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Učitavanje empatičkog impulsa
Review of: Suzanne Keen, Empathy and the Novel, Oxford: Oxford University Press, 2010.
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Review of: Suzanne Keen, Empathy and the Novel, Oxford: Oxford University Press, 2010.
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To the present day, Jane Austen has remained a subject of almost religious adoration for her numerous fans, the Janeites, who keep returning to her writings, take interest in the films and the popular works derived from them, and even seek to surround themselves with objects that remind them of their ‗beloved‘. Determined by the desire to engage in social practices that emulate Austenian sociability (O‘Farrell 2009: 478-80), many of Jane Austen’s ―everyday enthusiasts‖ (Wells 2011: 11) have joined reading groups/ book clubs in order to discuss her fiction and to better understand its meanings. The flourishing of book clubbing and the reflection on the symbolic values attached to Jane Austen as an icon in the contemporary popular culture are foregrounded in Karen Joy Fowler‘s The Jane Austen Book Club (2004), a postmodernist novel which focuses on several issues in today’s American society such as gender relations, private lives, public social interactions/rituals and cultural practices or rivalry between the arts, yet all seen in relation to the reception of Austen‘s novels by ―everyday‖ American readers. The paper proposes an analysis of this novel, considered illustrative for both postmodernist writing practices and the development of ―Austen cult and cultures‖ (Johnson 1997) at the turn of the new millennium.
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The article is dedicated to the problem of using reduced myth fragments at the formal level of fantastic literature. Despite the fact that the fantasy genre is the most consistent and traditional in the works of contemporary Ukrainian and Polish writers, the science fiction genre is still popular,. Therefore, certain genetic links and codes remain within the scope of the researchers. Мythology may be the one of such a codes. The variants of the fragmentary use of myth are exemplified in the works of K. Trukhanovsky and O. Berdnyk. Slavic fantasy SF literature is overshadowed by the world-renowned classics of the genre. Nevertheless, it also deserves the close attention of researchers.
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Lubomir Guentchev is a Bulgarian writer whose work was discovered in 1999. By 1930, he had conceived poems in Bulgarian, then, between 1949 and 1955, plays including one, which he transposed into French (Théurgie). He translated Bulgarian Symbolist poets into French (Peyo Kr. Yavorov, Nikolai Liliev and Teodor Trayanov, among others), and numerous French and German authors into Bulgarian. He also composed several collections of poetry in French. To what extent did this bilingualism foster in him a paradoxical phenomenon of self-restraint imposed by the circumstances of the time? What were its motives, goals and scope?
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The article looks at the effects of the concept of “globality” on the literary theory and practice. The World Republic of Letters is dominated by relations of power, cultures and languages are divided into dominating and dominated, and the battles fought for literary recognition are far from the myth of the “magic” world of creativity. At the same time, it is precisely this perspective on literature, thought of as world literature, and the creation of supranational spaces that could lend visibility to the figure in the carpet as is each creative piece of work that would otherwise remain hidden, lost, particularly if it belongs to some “marginal” culture. The balance between the local and the global puts to the test both writers and theoreticians, who also find themselves involved in the case they explore…
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Briefly summarized, the content of Vatopedi Slavic documents is the following: In April 1230 the Bulgarian Czar, John Asen II, donated to Vatopedi with a full tax exemption the village of Semalton (today Mikron Soulion), which is located to the southeast of Serrhai, but only for the period until the end of his reign. In 1369–1371 the Serbian despot John Uglješa granted to Vatopedi the abandoned village of Lantzo, which was situated near the settlements of Akrotirion and Plumiska, in the northeastern part of the Chalkidiki Peninsula. On July 2, 1417, the Serbian despot Stephen Lazarević bequeathed to Vatopedi the village of Koprivnica and a yearly subsidy of 60 litri of silver. Between July 1427 and May 1429 the Serbian nobleman George Branković corroborated the donation of the village of Koprivnica and the yearly subsidy of 60 litri of silver, provided to Vatopedi by his predecessor, the despot Stephen Lazarević. On March 28, 1432, the čelnik Radič bestowed on Vatopedi the village of Belo Polje, which was situated near the Morava River in central Serbia. After March 28, 1432, the Serbian Despot George Branković confirmed the donation of the village of Belo Polje, which the čelnik Radič had made to Vatopedi. In April 1432 the Serbian military officers Radoslav and Michael Mihaljevići bought in Vatopedi six adelphati (lifelong monastic pensions paid in kind) and the nearby Athonite tower of Koletzi. On February 21, 1438, the monks of the Russian Athonite monastery of St. Panteleimon issued a warranty that they would not trespass on the land of Vatopedi which bordered the kellion of a priest named Kornilii. On December 4, 1457, the Serbian despot Lazar ceded to his treasurer (rizničar) Radoslav villages in the administrative districts of Golubac, Smederevo and Petruš (i.e. near the modern Serbian town of Paračin). Around 1597 a Zographite hermit named Makarios signed a statement pertaining to a conflict between the monasteries of Pantokrator and Vatopedi. His statement was significantly altered when it was translated into Greek. Between June 7, 1607, and July 10, 1610, the Archbishop of Ochrid, Parthenie, composed for the Russian Athonite monastery of St. Panteleimon a letter directed to the Russian Czar, Vasilij Ivanovič Šujskij.
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The palaeographic observations made on the manuscript fragment from Pleven (Bulgaria) and the Election Apostle from the National Historical Museum in Sofia (Bulgaria) are intended to illustrate the complex interplay between the Greek letter and the Cyrillic Codes, written in a constituent letter. They show how the two graphic systems are closely intertwined sometimes in the minds of the scribes. Therefore, an adequate presentation of the history of the Cyrillic writing could not have been achieved without taking into account the continuing influence of the model – the Greek literary tradition. We must emphasize that these are still preliminary observations that should be deepened and refined in order to be able to represent not only the content but also the meaning of the processes in the fourteenth century. This transitional and groundbreaking moment in the history of the Cyrillic graphics will remain the norm, a model that will be reproduced by the scribes in the centuries to come – both with conservatism and innovation and with constant attempts to return to the first source – the Greek graphics in all its varieties.
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The article deals with the question of foreignness in the reception of literature, especially of literary translation, as well as through literature. Presenting a brief outline of Translation Studies discourse on foreignness, this text serves as a short introduction to “Winnie-the-Pooh as a stranger to Polish literature” by Agata Chwirot and „The intimate strangeness. The figure of the mother in the Ewa Kuryluk’s Frascati” by Izabela Sobczak.
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The subject of the article is the cultural frames of social behavior in Mariusz Szczygieł’s reportage Nie ma. I use the assumptions of intercultural psychology to analyze the reportage text. The adopted methodology results from the feeling that in the era of intensified contacts with representatives of various cultures, the researcher is forced to search for answers to questions about the cultural identity of Poles, manifesting themselves both in specific social behaviors and in literature. Intercultural psychology makes this task easier, because it makes us aware of the fact that literature is a mirror in which everyone who consciously enters a new culture looks.
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The volume Zbigniew Herbert und Österreich, edited by Przemysław Chojnowski, discussed and reviewed here, comprises articles by the well-known Herbert researchers that shed light on different aspects of Herbert’s connections to Austria, both to his Austrian friends and representatives of the Austrian literary scene. In addition, some previously unpublished translations of poems by the Polish poet are presented as well as a detailed list of his visits to Austria. In the appendix a rich documentary material has been added, mostly containing unpublished photographs and drawings by Herbert, were made during his visits to Vienna and the Salzkammergut. The reviews and evaluation of the Austrian literary critique complete the volume. Austria plays an important part in Herbert’s international breakthrough as a writer. The poet’s existing and emerging relationships with Austria are documented in detail and comprehensively, which makes the book essential for the reader interested in Herbert in particular or in the modern Polish literature in general.
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William Shakespeare’s Macbeth has had a considerable number of screen adaptations. The legendary Scottish thane has been since played by many actors as diverse in their portrayal as the adaptations themselves have been diverse in their contextualization of the plot and accentuation of certain aspects of the originals. Mark Brozel’s adaptation follows a contemporary perspective on Macbeth, removed from the medieval Scottish realm to a three star Michelin restaurant. The adaptation thus substitutes the title role of a blood-thirsty warrior into that of a no less ambitious master chef. In this manner, Brozel’s adaptation tackles the issues Shakespeare addressed centuries ago albeit in the context of the 21st century. These issues examine the interplay of power and fate. Brozel problematises the classical play from our contemporary viewpoint. Issues of bloodshed, motherhood, ambition, waste, and alienation intertwine into a general defamiliorization of reality. The cultural-materialist interpretative approach to this work has proven as the most appropriate key to comparatively reflect on the original and Brozel’s adaptation, as it emphasizes Shakespeare’s modus operandi (thanks to which Macbeth so intensely lives to his present day) that makes it impossible to separate the narrative away from its sociopolitical context.
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The present attempt aims at a reading with reference to the text – reader – reading relationship, on the one hand, and with reference to intertextuality, on the other hand. The main assertion is that, in order to be adequate, a model has to take stock of the paradoxical nature of the text, in other words of it having the same properties – being completed and endless at the same time, simultaneously present and virtual, etc. The codes in the short story written by Dinev mutually doubt their foundations – each of them calls into question the other’s cognitive model as if having doubts as to its own at the same time.
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Linguistics of deep structures, methodological linguoconceptology, receptive aesthetics are of interest for the study of speech / non-verbal manipulation in the story by A. Chekhov „The Death of a Government Clerk“ as a double meaning - linguistic and textual. A structural study of Chekhov’s humor made it possible to establish the role of speech / non-speech manipulation as a source of metasense. The study of illocutionary influence, manipulation - forms of verbal / non-verbal exposure reveal in the metasense structure of the meta-observer. The concept of metasense in the story by A. Chekhov is based on the delimitation from semantic gaps. The semantic gaps are considered in the context of the reader’s interpretation, the metasense is a method of accurately translating the author’s thoughts. This approach is based on the study of speech / non-speech manipulation and irony as methods of illocutionary influence of the speaker on the listener. The connection of semantic spaces and metasense is shown in the role of a meta-observer - methods of reproducing the plot of changing Chervyakov, the image of death, the chain of indices, the author’s remarks, physiological gesture, transformation of the event into a non-event. This is how the genre unity of the joke and drama was established.
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The article explores the diversity of narrative techniques in Orhan Pamuk’s novel A Strangeness in My Mind. The main idea is that the drama of a private life is told against the background of the drama of the life of Istanbul. To do this, the novel parallels the biographical ‘I’ of the main character and the historical ‘He’ of the City. This comparison provokes the idea of the novel’s close relation to the history of Istanbul and Turkey over the last fifty years. Orhan Pamuk does not spare the reader any of the specific, purely "Turkish problems" with the Kurds and Greeks, as well as the radical and conservative moods and public discontent from the 1950s to the 1980s. The narrative line is developed slowly and minutely, owing to the author's intention to authenticate real events through the perspective of fictional characters and vice versa – to romanticize cultural and purely civilizational processes in the last half century of the development of this part of the border between Europe and Asia. This is the only way to explain the presence of the problem of women's emancipation and the lack of that misunderstood "patriotism" which often prevents the depiction of purely national processes in life. This refutes the widespread opinion that A Strangeness in My Mind is a postmodern novel.
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In exploring the nature of space in contemporary society, the writers Aldous Huxley and Michel Houellebecq adopt an anthropological approach which focuses on space as a product of human activities instead of an inorganic and stable entity. Their novels conceptualise their theoretical positionings on mobility in urban spaces, issues of identity, and influence of modern urban architecture on individuals and society. This paper demonstrates how in Huxley’s and Houellebecq’s writings urban environments reflect the individual and collective pathologies of the modern world. By referring to Lefebvre’s theory of the social production of space and Augé’s analysis of urban mobilities, this study explores the phenomena of consumption and commodification of urban spaces under capitalism. Following the postulates of the phenomenology of space, the paper also emphasizes the negative experience of urban architecture, which shapes the individual’s emotional response to both their physical and social environment.
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The first poems about the Prophet Muḥammad appeared while he was alive. These first examples, which are panegyrics (madīḥ, i‛tiẕār, fakhr and ris̱ā), largely reflect the characteristics of the pre-Islamic qaṣīda poetry. Due to the developments in the following centu-ries, the number of poems about the Prophet increased. And thus, a separate literary genre was formed under the name al-madīḥ al-nabawī. Especially the fact that sufi leaning poets contributed to the literary richness in this field. Another factor is the beginning of the tradition of writing mawlid poems in memory of the birth of the Prophet Muḥammad. The thirteenth century was an important period for poems praising the Prophet Muḥammad. Two important poets emerged in this century. One of them is Egyptian poet al-Būṣīrī and the other is Baghdad's famous poet, Yaḥyā al-Ṣarṣarī. Even after his death, Ṣarṣarî’s works with high literary value were read and memorized in the circles of science, literature and Sufism. Due to his competence in the field, al-Ṣarṣarī was known as the poet of the Prophet and Ḥassān b. Thābit of his time. However, it is understood that his poems, which lost their importance in literary circles over time, were not studied as much as they deserved in the modern period. In this article, his life and works are introduced and basic language and stylistic features of his poems are examined. Also, the image of the Prophet in his poems was determined within the framework of the political conditions of the period.
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The starting point of the proposed considerations is Mikhail Bakhtin’s notion of genre, according to which genre of an utterance presupposes a particular kind of existence in reality and a special relationship with the recipient. Nabokov’swork A LetterThat Never Reached Russia is a model short story in this respect. Its protago-nist – the author of the eponymous Letter, topicalizes the writer’s situation in exile and takes under consideration both being as well as existential (bytijnyj) aspect of emigration. It is achieved using a twofold strategy. First of all, the hero-writer uses a trick specific to Nabokov himself: he poeticizes Berlin’s space and, with the power of imagination, transforms being (everyday existence), the manner of inhabiting the Earth (Heidegger), emphasizing the role of the spiritual aspect of human existence as a source of happiness. Secondly, choosing the epistolary genre – a form of intimate expression – is also a kind of strategy that allows familiarizing an alien reality and actualizing the “trace” of the past in a solitary everyday life in exile.Vladimir Nabokov’s autobiography Other Shores written in Russian and edited in 1954 by an émigré publishing house serves as a good example for considering the concept of geopoetics based on the example of the cultural and historical phenome-non of the first wave of emigration. The paper intends to study the poetics of Nabokov’s autobiography, which is not only laid down in the semantic meanings of the title of the work but also can be traced in the structure of the text and its structuring thematic motifs (travels in childhood, the image of Russia, emigration, exile, etc.).
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This article presents an overview of the literary and publicistic heritage of emigrants in Tunisia introducing the “African” page of the expat chronicle of the Russian community. Through the example of the Bizertine cycle of poems by the poetess I. Knor-ring, the historical and literary body of the work of N. Monastyrev, A. Sernin, memoirs by M. Ardatov, V. von Berg, N. Knorring, A. Shirinskaya and publications in the periodical press we suggest a rich range of topics and imageries (history of the Russian f leet, loss of the Homeland, search in exile, diaspora life in the foreign land, etc.). The authors of the chronotope of the Russian exodus, and Bizerta as the last port of the Russian Squadron, meet individually authorial semiotic comprehension and interpenetration which ref lects the unique interaction of authenticity and mythologisation of reality in the space of the emigrant text.
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