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This is the first translation into Romany of Jordan Yovkov's "Stara Planina Legends".
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This is the first translation into Romany of Jordan Yovkov's "Stara Planina Legends".
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The novel deals with the problem of a crisis of values, caused by rapid changes in the social life of modern Japan, including the issue of a lack of an efficient system for the care of elderly people in the 1970s when the first symptoms of an aging society started to show. The author recounts the process of aging of middle-aged people caring for senile members of their families.
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Although world literature has thoroughly studded fairy tales, this cannot be said for the ones that are a part of Serbian folk creativeness. Partly dealt with in our folkloristic, they have remained, in general, out of the domain of scientific interest of Serbian ethnology. Hance my wish to treat, from an ethno-folkloric aspect within our bounds, this insufficiently explored matter. Regarding the fairy tales as a particular meta-language, used to carry on definite messages, my theoretical and methodological starting point was to investigate the fairy tale as a symbolic system through a structural-semantic analysis. The research was directed to what the fairy tales are talking about, what notional and value content imbues their structure, and finally, to what level of reality they pertain. Although a fairy tale transmits universal ideas indeed, and the matter it deals with concerns essential and existential problems in the human life, such as life and death, love and hate, sexuality and sin, happiness and destiny etc. I have decided to make choice of particular segment of reality and limited myself to social, to be more precise, and family relations. This election has been motivated by the fact that the basic interest of the fairy tale is directed to the destiny of the individual, has process of maturing and the affirmation he realizes within the sphere of personal, marital and family relationships. The basic aim of the research was therefore the establishing structure of the messages that fit in the context of the above mentioned social relationships in the Serbian tales and their deeper „reading" by means of two global semantic model — cognitive and axiological. Thus the paradigmatic organization of the social code that dominants structure of the fairy tale has been extracted, not discarding, the other ones with which the social one is deeply integrated and knitted manifold, for instance, the cosmological and mythological, religious, geographical, biological, moral and others, that altogether take part in building the general filed of meaning in a fairy tale. The analysis has operated with the results that structural anthropology and folkloric have come up to. In most cases I have used A. J. Greimas’ method of the semiotic square or the elementary structures of meaning because this logical model gives clear picture of the notional structure of the fairy tales when the bigger and smaller meaning units combine on the principles of the opposites, contradictions and implications. Distributed on the bases and sides of the semiotic square, these terms build multilateral and multi-leveled mutual meaning relationships. Furthermore, certain analytic modes of other structuralists and semioticians, such as Levi-Strauss, Vladimir Propp, Meletinsky, Joseph Courtes, Claude Bremond and others have been applied. In a great number of cases direct application of these methods was impossible and thus I have operationalized them, that is, adapted to the matter I was dealing with. Material that form my research I have limited to the Serbo-Croat language domain, fairy tales collected throughout the nineteenth and twentieth century in those regions of south Slavic countries inhabited by Serbian population. A body of forty fairy tales, which the plot and the unknowing on the narrative plane encompass at the same time the conflict on. the plane of marital and family relationships, has been chosen. It has been taken from the two best known, and in my opinion, best collections of Serbian folk tales, Vuk St. Karadzic’s and Veselin Cajkano. Undoubtedly, the motif and thematical scope of the Serbian fairy tales represent variations of the known international stories. However, the particular type of cultural and social reality in which the tale generates and is further carried on, will determine the choice of motifs and themes understandable and acceptable to that culture. In that sense it should be expected that the fairy tales Serbian folk has narrated contain a selection and adaption of international motifs applied to its specific culture. Hence the ethnographic context is determined which represent a referential frame for stipulating the messages codes and interpretation. This context is partly extracted ideotypologically as a reconstruction of the patriarchal, traditional system of the Serbian rural society whose main axsis lay on the relationships within the family, the co-operative, the kin and the village. It is familiar to us from abundant ethnographic material indirectly dealt with and used in the semantic analysis. Their reconstruction. is based upon generally accepted premises about the global construction of the patriarchal societies believed to be the social-historical foundation for the genesis and transmition of fairy tales. It should be pointed out that the protracted domination of the patriarchal regime among the Serbian folk has contributed to the maintaining of certain archaic elements that have for a long time disappeared from the other European fairy tales in societies with more developed urban culture than has been the case with Serbians. Aside from The Introduction, the book contains three great thematical wholes: Out of the Circle, Circular Travelling and In the Circle. These headlines metaphorically denote the course the author has taken in solving this problem. In the first part through the chapters „Toward interpreting fairy tales" and „Serbian fairy tales: culture „digested" inwardly and outwardly" theoretical and methodological frames of research have treated and the introduction into the goal of work has been presented. In the second part, the analysis of the chosen body of fairy tales has been carried through. They are divided into three problem groups that contained typologically internal semantic homogeneousness, and thematically took for granted the elementary ideas out of which sprang the constant of the stories. The first cycles called „Initiation Secret" is divided into two sub-chapters: „Faraway Princesses" and „Insignificant Marriages" gave the basis for a classificational system which brings out what are the conditions to contract a proper marriage, where and how to look for a partner as well as all the obstacles could be encountered on the way. The second thematic round „Model Girls" through the confrontation of two sub-chapters, headed „Life in Ashes" and „The Slope", adjoins the problem from the previous group and talks of family conflicts sprung from the need to contract a marriage but accentuates the incompatibility of certain choices: too close or too distant partners and, of course, the solution of the problem. Finally, the third cycles „In the World of Spells or of Love" with the chapters „The Forbidden Chamber" and „The Beauty and the Beast", treats the mutual relationships of the partners, focusing on the semantic paradigms of sexuality, love, eroticism, sin and death. The third part of the work „In the Circle" in the chapter „Diagonals and Parallels", contains final treatises come up with in the previous analysis. It has turned out that the third cycles of the fairy tales has closed the circle attaching to the first cycles about dragons and dragon killers or, one could also say, it has opened a new thematic round always to be fulfilled on the semantic filed of fairy tales. At the end there are two annexes. The first contains the tabular presentation of the analyzed fairy tales according to the formally structural classificational criteria. In the second, named „The Structure of the Plot or Reason at Work", detailedly the theoretical and methodological procedure applied in the work has been inspected.
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Europa lernte die Literatur Bosnien und Herzegowinas erst so langsam während der Kriegsdekonstruktion (1992-95) dieses Landes kennen. Es befindet sich im Herzen des ehemaligen Jugoslawiens, und ist der Geburtsort vieler bedeutender Literaten. Ivo Andrić, der einzige Nobelpreisträgers aus dieser Region, Meša Selimović, Dževad Karahasan und Miljenko Jergović sind im deutschen Sprachraum wohl die bekanntesten. Doch die zeitgenössische literarische Landschaft Bosnien und Herzegowinas hat noch viel mehr zu bieten. Diese Stimmen wollen wir Ihnen hier vorstellen. [...]
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This book is part of a sequel titled The Century Trilogy, which has been very successful in Turkey. Following this first book in the series, we do hope to offer other two novels to English reading audiences soon. Mr Binet offers a journey through belief, love, artificial intelligence, simulation, cyber reality, and numerous negotiations in an intriguing three-zone world. Mr Binet comes with a list of songs which Ayse Acar thinks appropriate when going into our own journey with Mr Binet and his companions.“Mr Binet tells an exciting story with a fresh perspective on the future of society and Artificial Intelligence. I could not set the book down, and with the twist at the end I already can’t wait to read the sequel! Reading Mr Binet, the feeling it gave me was like when I read Three Body Problem for the first time.” Richard Kelley, Phd, Chief Engineer, Nevada Advanced Autonomous Systems Innovation Center, University of Nevada, Reno, USA.
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The Smell of Wet Bricks is a pioneering short novel in English by a Kurdish author. ”The smell of wet bricks” is a fresh voice from a region marked by violence and wars over a century. An author from Kurdistan in Iran, Parvizpur “craves to become the voice of a rich repository of powerful stories.” Excerpt: “His life was not empty of excitement; never did he have a monotonous life, and, even now that his body is lying in a corner there under a tree, never will he be immune from menace. Wanderer, nomad, homeless, or whatever you may call him will not make a change in his path, since he is an emperor. Nothing else matters to him except for his mission. He is in thorough possession of freedom and, equally, emancipated from any kind of blameworthiness.” … “The girl closes the notebook. She thinks about the day that she can go to Resho’s room to be exposed to his inspirations. She would smell the bricks of his room’s wall from which Resho detached its plasters to pour water on them. He loved the smell of wet bricks.”
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Criticism After Literature constitutes the next stage of the critical project undertaken by Krzysztof Uniłowski over the decades. Criticism is understood here not only as a certain way of thinking, but also as a culturally creative practice. As such, it takes various discourses, including non-literary ones, and even itself, as its object of interest. In some chapters, the monograph undertakes theoretical considerations, while others are devoted to the interpretation of literary works.The monograph discusses the role of criticism at the beginning of the 21st century, where it finds itself in a new reality for literary communication (in the chapter “Criticism After Literature”). However, the considerations also tend towards metacritical reflection (“Hospitality of Criticism”), theoretical and literary reflection (“Textualism, Materialism, Immersion, Interpretation”) or post-secular reflection (“Don’t Touch Me…” and “The Defenders of Literature and Their (Cryptotheological) Fantasies”). Moreover, the author considers critical practices and their conditions (“The Avant-garde in the Television Era”).Part of the monograph is devoted to the interpretation of literary works. In the chapter “Hope from the Stars,” the author looks at the gnostic conditions of dystopia; in “History as Parody,” he touches upon the story of the Witcher by Andrzej Sapkowski; and in the chapter “Zły Zagłoba,” he delves into the relationship between Sienkiewicz’s character and Anna Brzezińska’s Mr. Krzeszcz.
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The short story collection The Lines Which You Call Rivers contains both short stories and novellas that testify about Amir Alagić's true talent manifesting itself through authentic narratives, strong images, and daring, rich figurative expressions we have already had the chance to experience in his novels The Sacravenges and Hundred Years' Childhood. Alagić is a master narrator, his reality is tangible, odorous and visible, the events multi-layered and refined with symbolism. The twelve stories, that depict different periods and places, the old age and wasted youth, the devil, curse and madness, show us that Amir Alagić is an important name in our literature, and we should read his works. Amir Alagić was born in 1977, in Banja Luka. So far he has published the novels The Sacravenges (2016), Hundred Years' Childhood (2017), and Tunnels (2019), and the short story collections Under the Same Sky (2010), and The Lines Which You Call Rivers. He published short stories and poems in various literary magazines and anthologies. He wrote a screenply for the short feature film Toying, or a Broken Water Heater (2012). He lives in Pula.
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In his debut novel The Sacravenges, Amir Alagić already showed his deep understanding of human soul. There he also elevated the art of description to the highest level, reaching the innermost depths through the exterior surface. In his second novel, Hundred Years' Childhood he ventured farther in developing his art. This time the stage of human drama is the Croatian city of Pula. The time spans across the whole century encompassing not only the contemporary period, but also the First and Second World Wars. The city becomes a real theatrum mundi, an intersection of destinies of different nationalities, where each life becomes a story in itself, and whose familiar localities testify about the transience of life. Amir Alagić was born in 1977, in Banja Luka. So far he has published the novels The Sacravenges (2016), Hundred Years' Childhood (2017), and Tunnels (2019), and the short story collections Under the Same Sky (2010), and The Lines Which You Call Rivers. He published short stories and poems in various literary magazines and anthologies. He wrote a screenply for the short feature film Toying, or a Broken Water Heater (2012). He lives in Pula.
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nsan-dan Başka Öyküler, insan türünün imkânsızlıklarını veya sınırsız imkânlarını, oluşlarını izlemeye, okumaya, düşünmeye bir davet. Bu yolculuğu okuruyla birlikte alan öyküler, yeni bir edebiyat akımının başlangıcını müjdeliyor. Ana menüsünde “insan” ve “ötekileri” yer alan İnsan-dan Başka Öyküler, kat edilecek üç aşamadan oluşuyor: Domestik Evre, Ters Yüz Evre, Rizomatik Evre. “İnsan-dan başka varlıkları nasıl anlatabiliriz? Bu mümkün müdür? Onların da hikayeleri var mıdır? Varsa erişebilir miyiz? Erişirsek bize insan-dan başkalar neler söyle(yebili)rler? Söyleseler de onları anlar mıyız? Anlamak ister miyiz? ”Bu soruların ve bunlara benzer nicelerinin oluşturduğu deryaların kıyılarında gezinen İnsan-dan Başka Öyküler, tam da şimdi ve burada dünyalıların krizlerine kısa soluklarla dalış yapıyor. Melike Kuyumcu, bu dalışlarda, bizleri kah kuşların bireysel öykülerine, kah bir tik ağacının ve bastonun yoldaşlığına, kah bir TABUre sarmalına götürüyor. ”İnsan-dan Başka Öyküler, ister klasik kağıda basılı halinden ister elektronik baskısından okuyun, okurlarını farklı bir deneyime de çağırıyor. Bazı öykülerin içinde bulacağınız siyah-beyaz çizimler, bu öykülerin etkisiyle sizlerin üretebileceği resimlerin, fotoğrafların, illüstrasyonların, sosyal medya paylaşımlarının, daha büyük çaplı eserlerin birer parçası olabilirler. İnsan-dan Başka Öyküler’in medyalar arası geçişlilik sunan bu tasarımı, okurun düşünme duraklarında yazar Melike Kuyumcu ile Twitter/Instagram’dan doğrudan iletişim kurmasını da kucaklıyor. Hepimize afiyet olsun. – Şafak Horzum
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“Pilgrimage to a Noble Dream” is a collection of about thirty travelogues from various parts of Europe, created as a result of six years of wandering, hiking, hitchhiking, student exchanges and excursions, or simply travel that was a purpose in itself. There are no great adventures and unexplored landscapes in this book, because the children of post-Dayton Bosnia and Herzegovina could not survive much less than that. Most of the places described in the book are cities, from Granada and Bari, through Berlin, Paris and Amsterdam to Copenhagen, and these cities have been described and presented countless times in popular culture, but because of that they are even more challenging because they provide an opportunity to follow in other people's footsteps and search for ourselves in them. This collection was created as a result of endless hunger for travel, a sense of excitement once we find ourselves on the road, and sometimes disappointment when we realize that this trip was just a pilgrimage to our noble dream.
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Pavle Aleksić's stories are short, polished and full of quiet sadness. It is as if time has stopped in them, and the characters have remained to cope in this alienated world without a future. They talk about unsuccessful attempts for man to find his place under the sun, about the inability of two beings to achieve communication, about the inability to stay and an even greater inability to return. The sadness of thousands and thousands of kilometers traveled was distilled in them, after which no goal was reached. They bring us an America where there is no place for anyone's dream. But, despite all that, they provide a kind of comfort and warmth, the knowledge that we are not alone, the realization that we are alive in a world that continues to pulsate and lasts in spite of everything.
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Fedor Marjanović, with his suggestive title “Hero without a face”, points us to the question of who and what kind of hero could be a person without a face and whether the title of the book is a tempting trap or completely different heroes are hiding behind it. And what is it that holds together Marjanović's hero and his story in this unusual and brave first book? For starters, this could be part of the answer - strangeness, otherness, a strange eclecticism that unites the incompatible and draws us into a world that walks the edges of the grotesque, the boundaries of the imaginary and the real, alternating in unexpected twists and turns. What Marjanović's stories, in some places through the gentle influence of fiction, and in others through the introduction of the harsh and brutal reality of the partocratic world, want to answer is - what is wrong with the world we live in.
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In the book “Monument”, Berislav Blagojević writes twenty-one short stories in which he expresses a wide range of interests in various aspects of reality, which are considered and shaped into a literary text. Thus, starting from the existence of Don Quixote (and all serious writers, in a way, necessarily refer to Cervantes' novel), the writer creates and introduces us to an imaginary space in which the present constantly confronts the past, where in an undisguised critical tone, and with an ironic manner, points to the anomalies of human existence at the beginning of the third millennium; then there is the postmodernist play with the book, the library, reading and the very act of creation; further, removing layers of historical dust from documents and turning them into fiction; emotional evocation of the past, etc.
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“Before death – darkness” in 24 short stories illuminates a whole spectrum of human nature and inclinations: it includes silent righteous, noble, invertebrates, thugs, indifferent villains, comrades, people on the last frontier of common sense. In this collection, every reluctant tick, twitch of eyelid or body speaks more about interpersonal relationships than exalted dialogue or surprising twists. And no matter how much they lack great works of Promethean proportions, Zaim, Hasan, Asim, Meho the Butcher, Dr. Crnac still get a space where all the human spirit with a lot of humor comes to life in everyday, almost trivial earthquakes, in which they themselves are so realistically portrayed that someone may say with certainty that their existence and action are not so much imaginary as witnessed. And the ease of language and expression with which it is witnessed - in addition to keeping the reader's attention on the most important, difficult to perceive details - is the greatest value of such stories. Yet the latent melancholy behind that humor cannot and must not be overlooked, a kind of disappointment that hovers over every optimistic, promising start. That is why there is darkness before everyone's grave, whether in the background or not, with which no one manages to maneuver constantly or to hide from. The sensitivity of this collection is in the darkness that is briefly - in certain moments of absurdity and laughter - forgotten.
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Zoran Plavšić writes about conductors, caterers, peasants, soldiers, old teachers, Roma, neighbor's children and he treats all of them with equal respect, understanding and empathy. In short, he loves all their flaws and is able to present them to the reader so that he loves them too. Plavšić's stories in a beautiful way continue the tradition of Serbian realistic short stories, they feel the influence of Glišić, Kočić, Ćopić, and even Stanković, but this is not about imitation, but about mutual respect for the “little man” and his destiny. And there is something else in his stories worth mentioning, and that is the belief that it is the usual, everyday and seemingly irrelevant in our everyday life and our immediate environment at the same time and what makes most of our days, what, when the line is drawn, is our life, and that it is precisely what seems irrelevant to us that connects us with people from all meridians. The struggle to make ends meet, aging, transience, unfulfilled expectations, all our personal struggles are at the same time the struggles of millions of other people, and the story of one of us is actually the story of all of us.
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When the heroine of this novel, who also played the role of narrator, is run into the room by her mother and interrupted by watching her favorite crime series, the readers begin to discover the almost insane and chaotic world of the story, made up of events like the funeral of Aunt Stana, drowned with a piece of chicken, and thus shattered plans to sell the family home and land, a world filled with unusual visits to police stations and clinics, heroes who unsuccessfully attempt suicide, those who erect monuments to themselves years ago or experience a personal renaissance after deciding to enter the world of smuggling . With each new page, Slađana Nina Perković more and more picturesquely builds a novelistic world that is built on the display of everyday life, only that everyday life, with extremely sharp language and with a negligible dose of dark humor, is moved almost to the limits of absurdity and grotesque. One funeral and sale of a family home and land, these events that we almost automatically perceive as tragic or shocking, in this novel are transformed into the ridiculous that serves us not to ignore tragedy and reality, but to more easily understand the whole picture of the world we are the part itself.
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The novel “Sparrows in the Storm” is set in eastern Serbia in the 1920s and follows the story of Bogdan Prvulović, a returnee from the Great War, who in post-war Serbia tries to make ends meet and feed his family by doing various jobs and cultivating the land. But, as in every post-war period, this time the situation is controlled by those who took positions during the war and acquired property, through smuggling, bribery and similar activities. Faced with a situation from which he sees no way out and an offer from a former war comrade that he cannot refuse, Bogdan will make a choice that will change his life fundamentally. “Sparrows in the Storm” brings a story as old as the world itself, it is a story about wrong choices, remorse, the inability to return to the old and finally revenge, and one that does not bring calm, but must be carried out.
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Adaptations seem to be ubiquitous in contemporary culture. The present monograph touches upon the subject of widely understood adaptations in relation to Joseph Conrad’s life and work. Most definitions of adaptation operate on the assumption that it is a literary work which constitutes the seed of an adaptation. The author argues, however, that biographies of writers have also become fully-fledged cultural texts and, similarly to literary texts, may be subject to adaptation. The biography of Joseph Conrad-Korzeniowski constitutes rich adaptation material, in which sensational plots overlap with adventures, and dramatic events (including love stories) interweave with comedic ones. It comes as no surprise, then, that many artists have drawn on this arsenal of motifs, have tapped into this arsenal of motifs, choosing their favorite episodes and fleshing them out or dramatizing them to transform them in their works. The monograph constitutes an analysis of the transformation of Conrad’s figure (and his works) by contemporary artists within five categories: graphic novels (Heart of Darkness. A Graphic Novel by C. Anyango and D.Z. Mairowitz, Congo by T. Tirabosco and Ch. Perrissin, Joseph Conrad’s Heart of Darkness by P. Kuper and Au coeur des ténèbres by S. Miquel and L. Godart), comic books (The Amazing Tales by J. Conrad, Ł. Godlewski and M. Jasiński), literary appropriations (Heart of Darkness by J. Dukaj, Dżozef by J. Małecki, Condition by E. Rylski), theater plays (Conrad by I. Villqist, Wyspiański/Conrad by T. Man), film scripts and radio plays (Victory by H. Pinter). Finally, the volume discusses the presence of the figure of Conrad in the context of contemporary branding, as well as the factors conducive to building a strong “Conrad” brand in contemporary Polish culture. The conducted analyses demonstrate, in turn, that not only the writer’s works, but also his biography understood as a cultural text remains present in contemporary culture, constituting an attractive and abundant source of adaptation.
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Lalka Pavlova's book contains two monographs: „The Asen People and Bulgarian Statehood in Fanny Popova-Mutafova's Tetralogy“ and „The Epic Monument of Liberty in the Novel "The War Ended on Thursday“ by Neda Antonova".
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