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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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The article attempts to interpret Ryszard Schubert’s works of in the light of performance and archive theory as well as Julia Kristeva’s theory of abject. The author analyses the language of Schubert’s novel and indicates an important problem for the writer, that is conveying the truth about the event in literature. While examining Schubert’s writing strategies, particular attention is paid to innovative language and formal solutions, due to which the writer reinterprets the traditional model of novel and literature.
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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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Karl-Olov Arnstberg in the text Swedish Patriotism discusses the issue of identity andnational consciousness in Sweden. The starting point for his reflections is the interview he had the opportunity to conduct with a doctor from Sri Lanka. He approached him as if he wasa Swede, they both had a similar worldview, but his approach changed when the subject ofconversation became the history of Sri Lanka. Arnstberg felt as if his interlocutor was sorooted in the past that the past, not the present created who he is now. The author of thetext notices a parallel linking this situation with how the national consciousness of theSwedes was described at the beginning of the previous century by Selma Lagerlöf and Vernervon Heidenstam. However, he notices certain regularity that “when the history of Sweden iswritten in a scientific and objective way, with a keen pursuit of truth, it is not only the historyof Sweden that loses its social grounding, but it is also much harder to build a nationalidentity on it”. What affects most the nation are fantastic heroes and fantastic events.Arnstberg emphasizes that he does not need his country’s history to build his identity. Herefers to Peter Englund, a member of the Swedish Academy, who on the one hand wrotethat ignorance of history may cause a lack of sense and identity, and on the other hand, hebelieved that historical events and heroes should not be used as justification for nationalism.His interpretation of Englund’s words includes two approaches to history. The first – modernist,which does not look at history in the identity context, and the second – nationalist,according to which knowledge of history is important for a sense of community with the restof the nation. Further, the author of the text analyzes the concept of Swedishness, referringto the articles of other researchers. The examples he gives more blur the term than allow us tounderstand what it really means. He demonstrates, on the basis of nationalism, the paradoxesof Swedishness and even undermines its existence.
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In the history of Sweden the years 1611–1718 are the so-called great power era(Swedish: stormaktstiden), the period of geographic and economic expansion, as well as theformation of a romantic image of own nation, state and language. In this age, the foundationsof today’s Old Norse studies were shaped, and the interest in the language and history of thelanguage took peculiar forms in nationalist glottogony, as in Olof von Rudbeck, the authorof a popular work Atland eller Manheim, in which he pointed out that the Swedish languageis in fact the language that Adam used in Eden. Strong nationalist tendencies and a growinginterest in the native language were accompanied by the unusual situation of the publishingmarket in the history of the Swedish language, as this was the only time when native texts,not translations definitively prevailed.
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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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The article, referring to the texts about crowd by Le Bon and Maria Konopnicka, presents the history of the modern subject who discovers wildness surrounding him. Recognizing wildness, the authors of the end of the 19th century reached for evolutionary logic, to be precise to the parameter of biological races treating the phenomenon of “crowd” as a sign of wildness. According to this logic, crowd became a kind of “desocialized horde” (Konopnicka), social “heap”, which was subject to temporary “regress”. Modern mind was then defined by street crowd through the discourse of natural sciences falling into an impassable aporia: lower – higher.
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The article focuses on the representation of the year 1918 in Latvian literature.On November 18, the independent Republic of Latvia was proclaimed, and in the yearsto come international recognition of the state’s sovereignty followed. In retrospect, thisevent stimulated a number of salutary descriptions and interpretations and certainly providesa milestone in the history of the Latvian nation. It is, however, also important to discussthe proclamation of independence in the context of the Great War that brought a lot ofsuffering to the inhabitants of Latvia. Therefore, a critical evaluation of the events precedingthe year 1918 is certainly worthy of discussion. The article first sketches the historical andgeopolitical contexts of the period immediately before and during the Great War as wellas the changed situation in its aftermath. This introduction is followed by a discussion ofthe novel 18 (2014) by the contemporary Latvian author Pauls Bankovskis (b. 1973) thatprovides a critical retrospective of the events leading to the proclamation of the nationstate from a twenty-first century perspective. Bankovskis employs an intertextual approach,engaging with a number of earlier publications dealing with the same topic. Among theauthors included are Anna Brigadere, Aleksandrs Grīns, Sergejs Staprāns, Mariss Vētra, andothers. The paper contextualizes the contribution of these writers within the larger historicalpicture of the Great War and the formation of the nation states and speculates on thecontemporary relevance of the representation of direct experience, and the use of writtensources related to these events.
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In the text Sarcasm and Indulgence, there is an analysis of human relations in Jane Austen’s Sense and Sensibility. The marriage as a fact – and the space for a social game – is here one of the examples of modelling of the connections and their linguistic representation. The gossip is attached to the structure of the novel, in which it penetrates the hidden. The work of Austen refers to two modes of talking, two styles: the private talk and the officialornamental talk. The model of the novel of the author of Sense and Sensibility has been compared here with the one of Stendhal.
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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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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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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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