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The article describes the use of metaphorical terms of plants in the nature calendars designed for children and young people of school age: Głos przyrody [Voice of Nature] by M. Kownacka and M. Kowalewska (vol. 1–2, 1963) and Razem ze słonkiem [Together with the Sun] by M. Kowalewska (vol. 1–6, 1975–1978). The role of metaphores in three areas is presented: 1) using “child’s cognition”, that is explaining natural phenomena with means referring to children’s imagination, 2) applying elements of humour and fun, 3) using poetic metaphors whose task was to build atmosphere and sublimity in the description of flora. The described stylistic treatments were to make the popular science texts more attractive to young readers, and they were to become the incentive for them to observe nature in parallel with reading adapted to the perception and needs – not only cognitive, but also emotional.
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The article is devoted to Józef Wittlin’s text “Ogródek” i historia [“The Garden” and History] (1938), which has not been discussed so far and which was intended as a review of the translation of Walafrid Strabus’s poem Hortulus. In the analysis of this text, the author not only indicates the features characteristic of Wittlin’s works, but also puts his considerations into the broad context of philosophical and botanical findings concerning the life of plants, their functioning in relation to man and historical significance. Thus, the article is an attempt to reconstruct Wittlin’s plant history, which is a precursor to the latest research in biology, as well as ecocritical and posthumanist movements in philosophy and literary studies.
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In contrast to the prevailing in the 70s, 80s and 90s concepts on nation-building and national consciousness, the author develops the idea of the Norwegian national identity being present in the Middle Ages, modified and strengthened in the period of the union with Denmark (16th–18th centuries), and during the union with Sweden in the 19th century. In this time, the national identity grew into a political programme of regaining independence and building a national culture.
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In 1933 geopolitical situation in Europe had been changed. The leaders of four countries: Great Britain, France, Italy and Germany tried to make some agreement of ruling on the continent. For such countries like Poland and Czechoslovakia this agreement could be very dangerous. Both of them had a very difficult mutual relations. But potential threat could bring them closer. In a spirit of those thinking, polish military attache lt. Col. Andrzej Czerwiński had prepared a short report of political and military situation in Czechoslovakia, especially in the face of German’s pressures. He was writing about possibility of closing between two countries, chances of development of military forces and mutual cooperation.
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This article uses the archives of the Czech publishing house Družstevní práce during World War II, which give insight into how certain works were selected as DP struggled to maintain its identity. Between the World Wars, DP published several Dutch and Flemish authors, but the number of translated works from Dutch grew considerably in the 1940s since Dutch-language literature was one of the few literatures allowed during the Nazi occupation. Despite the fact that the Nazi authorities exerted great pressure to publish Nazi-friendly literature, DP managed to avoid publishing such books by using officially acceptable Dutch, Flemish and Scandinavian works as a political compromise.
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The paper attempts to map translations of Milton’s Paradise Lost into Slavic languages and its place in their cultures from the first Russian and Polish editions to the latest Ukrainian and Slovak ones. The survey shows the shift in the translation method from the earliest prose renderings, usually from other translations, to newer editions with translations in verse. Due to typological differences between languages, especially in semantic density, some translations were substantially longer in comparison with the original. Various types of verse as a replacement of Milton’s blank verse were adopted, depending on the tradition of the target language. From the point of view of contemporary translation studies, corrections of Milton or omissions from the text due to the personal denomination of the translator, as we can see in some earlier Russian or Polish editions, are unacceptable. Attention is also paid to two Czech translations by Josef Jungmann (1811) and Josef Julius David (1911) that have served as a substitution for the non-existing Slovak translation up to the present. Stemming from a typological difference between English and Slavic languages, the paper raises prosodic, semantic, and semiotic problems of translation.
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Historiographers of translation have made great efforts to identify translations of more or less famous works, to sift through them and to give precise descriptions, which quite often involve value judgements. The history of translation is – with a few exceptions – a history of success. What interests us here, on the other hand, are the failures and shortcomings that can be observed in this field, a dangerous subject of investigation insofar as it leads to risky speculations. Why have certain works, considered to be an integral part of the original literature, found little or no response from readers of other languages? Is this due to intrinsic characteristics of the works in question or, at least partly, to unpredictable reactions of the translation market? Is there a literary production that is less suitable for translation than another, or do translators, with their specific predilections and skills, influence the balance of exchange between different literatures, often unintentionally? The focus of this article is on classical French tragedy and a few German authors who are appreciated by German speakers but little known elsewhere.
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Russian and Soviet history of translation has undergone different stages of its development. Western literature in Russian translation played a significant role in forming the national literature (the so-called literary transplantation of the 18th century). Later, not only selection, but also non-selection of books/authors for translation played a canon-forming function. Social (historical, political, ideological) influence on translation was of a shifting nature, as it is shown by examples (such as Jane Austen). It also affected the process of selection/non-selection of books for translation.
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This article makes use of quantitative methods to chart the particular morphologies of translated novels in Romania after World War II. The three charts presented show the chronological shift in the preferences for translating novels in a comprehensive account of all the Russian (and Soviet), French, and American novels translated in Romania, demonstrating that the translations can be analyzed through what Jordan A.Y. Smith convincingly argues to be a useful model in translation studies and world literature, namely translationscapes. Through use of an extensive database, the article illustrates which periods the novels translated in communist Romania originate from and describes three patterns of translation during communism according to David Damrosch’s approach to canon. This points towards a certain need for clarifying the circulation of the novel from a big data perspective, through what this study refers to as quantitative translationscapes.
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Review of: Jiankai Wang: 中国当代文学作品英译的出版与传播 [Zhōngguó dāngdài wénxué zuòpǐn yīng yì de chūbǎn yǔ chuánbō – A history of publication and traveling of English-translated contemporary Chinese literature] Shanghai: Fudan University Press, 2020. 403 pp. ISBN 978-7-309-14825-1
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Taking its starting point as the fact that in modern cultures, the trend towards scientific specialization is an interdisciplinary tendency, which is being examined in the literature, the study reconstructs the scope of knowledge of Botho Strauß and Hans Lebert in the period from 1960 to 1980. Knowledge in literature and the production of knowledge in works of fiction by these authors is temporarily and thematically associated with the breakup with “Geschichtsphilosophie” at the intersection of natural sciences and cultural history. This processis located in the late 1970s, which is the time of the main interest of Strauß in naturalsciences. It is followed by the interpretation of the Strauß’s novel Rumor (1980), in which geology plays a major role, and Lebert’s novel Die Wolfshaut (1960). The article also presents the impact that interdisciplinarity had on the genres of “Anti-Deutschlandroman” (Strauß) or Antiheimatroman (Lebert).
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This article draws attention to the specific way in which the important German author Christa Wolf turns scientific findings on memory into literary material in her work. Remembrance and the associated self exploration and self-knowledge form the core of what Christa Wolf calls subjective authenticity. Her key self reflexive texts stage the process of writing, in whichself questioning intermingles with reflections on the process of remembrance and the literalization of the phenomenon of memory. In the 1990s, the author became the target of traumatic discourse practices in the non-literary space. The article also addresses the question of how interdiscursive remembrance contrasts with stereotypical interpretations of the past and what its potential to stimulate a critical distance from hegemonic discourse and the communication of differentiated knowledge may be.
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The subject of the analysis is the novel Leben (Life, 2013) by the German author David Wagner. In fact, although designed as a novel, the book is more precisely an autopathography, which presents a personal and authentically reflective look at the experience of one’ s ownillness and describes the medical intervention, the surgical transplantation of a new liver. The medical specialist discourse plays an essential role in this context. Medical knowledge and personal reflections overlap like those areas of meaning from which analogies often emergeand in which metaphors have their origin. In the following, it is a matter of uncovering those areas that are combined to create analogies in order to describe their communicative functionon the basis of their possible implementation in the form of metaphors (also known as between-domain analogies). Particular consideration is given to the role of the medical specialist discourse and the question of how it shapes the analogization and metaphorization of one’ sown experience of illness and the experience of organ transplantation. In doing so, we rely largely on the analytical model based on the theory of figurative language by Hans Georg Coenen.
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Lessing's interest in the fine arts is well known, and the boundaries between poetry and painting have been discussed by him in detail. Lessing's comments on the architecture of his time have hardly come into focus. It seems as if the poet were hardly interested in buildings and did not take note of the aspirations of the 18th century. Lessing dealt with architecture on different occasions. The stage directions in his dramas show that Lessing was familiar with and referred to the building conventions of the time and the realities of the theatrical stage. In matters of aesthetics, he received inspiration from the writings of Moses Mendelssohn on architecture and its position in the system of the arts. His view of the buildings he perceived on his Italian journey is influenced by this. In contrast, his assessment of the rediscovered architecture of the Middle Ages is critical. A reflex of his preoccupation with architecture is Lessing's parable about the 'palace', which arrives at astonishing architectural claims.
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The genre heredity concept is articulated on the analysis example of I. Drach’s screen version of the biographical film story “I’m coming to you” (1970), dedicated to the 100th anniversary of Lesya Ukrainka. The film is marked by innovative approach of I. Drach as a scriptwriter to the image of the poetess. Contrary to the tradition of documentary film to interpret her biography in a certain matrix key (as a fighter and revolutionary), Drach tried to identify Lesya Ukrainka primarily as a private individual, as the woman who knew how to sacrifice herself for the sake of love.Without aiming to show in detail the entire biography of the poetess, the author of the film story chose only a small fragment of her life – four years 1897–1901. In terms of biopic genre heredity, the article observes how this biographical film presents possible ways of processing and contamination of available documentary material (letters, memoirs, reminiscences of contemporaries) and integral creation by Lesya Ukrainka (her poetry, translations, renditions). Hence, the biopic on the basis of multi-genre text material appears as a kind of intertextual plexus. At the same time, the film pays much attention to the feelings, thoughts, creative impulses and state of mind of the heroine. By analogy with the poetics of literary writing, the form of the poetess’ inner monologue was chosen in accordance with the portrait film genre. It is clear that through the prism of Lesya’s life and creative experience the personal attitude of the poet I. Drach emerges towards understanding and reproducing the figure of creative personality in art: the author’ vision logically leads to those biographical episodes that in the existential sense appear the most significant.
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This paper continues the studies on Chang-rae Lee’s novel “Native Speaker” through Henry’s character, focusing on the notion of identity. Neither the distinction between the group over here and there, nor the term hybrid or third identity cannot offer a clear idea to understand the novel. Given the recently revised idea about borders and nationality in scholarship, it is significant to reconsider the representative possibility of a character such as Henry. To understand him through careful positioning in society at a more subtle level, one could suggest the phrase ‘a lesser stranger’ as an alternative method.
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No matter how paradoxical it may seem, one of the outstanding representatives of the Georgian historical novel, Konstantin Gamsakhurdia, when discussing the historical novel, believed that the “historical” predicate was absolutely unnecessary, since “any novel will eventually become historical,” he said. Regardless of the fact that we agree or not with this consideration of the writer, such an attitude of his is by no means an obstacle to our statement that Otari Chkheidze's novel "Dzhebiri" (Dam) is already a historical novel today. The opportunity to state this is precisely the circumstance that, contrary to the wishes of the then state machine, the novel, as an example of socialist realism, did not take place in any way. Under the current conditions, it is easy to give such an assessment as "did not take place", but in those political and repressive conditions, the writer's conscientiousness and dedication led to the adoption of a risky decision - the creation of such a novel. In turn, all this allowed us to give such an assessment. Comprehension in a parallel mode of the period of creation of the novel and its content, testifies to the fact that despite the existing risk, the writer refused to falsify, he could not let the reader down and go to his deception, he could not let himself down and go against his own "I", he took a chance and went for broke. Thus, within the framework of this study, we tried to analyze the anti-Soviet novel created in Soviet times from a modern point of view and review a whole range of issues with great attention and comprehension. It seems that as a result of everything, we have had the opportunity to make interesting conclusions. However, we immediately add that our research is a drop in the ocean in comparison with the super-impressive creative artistic world of Otari Chkheidze. Therefore, we plan to continue and further expand this research and believe that even more attention should be paid to the study of Otari Chkheidze's work and current literary criticism.
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The following article will focus on pursuing the study of teacher’s dignity in the actual context. Until now, the attempt was to outline a teacher’s portrait, whose goal is to be a part of student’s life with seriosity, integrity and dignity. The study’s direction will be focused on the impact that the medical crysis had over the school system and on how the teachers managed to stay active. My opinion is that, in the current situation, the “to begin” meaning of the word “education” has proved to be the continuation of what has been built until now. The online education is seen differently from its classical form. This article will follow this process from the perspective of teacher’s and student’s integrity in the online environment.
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This article is devoted to the bibliotherapeutic analysis of the novel Jak ziarnka piasku [Like Grains of Sand] by Joanna Jagiełło (2018). The reflections made in the article are accompanied by theoretical assumptions of Irena Borecka and Danuta Gostyńska, and an actualisation of the term ‘Nobody Generation,’ proposed by Grzegorz Leszczyński in reference to the generation of the end of the 20th century. The author of the paper demonstrates that reading the book might be helpful for a teenager who experienced the death of a loved one – it allows the reader to empathise with the story’s narrator (who is also its protagonist) and offers ways to deal with tough situations. The author also points out that the book deals with the therapeutic role of art – she carries out the analysis based on Ewelina J. Konieczna’s assumptions about art therapy – and shows how important it is to get used to death and to breake the death taboo through young adult literature.
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