Renesansa alegorije
Pavao PAVLIČIĆ, Moderna alegorija
review of: -------------------- Pavao PAVLIČIĆ, Moderna alegorija, Matica hrvatska, Zagreb, 2013., 266 str.
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Pavao PAVLIČIĆ, Moderna alegorija
review of: -------------------- Pavao PAVLIČIĆ, Moderna alegorija, Matica hrvatska, Zagreb, 2013., 266 str.
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The poetic novel "Maria" [Mary] by Antoni Malczewski published in 1825 is an outstanding work which, according to some researchers, could initialize Polish Romantic literature on equal terms with two volumes of Poezje [Poems] by Adam Mickiewicz. An unquestionable value of Mary is its author’s mature artistic workshop revealed, among others, in a skillful use of linguistic and stylistic devices. The subject of this article is a description of non-graded comparative constructions occurring in A. Malczewski’s poem that are based on cultural associations. A formal side of these clues has been analyzed. The first part of the text depicts a degree of comparisons’ density in the work’s linguistic tissue, their distribution in the narration and dialogues and monologues as well as the dependence between linear extension of comparisons and the volume of the text occupied by them. Whereas the second part of the article is focused on the discussion of the structure of comparative constructions and their grammar characteristics.
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This article aims to analyse a text that is key to the way Gombrowicz is read in Argentina, namely the Diario Argentino or ‘Argentine Diary’. Kobyłecka-Piwońska begins by outlining the history of its creation (in the light of Gombrowicz’s correspondence with the publisher as well as the translator), its translation and composition, that is to say the arrangement of passages that the author selected from the complete edition of his Dziennik [Diary]. The Diario Argentino is the most important component of Gombrowicz’s self-representation created with his Spanish-speaking readers in mind, and it has a considerable effect on the way his works are read in that culture.
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The article is dedicated to the poetics of Shmelev’s story’s title “The Hidden Face”. The ideological and thematic aspects of the title, that develop story’s fiction structure of the writing are exposed to analysis. The story got its final title in the last, second, manuscript edition (its previous title was “Furlough”). The writer accentuates the character’s inner, radical crisis of consciousness, rather than external events. This intention manifests itself in the ideological structure of artistic images: the characters’ philosophy is based on the principle “thesis — antithesis — synthesis”. However, there is another viewpoint, that prevails over others and comes out of this system of immanent relations and theoretical judgments of the characters — the Orthodox one. In the text there are several semantic levels of an image system of the story that are kept current in the concepts of “holy face”, “face” and “mask”. The “hidden face” is nothing more than God’s image, contained in every human being, in other words, his true, original nature. Thus, in the title of the story the author’s idea of Shmelev is revealed.
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The Latvian writer Alberts Bels (b. 1938) uses elements of literary cinematography in his prose. Although the number of these elements is not large, they testify to the fact that there is nothing unintentional in the writer’s prose. One of the ways how to establish the semantic load of elements of literary cinematography is to examine the context in which these elements are used following the views of the 20th century Marxist leaders. Thus, as an aesthetic value, literary cinematography in Alberts Bels’s writings can be seen as a compromise between traditional culture, which according to Walter Benjamin requires an aura and active experience of the reader, and the new art which was created on the basis of traditional art. If literature takes over the patterns of narrative cinema and uses them to create new, yet non-radical forms and structures, literary cinematography can be regarded as a favourable result of what Benjamin calls the loss of aura in a reproduced work of art.
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The short story “A Gentle Spirit” is the only work by F. M. Dostoevsky, which presents the image of a stenographer. This article contains the first special study on the functions and the internal structure of the image of the stenographer, on the importance of stenography in the creative process of Dostoevsky himself. These observations are supplemented with the materials of notebooks of the writer and his wife, also stenographer. The stenographer is a symbolic, imaginary, "inner" character introduced by the writer in order to write down the confessional monologue of the protagonist. The author of “A Gentle Spirit” reproduces the flow of thought of the Pawner and for the first time in literature carries out an experience of accurate recording of an internal conversation, a “stream of consciousness”. The techniques of the narration are aimed at creating in a reader a feeling of dealing with a verbatim report. Because of the convention of this “shorthand” form of the narration, Dostoevsky defined the genre of “A Gentle Spirit” as a “fantastic story”. Unlike Anna Dostoevskaya, who used to have a dialogue with the writer during the process of dictation, the stenographer in "A Gentle Spirit" gives no assessments of the actions and thoughts of the narrator and his wife, neither does he enter into a dialogue with the Pawner. The Husband of the Gentle Creature conducts an imaginary dialogue with himself, with his wife, as if she were still alive, with the listener-spectator, but he does not need a real interlocutor. The introduction of the image of the stenographer into the story allowed Dostoevsky to describe to a nail the difficult path that makes the Pawner perceiving a tragic meaning of the event — the suicide of his beloved wife, and realizing his absolute catastrophe in life.
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Two figures of Russian history — Count G. A. Kushelev-Bezborodko and Prince V. F. Odoevsky — have been considered up to now the prototypes of the protagonist of Dostoevsky’s novel “The Idiot”. This opinion was conditioned by similar biographical events and traits of their characters and appearance. This article offers a new approach to the problem: spiritual life of a real person may be prototypical. Thus, E. A. Stackenschneider, Dostoevsky’s good acquaintance, represents a personality extremely exciting for the author of “The Idiot”: a handicapped person due to the insolence of Nature, who is deprived of a right for mere human happiness, she is experiencing and overcoming the metaphysical insult complex embodied in a variative way in the images of Ippolit Terentyev and Prince Myshkin in the novel. The diary of E. A. Stackenschneider (including its pages not published up to now) renovates the conception of the life context of the novel “The Idiot” and verifies the author’s claim about a non fantastic character of his hero.
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One of the particular features of the Dostoevsky family’s handwritten archive is that it contains documents containing verbatim records. This is the diary of Anna Dostoevskaya of 1867, rough novel “The Brothers Karamazov”, “A Writer’s Diary”, a series of memorial and business records made by the writer’s assistant. Most of these documents were deciphered in the 1950s—1970s by Ceciliya Poshemanskaya, however, there are documents, lines, words, left undeciphered or presumably deciphered while those deciphered require critical analysis. The purpose of this study is to find out whether the decoding of the transcripts of Anna Dostoevskaya 150 years since their creation, whether it is possible to repeat the experience of Ceciliya Poshemanskaya today. To achieve this goal, the main features of the stenographic system by Dostoevsky’s wife were identified, and difficulties in reading her transcripts were spotted. Anna Dostoevskaya used the German Gabelsberger cursive shorthand system adapted for the Russian language by Pavel Olkhin and currently forgotten. But she also updated this shorthand for her own use, inserting some logical acronyms “Samoslovy” inventing a “system in the system”, and thus, making the task of reading her transcripts more complicated. Our attention is focused on the earliest of A. Dostoevskaya’s shorthand documents still existing — the first part of the diary deciphered and edited by her and Ceciliya Poshemanskaya which provides a “key” to all the shorthand notes of the writer’s wife. Our experience of the work upon the given autograph showed that the methods employed by Ceciliya Poshemanskaya, more specifically the compilation of abbreviations dictionary used by Anna Dostoevskaya in her work and the use of this dictionary in further decryption, is still relevant today, especially due to the possibility of using modern digital technologies. The article presents excerpts from unknown archival materials of Anna Dostoevskaya and Ceciliya Poshemanskaya, shapes a plan in the study of verbatim records of Anna Dostoevskaya.
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Magdalena Tulli’s prose is read through the lens of Deleuzian affect theory. In Tulli’s prose affect initiates the construction of representation. It is what is virtual as blank tile at scrabble is. Tulli uses an affective syntax and her text is like a railroads with the switches controlling the changes of meanings. The turn of the switch results in the ‘movement’ of the meaning as the effect of being affected. In Tulli’s prose affects stem from the experience of the lack; the world at her novels is like Deleuzian ‘desiring machine’ and is stretched out in the triangle of lack, desire and pain.
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The paper deals with selected issues of linguistic anthropology with the purpose to examine a few theoretical assumptions of its methodology, taking into account Keith H. Basso’s study on the creation of cultural places as a result of linguistic activity. The research is based on the empirical material obtained from Polish native speakers, namely, folk tales of the residents of the Augustów County
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Object of examination in the article is the specificity and activities of Bulgarian book publishing and Bulgarian literature in 2017. The purpose of the survey is to follow the trends in the Bulgarian book publishing and to investigate which are the best selling Bulgarian books during this period of time. In order to achieve this, I am going to analyze the rating of bestseller books of the biggest book store in my country – “Heliкon” and also the rating of one of the most developed Bulgarian publishing houses – “Hermes”. The main task of the research is to investigate the data from these book ratings and to examine which bestseller books in 2017 are representatives of the contemporary Bulgarian literature. In this way we can have better understanding about the specificity and the trends in the modern Bulgarian book publishing and we can examine which books provoke biggest interest in the audience.
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The essay’s main intention is to battle the most common stereotypes associated with the contemporary literary scene in Bulgaria (defined as “a family life”). The author focuses on the problems that contemporary Bulgarian poetry faces when presented abroad. Other key issues include translation, popular myths about our language used as an excuse for the lack of international success and the different types of conformism which are being encouraged in the small “family circles”.
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The present paper is devoted to exploring the elements of Germanic and Scandinavian mythology in fantasy genre literature. The aim of this research was to verify the lasting and diverse impact of ancient myths as extensively important literary components of the Western culture on modern fiction. The author proceeds from the hypothesis that the literary fantasy genre is closely related to the traditional mythical narrative. The main focus of the paper is on decoding the most relevant references to Germanic and Scandinavian myths in the works of the most prominent author of the fantasy genre - J.R.R. Tolkien. The article compares the mythical structures, surroundings and elements in his most popular epic fantasy work "The Lord of the Rings" to apparently corresponding elements in traditional Germanic and Scandinavian mythological texts, such as Poetic and Prose Edda, Volsunga saga, Das Niebelungenlied and others. The analysis discovered similarities in themes covered and elements used both by mythological texts and fantasy narrative - similarities too close to be coincidental. This conclusion grounds the hypothesis that the fantastic literature of modern world, especially in English speaking cultures, draws heavily on the traditional mythology of the European countries. The paper defines fantasy genre as a unique literary phenomenon incorporating the traits of an oral narrative in the modern written prose.
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Mīts caurauž cilvēces gara dzīvi visā tās pastāvēšanas gaitā: kā vienīgā augstākā, absolūtā, sakrālā realitāte arhaiskajā sabiedrībā un kā viena no apspēlējamām realitātes variācijām modernā cilvēka apziņā. Literatūra — kā individualizēts jaunrades veids — ir mīta sinkrētisma pārvarējums un vienlaikus mīta glabātāja. Demītoloģizācijas un mītoloģizācijas tendences periodiski ir izpaudušās visos literatūras vēsturiskās attīstības posmos, taču pilnīga atbrīvošanās vai pretēji — pilnīga izkušana mītā, definējot to arhaiskās kultūras kontekstā, laikam tomēr nav iespējama. 19.un 20. gadsimta pētījumi etnogrāfijā un etnoloģijā deva iespējas tos ekstrapolēt citās humanitārajās disciplīnās, t.sk. Eiropas literatūrā ienāca ne vien līdz tam jau plašāk pazīstamā antīkā un kristietības mitoloģija, bet arī ģermāņu-skandināvu, citu etnisko kopību mitoloģiskie priekšstati. Pakāpeniski arvien lielāka uzmanība tika pievērsta mīta funkcionālajam skaidrojumam, struktūrai, kas savukārt auglīgi iespaidoja rakstniekus mitoloģiju uzlūkot ne tikai par potenciālo personāžu krātuvi, bet arī pašiem daiļliteratūras tekstu ietvaros radīt oriģinālas mītologēmu sistēmas, kas metaforiski izsaka mītiska motīva vai sižeta invarianto arhetipisko kodolu. Sājā apcerē esmu aplūkojusi Jura Rozīša romānu “Kuņas dēls” - spilgtu mitoloģiskās jaunrades paraugu. [...]
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The article discusses the problem of translation of ethno-marked Belarusian vocabulary into English on the example of the novel by V. Karatkevich “King Stakh’s Wild Hunt”. Ethno-marked vocabulary is a special layer of the Belarusian language, which reflects people’s world view and their way of life. The text contains names of dishes, food and beverages, names of clothes and decorative elements, names of dances, songs, celebrations and games, and names of mythical creatures. The author identifies transliteration/transcription, combined translation, descriptive translation, adaptation and dropping which help to establish equivalence of translation from Belarusian into English.
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This section of the publication focuses on creating a profile of the Romanian contemporary writer, Petru Cimpoeșu, thru the interview he offered, the original fragments from works in progress and the commentaries on his books, written by various literary critics.
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Many philosophers have claimed that reading literary fiction makes people more virtuous. This essay begins by defending the view that this claim is empirical. It goes on to review the empirical literature and finds that this literature supports the claim philosophers have made. Three mechanisms are identified whereby reading literary fiction makes people more virtuous: empathy is increased when readers enter imaginatively into the lives of fictional characters; reading literary fiction promotes self-reflection; and readers mimic the prosocial behaviour of fictional characters. The paper concludes with a caution: there is a danger that readers could mimic antisocial behaviour displayed in literary fiction. If they do, reading some literary fiction could make readers less virtuous.
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This paper deals with the problem of how viewers interpret feature films. It explains the role of mental models called situation models in interpreting diegetic worlds of fiction. By using P. F. Strawson’s interpretation that persons and material objects occupy a central position among logical subjects when we think about our world, and associating the knowledge of diegetic worlds of fiction with the knowledge of reality, we propose that these two can be compared and thus offer a better understanding of the role of extended networks of objects in viewing film narratives. Recognizing sight gags as particularly complex narrative figures, the paper describes the doubling of situation models by viewers interpreting specific sight gags. A result of this doubling is the incongruity registered by the viewer, who thus gains an analytical opening into the structure and functioning of individual situation models.
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The text gives meaning to multimodality as a complex of modes and expresses the understanding that the digital existence of the text affects the readers’ attitude and practices. The theoretical parameter of the study uses concepts like interactivity, text, intertext, virtuality, in the dynamics of verbal, video, audio, digital/ online content, whose interaction can become a good practice in the pedagogical communication for the development of key and functional competences. The article offers a critical reconceptualization of the methods, techniques and instruments for upper secondary education, aiming for the enrichment of multicultural and digital literacy. The observations propose the systematisation and integration of multimodal resources in the school curriculum, as a basis and learning opportunity for constructing model(s) of innovative methodology and education.
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The problem of the formation of pupils’ reading and comprehension skills in a multicultural environment during literacy period in the first grade on the basis of qualitative (interpretative) analysis of interviews with 11 contemporary authors of children’s literature. This paper presents the opinion of contemporary authors of children’s literature on the role of texts they create in the period of literacy in a multicultural environment in the first grade. As a result of the conducted empirical study it was concluded that for the formation of literary competences in pupils it is necessary to refine the selection of literary texts and methodological approaches and tools we work in accordance with the contemporary pedagogical trends.
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