their region in recent times. First, I considered women’s self-organizing as a response to the genocide and the consequent absence of male family members and community leaders. Then I draw upon my research to consider the impact of these activities on collective attitudes toward the memory of the Srebrenicas' former spiritual life examining the presence of traditional and oral patterns in everyday life. The paper relies on interpretative and analytical methods of the science of literature.
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This article attempts to reconcile the religious orientation of Rev. Andrew M. Greeley with the demands of fiction, i.e. the literariness required in a masterpiece. As a sociologist-priest, he has written fictions that are considered or labeled as popular or those that belong to genre fiction. Using Russian formalist literary theories in reading Greeley’s selected novels, the researcher was able to elucidate that Greeley’s craftmanship is present, though it heavily relies on his background as a priest and sociologist.
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Using the concept of the sacred–profane dichotomy by Emile Durkheim which is found in his Elementary Forms of Religious Life (1912), the author attempts to prove the existence of the sacred and the profane elements in Fr. Andrew Greeley’s Passover Trilogy. After dissecting the novels, the article found out that, as per Durkheim’s concept, sacred and profane elements existed. However, the dichotomy of the sacred and the profane was advertently fused. This harmonious fusion of the sacred and the profane is important in shaping the characters’ lives (who are representations of real people) especially in terms of their moral rebirth and sense of renewal, and that the dichotomy of the sacred and the profane would only create chaos and confusion, among others.
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The book Night with White Horses by Pavel Vejinov uses the neorealist procedures for depict the social and emotional events which shape the life of Urumov’s family, emblematic for the solid Bulgarian bourgeoisie, confronted, now, with the innuendo of the Communist ideology, with her intrusion at all the levels. The profession of the academician Urumov (specialist in virology) and life in the Research Institute that he leads become an allegory of this destructive invasion, which is acting like a virus, the new type of careerism, and the mixture of the private life from the Communist perspective in people's destinies. Two generations: the occurrence formed before the "new man", that still retains elements of a dignified behavior; that formed after the Second World War, contaminated up to dissolution of the danger of the extreme-left ideology. Another important aspect is the one related to love, and the research of this one, regardless of age.
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The recurrence of the history, myths, legends and popular beliefs of Bosnia found in the novel The Bridge on the Drina by Ivo Andrić facilitates the study of its mythical and magical hypostasis. Starting from the main critical approaches focused especially on its quality of historical novel, we propose the analysis of this literary work through the prism of two types of discourse designed to highlight the mythical and magical consonants of this novel’s substrate. The research analyzes, first of all, the historical discourse based on the rendering of the significant events in the reality of Bosnia between the sixteenth and twentieth centuries. It coexists with the discourse that we have called mythic, which originated from local myths, legends and popular beliefs, and is also the object of study of the present paper. The insertion of myths, legends, archetypes of the Balkan area, magical realist elements and numerous fissures generate the mythical discourse. Organizing the argumentation according to the discourses identified reveals the particularities within the narrative. The fluctuations identified between mythization and demitization, between belief in the supernatural and the search for causality incline the balance in favor of the historical discourse, founded on the mythical one.
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