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Jozef Marušiak is one of the most distinguished translators of Polish literature into Slovak. The scope of his work is extraordinarily wide. In this paper his most important translations and translation areas are presented in order to show how the picture of the Polish literature in Slovakia has been affected and formed by his work.
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Everyting conceivable, all that has ever been imagined, can be included in our minds and souls. As psyche means “breath”, “soul” and “mind”, it points to the relevance of psychology as a study of mental, emotional and spiritual processes involved in our identity make-up. One of the main organizers of our self and psychological experiences is our relationhip with death: our fear of abandonement and of being alone when conceiving our own death, the fear of the loss of the others, leading to the fear of attachment and emotional death. Pat Kinevane, a contemporary Irish playright, deals, in his 2005 play, Forgotten, with the idea of family and social abandonment of old people in nursing homes. The interconnected stories of Dora, Eucharia, Flor and Gustus, the characters in the play, aged 80-100 years old, living in separate retirement and care facilities around Ireland, reveal these fears. Mental illness in the current explosion of anxiety is also crucial to our identity. Another play by Kinevane, Silent (2010), ends with the word silent, which indicates the insanity, invisibility and ultimately the death of the protagonist, Tino McGoldring, a homeless man tormented by the suicide of his brother. His self after the loss of his brother, wife, family, job, mind is constructed in relation to the past and the imaginary world of the Italian-American icon of the film industry of the 1920s, Rudolph Valentino.
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As its front-line representatives classics publicly define the genre – but how does the genre define its classics? The author tries to answer the question by tracing the history of critical assessment and discussing the role of academics, librarians, children, and their parents in creating the canon of children’s literature. The essay was included in The Cambridge Companion to Children’s Literature (2009).
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Knowledge of "differences" or acceptance of "others" has been observed and studied in children's literature since its inception. The text begins by examining the "natural" differences between adults and children, which support the creation of literature that should overcome or represents these differences. It analyzes the changing categories of difference which occur over time with the development of children's literature and ends with a brief review of the issue of physical size, as it represents a significant response that affects both the relations between adults and children in real life and the experience of children as readers. On the one hand, the narrative of transformation calls for children to leave childhood behind and resemble the adults or to meet a nostalgic notion of a childhood that has never existed. Narrative of the "resistance", on the other hand, states more flexible constructs of childhood that mark the difference and offer the child within the text or outside it additional opportunities for various identities.
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The present paper, which is part of a larger study, attempts to determine the significance of Bulgarian translations of Robinson Crusoe and the trends in different periods. The paper places emphasis on the use of religious themes and motifs in translations, which are important part of original work. It also draws attention to other achievements and failures made by some Bulgarian translators of the work and presents some lexical and syntactical analyses of different editions. It considers the fact that reception of the work is carried out through adaptations and shortened versions for very long period.
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The text examines part of Dobri Jotev’s work for children in the context of his whole work. The migration of themes and images is traced from “children’s” to “high” literature. Themes and images, born from the unconscious and the experiences in the poet’s childhood. The accent is also on the formation of the auteur’s credo – “thinking heart”, and not “feeling brain”.
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The paper is focused on the interpretation of time and space in Dimitar Shishmanov’s short story cycle “Dreams near Acropolis” (1938). In the book time is neither linear, the way it is assumed to be in the biblical concept, nor cyclical, as how it is understood in ancient times. In “Dreams near Acropolis” time has multiple layers and each layer of time, with its space, is superimposed over the others. The arrangement and logic of the plot lies in the dimension of dreams. The moderator of time and space is Wandering Jew Ahasver – a guest in the dreams of the main character – the writer Dimitar Shishmanov. The main idea introduced in the book is the man as the bearer of his time.
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The article discusses publications concerning Leo Tolstoy’s will, which appeared soon after his death in Polish (“Mucha”, “Kolce”, “Nowy Szczutek”) and Russian (“Satirikon”, “Budilnik”) humor magazines. These publications focused on two topics — open letters by Lev Lvovich Tolstoy (the son of the writer accused Vladimir Chertkov of the death of his father and concealing the last version of the will from Tolstoy’s family) and plans for selling Yasnaya Polyana, which were described in the daily press. An analysis of publications shows that Polish humor magazines, like the Russian ones, judged the heir to Tolstoy’s property critically, but the criticism of Polish press was not as harsh. However, unlike Russian magazines, Polish periodicals clearly compared the writer with his mercantile sons and — which is interesting — with his wife. At the same time Polish opinion of the will as such was ambiguous.
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In focus of our article are approaches to poetics of feuilleton, what is a kind of literary genre merging two sides of a boundary of literature and journalism. Such texts represent a mundane reality like newspapers, but also they represent fictional vision of an author, like ordinary literature. Studying some pre-Soviet feuilletons — St. Petersburg Dreams in Verse and Prose and fragments of A Writer’s Diary by Fyodor Dostoevsky, we dissect how fictional and aesthetic intention emerges beneath initial journalistic task. We trace how author’s interest fluctuate from an explanation of facts by options of logic to mimetic imaging of how persons can live and act in the world. Feuilletons base upon a deep and total personalization, so that ‘real world’ facts appear as relations between different persons.
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Evgeny Zamiatin’s novel WE has a notable publishing history. In 1927 exile magazine “Volia Rossii” (Freedom of Russia) for the first time published in Russian “extracts” from the novel, which were pretended to be retranslation back into Russian from Czech newspaper version. For the effect of retranslation forced corruptions were carried in original Russian text. Literary editor Marc Slonim later stated that he was forced to use this subterfuge for author’s safety. According to Zamiatin’s version magazine made this publication without his permission and against his prohibition. In actual fact evidences of both sides are a mystification. Comparison of publication in magazine with typescript and lifetime published translations of the novel shows that it appears to be a magazine’s montage-version created by editorial board based on author’s manuscript with minimal use of translations, and amount of “editor’s corruptions” there is inappreciable.
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The author of the present study tries to analyse the structure and character of the two discussions (on Russian Slavophiles and revolutionary democtrats) which proceededon the pages of the journal “Voprosy literatury” (Problems of Literature) at the end of the 1960s and at the beginning of the 1970s. In the study the author demonstrates the shifts towards the twofold shape of Russian thought, towards philosophical idealism and the contact with the current development of the Soviet so-called “village literature”. Though this tendency seemed to be rather hidden, concealed, it could not take place without the consent of political authorities which manifested the ideological searching even in these ruling circles of that time.
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This article analyzes one of the roots of contemporary online participatory writing practices within the literary field, focusing on an object that had its theoretical heyday twenty years ago: hypertextual fiction. Invented in the sixties by social informatics visionary Ted Nelson, the word “hypertext” gained academic attention in the humanities in the early nineties with the works (among others) of George P. Landow, Paul Delany, David Bolter and Stuart Moulthrop. In 1992, in his review of Michal Joyce’s Afternoon (still credited as one of the first pieces of hypertext fiction) Robert Coover (1992) wrote in The New York Times Book Review: “much of the novel’s alleged power is embedded in the line […] Through print’s long history, there have been countless strategies to counter the line’s power […] but true freedom from the tyranny of the line is perceived as only really possible now at last with the advent of hypertext, written and read on the computer, where the line in fact does not exist unless one invents and implants it in the text”. Since then, hypertext started to be defined as an artifact empowering the reader to subvert the linear text and the author’s authority, and thus, within a post-structural and postmodern theoretical framework, deconstructing and subverting the very roots of power tout court. By addressing hypertext theory (a mixture of history of textual forms, of reading practices, and of technologies of memory, semiotics, poststructuralist and feminist theory, etc.) and tracing the influences of postmodern literature and the literary avant-gardes on hypertext fiction, the article will thus investigate both the construction of hypertext as a participatory “cultural object” – in Wendy Griswold’s (1994) terms – and the legacy of that theoretical debate and those artistic practices in contemporary reflections on online collaborative literary writing.
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In this paper the analysis of creation of a child with disability in the texts of Polish and foreign literature in the 20th and 21st century will be presented. The selected works of children's literature will be interpreted. Attention will focus on ways of presentations of the relationship between the individual and society in the context of the idea of difference. The concept of norms and normality will be discussed. This paper will be completed with consideration about the presentation of the problem of otherness in children’s literature.
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Libraries are institutions whose purpose is not only to collect, develop and make accessible various materials. They are also institutions which are responsible for securing valuable collections which represent scholarly, historical or artistic merit. The object of the work has to do with the activities of the Theological Library of the University of Silesia, understood in this case as collecting books of clergymen in order to maintain national heritage for further generations.
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Etymologies of various world languages present “insanity” as unexplainable feelings of heterogeneous psycho‑somatic coloring; they contain a certain kind of inner emptiness, yet overfilled with a strange force that drives into unknown. Some times this enigmatic power carries away body and soul, causing fear and respect. There is a need to define, even in a general way, some aspects of such a large topic as “insanity”, namely: sacrum, superstition, taboo.
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The paper displays and analyses the characteristics of the writing of two authors from the Balkans who immigrated to France in the 1960s and 1970s – Vassilis Alexakis (of Greek descent) and Dumitru Tsepeneag (of Romanian descent). The study traces their critical reception in both France and the lost motherland and outlines certain peculiar features of the immigrant mentality and the complicated self-perception of the immigrants in the context of the dual reality of their existence. It also addresses the causes of the inability of the writers themselves and their literary characters to belong fully to one cultural heritage, and the identity issues that arise from this fact.
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This article concerns culinary motifs found in popular women’s fiction at the turnof the 20th and 21st centuries. Women’s fiction is either indifferent to culinary topicsor interested in them as a theme, metaphor or recipe. Culinary topics as the main themeappear in novels written by Kalicińska, Enerlich, and Ficner-Ogonowska. I. Sowa employsa culinary code as a metaphor for contemporary urban life style which is marked byconsumerism, excess of consumer goods and an intense rivalry. Kalicińska’s novel cycleis an example of downshifting narratives appreciated by some feminists as a way topromote ecology and a women’s community. Culinary novels authored by Enerlich andOgonowska do not popularize the culinary culture, but rather commercialize it.
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This paper aims to shed light on the different aspects of transnationalism and transnational literature in regard to the German cultural space and the so-called (Im)Migrantenliteratur (immigrant literature and migrant literature, respectively). By this approach, the historical context of post-war Germany will prove itself to be of great relevance, especially in studying the sociological consequences brought about by the import of Turkish work force in Germany, the concept of difference and its modes of realisation, and the prevalence of cultural specific characteristics in works belonging to Turkish-born German authors (f.e. Feridun Zaimoğlu). Last, but not least, our study will include a series of considerations regarding translation and the problems and debates resulting from the effort of transferring the symbolic signs of one culture into another.
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The primary focus of this article is to cast some light on the procedural aspects which resulted from the investigation into Mikhail Andreevich Dostoevsky's death. In this article we attempt to interpret the material evidence of the face-to-face interrogation of the two key witnesses to the case — Ivan Leibrecht and Vladimir Nechaev. The interpretation of the case is made based on the effective Russian legislation of the 1830s and the existing police investigation papers of the years 1839—1840. Thus, three main semantic lines of police inquiry have been disclosed, i. e. the cause of death, the source of the murder gossips (hearsay witnesses) and the problem of jurisdiction. Alongside this, discrepancies between the two legal bodies involved in the judicial proceeding — The Court of Kashira Uezd and Tula Criminal Chamber — have been brought to light.
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