![Любовта като мъка. Отношенията между жени и мъже в прозата на Конрад](/api/image/getissuecoverimage?id=picture_2016_40897.jpg)
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This essay works from an inductive hermeneutic to uncover Joseph Conrad’s conception of material space. Conrad recognizes a gap between space as it can be measured and space as human beings actually experience it. Throughout his works, Conrad represents the interaction of subject, object, and context in the human experience of space. The resulting subjective space then leads to larger questions of knowledge in general, as Conrad ultimately comes to the conclusion that all knowledge is contingent, dependent upon the context in which it is experienced.
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This paper addresses the question of race in relation to the image of serial girls. I reflect on how seriality affects women of colour and how it operates by imposing an ideal white female body and an ideal image of femininity. I am also interested in the way seriality is used by artists of colour, as a means for resistance against white cultural supremacy and (white) misogyny. Beyoncé is one example of how seriality can be reproduced in order to resist. Some relevant proof I analyse in this paper are the 2016 Superbowl performance and the film-album Lemonade. In this context, the image of serial girls appears both as a symptom of racism and as a possibility of anti-racist engagement.
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This paper presents a methodical approach to the collection of sonnets O ženi (About a Woman) by Musa Ćazim Ćatić. The motif analysis takes up the motif of an extraordinary woman for its starting point of interpretation. The woman in Ćatić’s poetry is often a symbol, and, as presented in this paper, Ćatić introduces the motif of a woman in diverse forms. The aforementioned issue is interpreted through a problem-methodical approach.The objective of the paper is to examine the possibility of methodical interpretation of one part of Musa Ćazim Ćatić’s poetry. Through methodical interpretation the multi-layered text is used for several purposes: as a tool for acquisition of literary-historical facts and new cognitions, as well as a means in the process of motivating students to read poetry.
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This study attempts to go beyond the rather obvious meaning and interpretation of Aldous Huxley’s Brave New World as an anti-utopian/dystopian warning against a possible future of mankind by analyzing the parallels between his vision of the future and the present-day world, our empirical reality, showing that it is not only about the future, but also of the present, both Huxley’s and our own. The study also treats this novel as a work inspired by the work of William Shakespeare in the light of Ted Hughes’ postulate of “the destruction of the feminine” in a patriarchal society, which Ljiljana Bogoeva-Sedlar also takes as a starting point in her work. Through the analyses of various passages in the novel, the study tries to show whether John the Savage’s Shakespearean ideals and his Shakespearean moral code are obsolete and trained out of heart and mind not only in the reality of Brave New World, but also our own.
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The aim of this paper is to analyse vocative exclamations in Hamza Humo’s play Tri svijeta. Such expressions have been observed as expressive of either the speakers’ strong affective states or their habits, which is why vocatives are also used as ϐillers. In this paper, we will divide them on the basis of the functions they have in the play’s dialogues. Vocative exclamations in this play are polysemic and perform different functions, pivotally determined by their context.
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This article draws upon my research into a number of concepts underlying Sarajevo theatrical productions based on Nikolai Vasilievich Gogol’s works. Speciϐically, the article is focused on the contrastive analysis of the theatrical and literary critics’ responses to the plays following their theatrical staging, on the one hand, and the literary and theoretical texts addressing the key themes of Gogol’s corresponding works written by both Russian and Bosnian-Herzegovinian critics and theorists, on the other.The research shows that Gogol’s comedies, much like Chekhov’s plays,have in time become independent „matrices“; or scores upon which plays(and interpretations) are produced as variations of the subject. These types of artistic texts not only allow but also invite the reader to act as aco-author for Gogol’s texts constitute true storehouses of multi-layered connotations, drawing a number of political and cultural parallels and communicating complex meanings on the philosophical, metaphysical,and irrational planes. The broad spectrum of receptions of and responses to Gogol’s comedies in Sarajevo ranges from the already established practice of reading his plays as satirical pieces – a practice with its own long „reception history“ in Sarajevo, which even predates the founding of the National Theatre – to examinations of his works as pieces of ridicule and caricature (the description of the „director’s reading“ of The Government Inspector and Marriage by Alexander Vereshchagin), to interpreting Gogol’s pieces as humorous (as was the case in written reviews of Marriage in the 1970s, directed by Vlado Jablan) and finally treating the works as instances of tragifarce and „sadplays“, the characterization ofthe 2007 premiere of Marriage directed by Petar Vechek). These multipleresponses demonstrate inevitable substantial changes occurring in theatrical reception, testifying to the growing importance of theatre directing,i.e. the overall orientation of the theatre towards the „directorial“ theatre, as well as to numerous attempts by Bosnian-Herzegovinian critics tore-examine and revise the customary system of literary (and theatrical)values. This article presents the ways in which Sarajevo theatres have explored the possibilities of communicating the Gogolian „laughter through tears“ formula on stage, concluding that Gogol evidently introduced a number of changes in the comedy genre, founding his own reassessmentof the genre on the understanding of laughter as a critical principle.
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The article is an attempt to utilize the pre-philosophical etymological meanings of the word subject in a proposal for the reflection that fits into the discussion on the possibilities of new posthumanistic approaches to the matter of subject. Its first part comprises etymological inquiry, inspired by the philosophy of M. Heidegger and the proposal of K. Okopien, into the Greek word ὑποκείμενον, the Latin subiectum and the Polish podmiot. In the second part, three new, ethically oriented proposals for perceiving the problem in the perspective of studying animals have been derived from the three former meanings of the Polish subject – a foundling, fraud, and bedding.
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The aim of the publication is to acquaint the Polish reader with a fragment of the most famous book by Tatiana M. Goricheva, „Holy Animals” (published in Saint Petersburg in 1993), which has not been translated into Polish so far. The author of the book is one of the few Russian-speaking thinkers dealing both with Orthodox Christianity and the question of animal rights. The attached commentary offers an introduction to her philosophy, which is here presented at the broad background of Eastern Orthodox thinking. In contradistinction to Western theology, it is the tradition that discusses the Christian idea of redemption in cosmic terms and points to the possibility of religious identification and sanctification of animals. Therefore, it seems that the Eastern Orthodox interpretation of the Christian doctrine provides a different perspective on the situation of animals and their suffering in the contemporary world and may lead to action to secure their status as individual subjects.
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The article is a presentation of spring rituals associated with animals in the Polish countryside, recorded by ethnographers up to the beginning of the twentieth century. In traditional Polish rural society, rituals associated with the Slavs beliefs and symbolism, which were to symbolically start the new vegetative year, were among the most important activities of worship the choice of animals for the ritual. These beliefs were so firmly embedded in the consciousness of the traditional communities that survived until the early twentieth century in the form of customs and the way of how animals were treated by the hosts. The relationship of man with the animal was very characteristic of the rural community, as it was associated with the supplementation of the basic needs of the host, which translated into a concern for the animals’ health and their lives. In the opinion of the former inhabitants of the village, caring for the animals apparently manifested in the practice of magic that was to prevent and ward off spells and diseases.
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Theories of the mainstream of animal ethics, represented, for example by Singer and Regan, are in favour of dietary behaviours that exclude the consumption of any animal products. According to such approaches to the subject, in our societies and in current living conditions, abandoning food of animal origin is an obligation in the light of the normative requirements of the theory of ethics. In this article, I will present a different perspective on the issue of reflective moral vegetarianism (defined in a very broad sense). Moving from some very critical phrasing to the arguments represented by the mainstream, I will propose the statement that it is more purposeful to consider vegetarianism as an element of self-development and self-care practiced by people who are honest active moral entities. Vegetarianism that grows out of personal reflections on the morality of relations between people and other beings, should be considered in the way in which active moral entities shape and cultivate their own character. Such a way of formulating vegetarianism makes it possible to avoid the problems of the mainstream arguments and allows conceiving more accurately the richness and diversity of people’s real choices concerning the issue of vegetarianism in the sphere of customary experiences of moral character.
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In the 18th century in Ottoman poetry, famous poets graud up like Nedîm, Şeyh Gâlib according to the evaluation of literature researches, many poets who are second-rate poet announced their names is this term. Ebubekir Nusret Efendi lived is this country and his poetry and writership of medical books has became a subject of review by literature and language researchers. At the same time, Ebubekir Nusret Divanı is’not know as much so about his poetry were underestimated. In the case, we tried to give information about the artist’s poems and poetry, in five copys of Ebubekir Nusret Divanı. The poet wrote poems in Turkish, Farsi and Arabic’s language. đIn his ghazal, trend Sebk-i Hindî reflected successfully by him. In his poetry, it was under the influence of Sa‘ib-i Tebrizî. There, he fowsed an social issues, besides in accordan with tradition, the wed often concepts and symbols like love, wine, saki in his poem. The poet has a medium-sized in divan with poetry in the 18th century, he has succeeded spacing of fame-gate.
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The presence of a mistake in the scientific and artistic text has its own specifics and a certain sense. The origins of the scientific interpretation of the phenomenon of false date back to the category of a Gammatia based by Aristotle. The attention to mistakes as a manifestation of the accidental and means of expression was actualized by researchers of avant-garde, futurism, postmodern literature. The purpose of the proposed article is to analyze the varieties of the artistic aberration as a factor in Lesya Ukrainka's poetics in the context of her modernist searchers. The mistakes in dramas of the author mostly are the plot center and they are the result of difficult choices of characters (“Blue Rose”, “Cassandra”, “Boyar”, “Rufin and Priscilla”, “Forest Song”, “Orgy”, “On the Blood Field”, etc). The formal mistake as a sign of absurdity most markedly forms the originality of the artistic world of Lesya Ukrainka's fantastic drama “Autumn Fairy Tale”. The semiotics of false facts in her writings is always subordinated to the figurative paradigm of the text. In particular voluntaristic temporal shifts in the usage of iconic symbols of nature or culture emphasize the essence of the characters in the drama “Advocate Martian”, “In the Dense Forest” and others. The aberration phenomenon appears the central problem in Lesya Ukrainka's story “The Mistake”, which is based on the self-analysis of the writer-revolutionary who stays in prison. It is proved that the narrator is close to admit his mistake to be “orpheustic” (Maurice Blanchot) which means that his desire to own the woman took precedence over the duty of the poet just sing about her. So, Lesya Ukrainka in her creativity offers a variety of interpretations of characters' reflections over the painful consequences of a false existential choice. In conclusions, Gammatia is recognized as a symbol of the author's interpretation of modern life, with the specific fluctuations of the individual between loneliness and solidarity.
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The article is devoted to an actual problem of genres in perspective of supertext relations. In particular, the functionalities of midquel as one of the genres based on intertextual relations are regarded. The subjects of the study were features of interaction of midquel texts of L. Tolstoy “The End of the Little Russian legend "Forty years", published by M. Kostomarov in 1881” and its pretext – stories by M. Kostomarov “Forty Years”. Deep philosophical and theological questions in unison with spiritual and creative pursuits of the Russian classic are considered through the grid of raised moral and ethical problems in the story of M. Kostomarov. The motif of punishment, which takes a key place in the story “Forty Years” of M. Kostomarov, is embodied through the loss of God by a man, leading to his moral decay. The lack of faith creates emptiness and spiritual blindness. Punishment is unnoticed for a man in this life. Tolstoy interprets the motif of punishment, he puts new meanings, entering with the author of pretext into polemics. In the interpretation of Tolstoy the lack of faith raises no emptiness but the feelings of constant fear and loneliness. Thus, awareness of punishment comes to a man in this life. The motif of punishment is combined with the motif of insight that opens a person who has lost God. So the pretext of M. Kostomarov “Forty Years” and the midquel of L. Tolstoy “The End of the Little Russian legend "Forty years", published by M. Kostomarov in 1881” are based on the same philosophical grounds, but have different ideological orientation. The problem of God's punishment is solved by writers in different ways, and their texts form a dilogy, which aims to demonstrate ambiguity and unpredictability of the laws of human being and to give the reader a space for reflection and research.
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The article studies images and motifs of Shevchenko based on the materials of works of another row of Ukrainian emigration writers of the 20-30ies years. Using the theory of archetypes of Jung, we identified an intermediate archetype acting on the verge between a Hero (a Savior) and a Sage, this is what Taras Shevchenko became for the Diaspora writers.Particular attention is being drawn to the genre palette of Shevchenkiana, artistic and stylistic features of the stories of the following writers are being defined: K. Polishchuk, B. Lepky, Dmytro Tyahnyhore, and Lesya Verhovynka. The Shevchenko motifs we discovered in the short fiction of the 20-30ies are usually united around the magnificent figure of Shevchenko, his portrait and his “Kobzar”. The archetypal figure of Shevchenko represents a symbol of a rebellious spirit and a national talisman for Ukrainian writers of the emigration. It is being determined that the portrait of the great son of the Ukraine serves as an icon for his people and is frightening for the others; words of the works of Shevchenko inspire heroes to fight for the liberation of the native land and act like a prayer; “Kobzar” serves as a talisman. Thus, motives of Shevchenko in the works of short fiction emphasize saving function for the characters and for their authors.As a result, it is being concluded that a dominant in all the stories and novels was both a respectful and a panegyric relationship towards the Savior of the Ukraine, Taras Shevchenko, and that his name and works became a philosophical guide that inspired artists to create Diaspora of the short fiction with patriotic content.
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This paper looks into the Russian Soviet literature of both the “thaw” and “stagnation” periods (1960s and 1970s) in order to reassess the existing paradigm in its critical reception provided from the gender perspective. The discussion starts with consideration of the issue of motherhood – especially in the case of working mothers – and its literary treatment, but then expands to a feminist reading of the literature in question more generally. By suggesting an alternative interpretation of literary works of this period, especially those authored by male writers, the paper challenges the accepted understanding of this literature as essentially misogynistic. By revealing concealed insecurities behind hostile male rhetoric, it turns the tables round to argue that the prevailing model that arises from this literature is, in figurative terms, that of all pervasive motherhood, and as such is actually matriarchal. Thus, the suggestion made, is that this literature should be viewed at least as two-fold: superficially misogynistic, but matriarchal in spirit.
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