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Prose of the social-democratic local government activist from Toszek-Gliwice district, who died in 1974.
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The predictions of science fiction play an important part in the cultural landscape of contemporary western culture, being integral to the popular culture (novels, movies, TV series, graphic novels). Science fiction narratives predict the future of society, technology, culture but also – the science itself and a university as a scientific institution. The aim of this work is to shed light on the depiction of the future of science, knowledge, and university in the science fiction works, predicting the ineluctable societal collapse. The essay focuses on the use of the scientific discourse and scientific knowledge in the chosen science fiction narratives by Stanisław Lem, Walter M. Miller jr., John Brunner, and Paolo Bacigalupi.
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Time travel is one of the most popular themes in science fiction. Usually it is discussed from a perspective of technological and scientific possibilities for the realization of fantastic visions. Researchers focus on logical paradoxes implied by traveling back in time. The author of this article, inspired by David Wittenberg’s Time Travel: The Popular Philosophy of Narrative, draws attention to metanarrative functions of time travel theme, which becomes a challenge for writers and narrative techniques.
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In Poland, research-related fanzines rarely include writings edited by Polish fans of science fiction, horror and fantasy. Active fans edited amateur magazines which were very important because they popularized fantastic literature and culture in Poland. The role of fantastic fanzines was not limited solely to the promotion of amateur creativity or publishing translations of foreign fiction not available on the market, but also consisted in the creation of creative bonds between writers and readers. The remnants of the activities of Polish fantastic fiction fans are about one hundred titles including “Quasar”, “Red Dwarf” and “Other Planets”. These three fanzines as effects of pure amateur work are also very similar to the professional magazines. Each of them has a different poetics and thematic dominant. They have also published stories written by famous Polish writers such as Ewa Białołęcka and Andrzej Sapkowski.
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The article’s aim is is to reviw two-volume monograph entitled Fairy tale in Contemporary Cultre edited by Kornelia Ćwiklak (volume 1: Fairy tale’s limitless potential: literature – art – mass culture, volume 2: The human realm: education – psychoanalisys – art therapy). Reviewed publication presents theoretical proposals and interpretations of cultural texts related to the fairy tales.
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Znam, čitaoca sablažnjava ako naiđe na tekst bez kritičnosti. Njegovi roditelji i profesori i nadređeni i političari podsticali su ga na kritički ton. Buda je rekao: ljubav je okov.
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Crime fiction written in Urdu language is an example of an extraordinary literary phenomenon. Books written in that genre are extremely popular amongst the readers in both India and Pakistan. Yet, in those countries novels by prolific crime fiction writers are not even included on best-seller lists, even though their selling reaches thousands of copies. Moreover, crime fiction is absent from works of literary critics and scholars dealing with vernacular writing of India and Pakistan. The main aim of this article is to present the crime scene of Urdu literature through the profile of Ibne Safi – the most interesting writer of this genre. The text focuses on the style of the author and inspirations that have shaped his writing. Arguments are based on excerpts from his novels that have not been translated into Polish before.
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Several of Graham Swift’s novels are permeated with the sense of an ending and eschatological reflections. The characters’ vision of their lives tends to be underpinned by a notion of decline. While the experience of loss and the confrontation with mortality depicted in Swift’s fiction have been extensively analysed, less attention has been paid to the fact that in perceiving their lives as a process of deterioration, the characters implicitly acknowledge the existence of an initial stage of happiness against which this process may be measured. This paper will identify and examine the infrequent yet meaningful intimations of primal harmony and happiness, which sometimes take on quasi-religious overtones, reminiscent of the concept of paradise.
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Modern Persian literature can be assessed as an internally integrated system of interrelated texts which engage in mutual inspirations, dialogues and references. How it occurs is demonstrated on the example of three short stories by three 20th century authors: Hedāyat, Āl-e Ahmad and Dānešvar. The stories are connected through their common motif of a mother abandoning her child; their mutual relationship is of a dialogical and partly also polemical character.
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This article aims to show that Fattâne Hâjj Seyyed Javâdi’s novel Bâmdâd-e khomâr (“The Morning After”) is not a trivial novel, as some literary critics have it, but a modernist, well-written novel that treats modern conceptions of love, sexuality and tradition in an indirect, but still obvious way.
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The article identifies various forms of dialogical relations with L. N. Tolstoy in Bunin’s cycle Dark Alleys. The analysis is based on the stories: “Clean Monday”, “Nathalie”, “Ballad” and “The Raven”, which contain biographical allusions as well as display intertextual connections with Tolstoy’s prose writings. The author of the article explores the functioning of Tolstoy’s characteristic motifs, reveals reminiscences, various types of quotes and “dialogic situations” which refer to the epic novel “War and Peace” and Tolstoy’s later works. It is established that Tolstoy’s text performs in Bunin’s short stories plot-forming functions and serves clarifying the author’s ideas.
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Duh i uhodavanje; Palačinke; Tanjuri; Ta grozna slika od jučer; Odvedi me ljubavi bilo kamo; Mjesečina; Kremšnite; Breze; Gore; Olovo u srcu Otta Weiningera; Osamsto; Vjerojatno je kravosas; Lizergid; Drvo japanske trešnje; Poput vrhunskog tenisača koji je okončao mečvinerom; Ribe što se brzo kvare; Di end maj frend; Znojni muškarci izlaze iz kabina; Mi plačemo iza tamnih naočara; Lonac; Potok; Običan dan; Indijanci; Ovdje; Katedrala; Ti kojima smo okruženi;
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This paper is a reflection on the problem of communicating and judging individual guilt, based on Pierre Assouline’s novel The Client – a story of a woman who during the war denounced a Jewish family to the police. Assouline’s narrative, structured as a first-person inquiry about the past, brings about a series of questions concerning individual responsibility, the need to settle the past, and the rights to judge others’ decisions and actions from the past. Arguing for the importance of public dialogue in settling the past, the author of the article discusses Hannah Arendt’s concept of the responsibility of conscience.
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The article refers to the phenomenon of Western European, primarily French, and Russian socio-philosophical thought that got a traditional name of “Social Christianity” but in the Soviet times was entitled “Christian Socialism”. Dostoevsky’s “Russian socialism”, as the author himself denominates it in “A Writer’s Diary”, is for a long time and justly related to French “Social Christianity” and to its most famous representative F. R. de Lamennais (Hugues-Félicité Robert de Lamennais). At the same time “Russian Socialism” and all the entirety of Dostoevsky’s socio-philosophical views of 1860s — 1880s extremely remind Gogol’s ideas of his later period. Certain parallels between the two Russian classics are revealed in the article, and it is pointed out that while Dostoevsky’s views are usually treated with sympathy the same ideas in Gogol’s later works are often sharply criticized. The similarity between two writers, apart from certain influence of Gogol on Dostoevsky, is due to their orientation to the same currents in Western European socio-philosophical thought, and first of all to the “Social Christianity”. Both writers shared the key principle of this movement: aspiration to the transformation of social relations on true Christian basis, according to the Christian ideal of brotherhood between people regardless their class position. It was Gogol, along with Chaadaev, Dostoevsky and Tolstoy, who more than any other Russian writer or thinker was inspired by Lamennais’s “Paroles d’un Croyant” (1834) and other writings of the latter. Taking this into account a well-known correspondence between Belinsky and Gogol could be qualified as a dispute between an adherent of socio-political utopia and a disciple of “Social Christianity”.
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Jam mbyllur prapë në Kullën time dhe prapë jam ulur në tryezën e shkrimit. Domethënë i gatshëm për t’ia rinisur punës. I bindur tashmë se ky është fati im - fat i paracaktuar prej kushedi kujt (ndoshta thjesht prej plagëve të mia?) - dhe se çdo përpjekje për ta kundërshtuar atë, domethënë fatin tim të paracaktuar, kishte për të qenë krejt e kotë. Edhe para disa vitesh (tashti nuk e mbaj mend sa kohë ka kaluar), kur Bajlozi ishte larguarpër herë të dytë nga Egoboka ime, kisha qenë thuajse i sigurt se do të vinte një ditë që të mbyllesha prapë në Kullën time dhe që prapë të ulesha në tryezën e shkrimit.
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Në frymëmarrjen e fundit, sikur kisha nevojë t’i kujtoja disa ngjarje të vogla, aq të vogla sa mund të kuptoja unë nga pika më e lartë, por më e lagët e shtëpisë. Fundja, ngjarjet e mëdha të llojit njeri nuk ndodhin asnjëhere si spektakle, ato përplasen në intimitetin e qenies së tyre gjithmonë.
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