«Mitologjia, folklori, letërsia»
Review of: Prof. A. Uçi, «MITOLOGJIA, FOLKLORI, LETERSIA», Tiranë 1982 Shtëpia botuese «8 Nëntori». Review by: Jorgoni Perikli
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Review of: Prof. A. Uçi, «MITOLOGJIA, FOLKLORI, LETERSIA», Tiranë 1982 Shtëpia botuese «8 Nëntori». Review by: Jorgoni Perikli
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This paper is about children's poems written by Anton Çetta. It is initially stated that he focused his activity on the collection, publication and study of oral literary creativity, also in the beginning of his work Anton Çetta in addition to collecting and studying folklore wrote poetry for children and also dealt with translations from French and Italian. As a result of his work in the collection of oral literature he has published several volumes of prose and poetry. In 2020, a set of his activity was published, as a folklore collector, researcher, poet for children, and leader of blood feud reconciliation, in thirteen volumes, published by the Institute of Albanology prepared under the care of the scientific staff of the Folklore Department. In the first volume of this set are published children's poems that Professor Anton had published for the first time in 1955, which have been republished several times in a volume entitled “Në prehër të gjyshes” (In grandmother's lap). He has created these poems for children with the inspiration from oral literature and especially from the fairy tale, legend, tale, anecdote and small forms of oral literary creativity such as: riddles, enigmas, proverbs, etc. The poems of “Në prehër të gjyshes" are inspired by oral literature, especially by legends, fairy tales and other genres, but the poet has worked on enriching the system of figures and perfecting poetic sensibility with rich artistic characters and language and stylistic figures, which are closer to the world and mentality of the child. They are easy to read and enjoy, stimulate the imagination and influence the aesthetic, moral and educational formation. From the poems the children learn about the previous life in the patriarchal family communities, about the organization of life and the division of labor in family, etc. Professor Antoni has left in manuscript a bunch of poems for children, which he had titled the “Vjeti gazmuer” (Jolly Year). The poems of this volume are inspired by the daily life of children, by ordinary life in general, by natural phenomena, children's play, etc. We see this from the titles of the poems and from the subject treated. The poems are mainly dedicated to the seasons of the year, especially winter and snow, snowman, children's games during the winter season, months of the year, various things and objects, etc.
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Through this paper we aim to give some cultural fragments of heritage in the region of Opoja. Traditional culture, customs and mores which have been present in the life of the Opojans from antiquity to the present day, being transmitted from generation to generation in a continuum, have contributed to the identification of the original Opojan culture. Ranging from the men’s and women’s dances, the wrestling and horse racing, accompanied by characteristic instruments, drums and curla. Songs of different genres have inspired cultural and artistic groups and societies to participate in national and international festivals such as dance and lyrical songs of weddings, kurbet (exile), work, love, etc. Some scholars, local and foreign, with their writings have contributed to enlighten the Opoja region in the field of heritage culture and in particular folklore and folk instruments such as choreographer Xhemali Berisha, composer Lorenc Antoni, Agron Xhagolli, Valent Qafleshi, Bedri Halimi, Muharrem Qafleshi, Danish researcher Brithe Traerup and American anthropologist Jane Susan Reineck.
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The synonymy in the language of Rexhep Qosja is rich and diverse and extends widely to all literary creativity. His language incorporates a complex system of synonyms, which are used to clarify thought or to highlight specific nuances of meaning, to better typify persons, circumstances, environments, and above all to enhance expressivity. In particular, there are many synonyms used to characterize the inner side, the personality traits of people. In his novels, are realized multiple and unlimited relations between lexical units. Qosja creates synonymous relations with words from all functional styles, which are distinguished by semantic, emotional, and stylistic expressive nuances. Synonymous rapports include lexical units with limited use, dialectical words, outdated words, foreign words, new words created by him, etc., as well as words of general use. Dialectal and regional words represent wealth in the semantic and stylistic-emotional plane, while neologisms are generally stylistic synonyms. In his novels, many lexical units from the passive lexical layer are introduced into synonymous relations, creating new synonymous verses with varying degrees of semantic similarity. Most often synonyms are created between words of literary Albanian and words of dialectal or popular origin. According to the lexical-grammatical category, the richest are the synonyms created with nouns, then with adjectives, with adverbs and verbs. Synonymy enriches its linguistic and artistic expression, expands the synonymy of Albanian with lexical units with special semantic, expressive and stylistic emotional values, and especially increases the expressivity of his discourse.
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Ithaca, an island in Greece, on the Balkan Peninsula, is known as the birthplace of Homer's hero, Odysseus. Thanks to the work of Homer and especially the poem Odyssey, it became a universal symbol. Itaka as a theme has a wide range in modern literature of the Balkans and Europe. We find it in the novel Ulysses by Joyce, in the poetry of Cavafy, Ricos, Brodsky, Hughes and Sorescu, but also in contemporary dramaturgy. The theme of Ithaca is also present in today's Albanian poetry, where it is treated in different ways by poets such as Camaj, Londo, Zhiti, Arapi, Islam, etc. In the verses of Albanian poets, Itaka synthesizes the vision of homeland, homeland, woman and especially of the unquenchable love of man for the place where he took the first steps in life. Various creators and scholars have called Odysseus the "ep of merchandise", and Ithaca a literary symbol influencing the formation of Western human identity. Ulysses and Ithaca are an inseparable binomial. "Penelope is the knot that connects them." Everyone has their own Ithaca, "says the poet. As such, this figure becomes the paradigm of human existence and the symbol of the constant bleeding of the house, the threshold of the door, the bed, and the woman.
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In this study we have analyzed some characters of a novel and of some stories of Vedat Kokona, among the first authors of genuine Albanian artistic prose. Kokona, in addition to other literary and narrative elements, pays attention to the motivational construction of the characters, especially their psychological aspect. In the novelette "Disgusted" and the stories "Shadow behind the window" and "Heart that flows", Katina, Fania and Ngjelina, are girls who seek happiness, but because of the social situation and mentality, remain unhappy. The life of Katina ends in a tragic way. However, she, with her spiritual power manages to create, albeit briefly, a temporary happiness. Katina is a complex character, beautifully built, with all the nuances. Her narration engages the reader emotionally and mentally in the course of the story. Fania and Ngjelina are also built and motivated, but Katina is a character who stands out from all the characters in the collection "Broken Stars". Other characters that we have analyzed are Lushi, the translator and poet who is in love with his friend's wife, but from the inability to express this directly, his actions lean towards the fetish. Tafili is a man devastated by gambling addiction, doubled in his mind, who eventually kills his mother to get her money and then himself. Kokona characterizes this character without interfering, he just narrates, which makes him even more psychologically powerful. Compassion for the little beggar, Drita, is expressed in the story "The Singer of Charity", where she is carved as a lost being in the world of people who ignore suffering. Meanwhile, the inspired writer, Malushi, is given in to a moment that he considers as a personal and national turn in the field of literature, but then he encounters the bitter 'reality', he realizes how few books of him have been sold, he gets depressed, but again a butterfly inspires him to write. Malushi remains an inspired writer, not a desperate one without hope. Rinka and Nasi are characterized by the stationary state where they are located. Rinka sadly waits for her husband's letter from abroad, while Nasi fails to express her feelings for moral reasons. Two characters that unfold through psychological states, not through action.
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The poetry of Martin Camaj marks an entirely separate poetical system, cultivated freely and in line with the European modernism and not under the pressure of the censorship of political ideology. As a prevalent feature of this poetry we find the presence of dichotomies in the poetry’s form and content. Through various text analyses we scrutinised some of the dichotomy typologies and their function, which varies from image to mirage, in the sense that the associated sequences appear and disappear at about the same time. The hallucinatory, illogical and somnambulistic content of his poetry make for another element that is often studied in Camaj’s poetical work. Behind every view, there is another view and behind every meaning, there is another meaning. This oscillation, duplication and ambiguity as a manifestation of infinity, of the critical scepticism, of the movement, of the search, constitute the essential part of this poetry.
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In this paper we have tried a different interpretation of one of the most special stories of modern Albanian literature Qysh e gjeti Ago Jakupi rrugwn e Zotit (How did Ago Jakupi find the way of God) by the author Mitrush Kuteli, analyzing the process of metamorphosis of the protagonist. The story shows us the path that a human being must take to be righteous in the eyes of God. The protagonist, Ago Jakupi, appears to us as a change of him selve at different times, or a transformation of the same selves during these times, oposing two concepts that appear in contradiction with each other: the concept of divine rightnesses and the concept of human rightnesses, from which the protagonist must choose. His metamorphosis requires the transformation from a materialist subject to a spiritualist one, forcing him to know the natyral human light- lumen and finding the devine presence numen. Based on the biblical code, Mitrush Kuteli puts at the core of this story the concept of moral perfection, seeking the purification of the human soul through morality and goodness in earthly life, as a condition, to gain ‘life’ in the eternal kingdom. The research was based on philosophical theory and the biblical code, thus reading the text according to the biblical intertext and interpreting the concept of sin and death according to the philosophical point of view.
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Review of: Gëzim Aliu: Proza shqipe e viteve 1920 - 1944, IAP, Prishtinë 2020, 357 f. Review by: Fadil Grajçevci
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Book review: Francis Claudon. Stendhal et la musique. Grenoble, UGA Éditions, 2019.
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One of the process by poets and writers to reveal their talents in the Ottoman Empire Era is to present their works on various occasions to the sovereigns. The ascension of the new rulers to the throne is a significant opportunity to presentat texts and works. Based on writing of the Cülûsiye texts lie thoughts such as congratulating the new sovereign, receiving cülusiye tip and being promoted to a higher rank following their poetry talent. In this study, the cülusiye ode by Sheikh Muhammed Salih Efendi (d. 1302/1884) by virtue of Sultan Abdülaziz's ascension to the throne has been examined. After providing information about life of the poet and cülusiye genre, the transcribed text (translation text) by Sheikh Muhammed Salih Efendi's culûsiye recorded in the Ottoman State Archive has been written and examined in terms of text, shape and meaning. In this regard, by looking through a new verse discovered, it is aimed to contribute to the cülûs literature which has not been studied in detail. Even if his only one poem has been identified, Sheikh Muhammed Salih Efendi, having the ability to write Turkish, Arabic and Persian poetry, has been introduced to the world of literature as a divan poet.
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The year 2020 has already taken place in history pages as a year of pandemic in which the coronavirus outbreak has taken millions of lives all over the world. This year also coincides with the 50th anniversary of the death of Paul Celan (1920-1970), one of the well-known poets of the post-war Austrian lyric. Interestingly, Celan named his poem Corona, which he wrote seventy-two years ago. The year 1948 corresponds to three years after the end of the Second World War in world history. In Celan’s personal history these years coincide with tough times, when he emigrated to Czernowitz, Bucharest and then Vienna after surviving the Nazi death camp where his parents were sacrificed. The friendships that Celan built here with the writers around the literature in Vienna, especially meeting the Austrian poet Ingeborg Bachmann (1926-1973), constitute a turning point in his life. Two great poets experience passionate love. This poem of Celan carries traces of this stormy love in 1948. The main purpose of this study is to analyze this poem and also to investigate whether there is a relationship between Corona and Celan’s poem with the same title, which is known as the name of the pandemic virus that has killed millions of people today. In this way, it is aimed to draw attention to both the poetry of the master poet, who entered the 50th year of his death in 2020, and the epidemic of the Corona virus that threatened all humanity. In this study, an eclectic method including “close reading”, historical positivist, biographical critism and hermeneutic methods has been used.
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This study aims to examine the role of women’s bodies in two of the contemporary Canadian playwright Judith Thompson’s plays, The Crackwalker (1981) and Lion in the Streets (1992), from the perspective of the radical feminism, in particular, that of Kate Millet and Shulamith Firestone. Radical feminists advocate that the unfair distribution of social roles among men and women stems from biological differences and the oppressive nature of the patriarchal system. It is from this very perspective that Thompson, who has left a lasting impression on Canadian theatre with her influential avant-garde style, explores in both The Crackwalker and the highly successful Lion in the Streets the relationship between women and men within the patriarchal system. In these two-act plays, Thompson also lays bare, with her contemporary style, the manner in which women are positioned in the patriarchal society. In The Crackwalker, the themes of marriage, sexuality, and friendship are interwoven around the main characters, i.e. Theresa, Alan, Sandy, and Joe. Following their marriage, Alan’s wish to have children makes Theresa feel obliged to give birth to his child. Sandy, on the other hand, suffers her husband Joe’s horrific verbal and physical violence. The second of the two plays, Lion in the Streets, opens with the apparition of the ghost of Isobel, a little girl who was abused and then murdered, and proceeds with a chain of outwardly independent events. Thompson, who masterfully knits up the beginning and end of the play, confronts her audience once again with the oppression that women have to endure in patriarchal societies. Throughout the play, women are sexually assaulted and belittled by men motivated solely by the desire to satisfy themselves. In neither play does Thompson make room for a picture-perfect married life. Quite on the contrary, Thompson goes as far as to portray how the institution of marriage in the patriarchal system, to one extent or another, eats away at women’s bodies to the point that they are slowly worn out and destroyed.
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„War from the child’s perspective“ is a collection of essays edited by Nađa Bobičić and written by fourteen young feminist critics from the region of ex Yugoslavia (Slovenia, Croatia, Bosnia and Herzegovina, Serbia and Macedonia). Author of this review explains how authors analyze literary texts that cover prose and poetry from second half of twentieth century to today. He also notices that all essays are united by topic of war and child as main narrative or poetic subject, and highlights how intention of all of them is denouncing the mechanism of (re)constructing child perspective, which is never innocent or ideologically naive, even when ‘confirmed’ by experience. Each essay is examined and conclusion brings positive assessment of unity of tone and enthusiasm of authors and editor in the context of project-funded publishing. Author also emphasizes that this collection is worthy contribution to otherwise marginalized field of children and young adult fiction, especially with its feminist approach.
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Written in satirical manner, not in the manner of literary analysis, Dictionary of paraliterary terms finds, “defines” and mocks unintentionally comical expressions found in Serbian literary criticism. “Systematic production of stupidity and nonsense”, as author calls it, is actually a feature of nationalistic literary criticism, written by critics who are at the same time university professors – teachers to future teachers, but also editors, members of juries, reviewers of school textbooks, or literary arbiters in general. Author focuses on their critical pieces concerned with already established poets whose work are obligatory school reading, with hope that literature students and future teachers will use his examples as means to reassess works of their professors, and reevaluate academic literary criticism and canon it helped to establish.
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In this study, the main findings on the theme and technique of one-act plays are listed in the light of the data in the introduction chapter of Benjamin Roland Lewis’ Contemporary One-Act Plays book. The aim of this study is to reveal the characteristics of one-act plays which are considered as a new dramatic genre in terms of the theme and the technique in the light of the analyzes carried out with a text-oriented approach. In order to achieve this aim, nine one-act plays were selected from the Republican Period of the Turkish Theatre (1980-2000): Adalet Ağaoğlu, Duvar Öyküsü; Turgut Özakman; Ben, Mimar Sinan; Sabahattin Kudret Aksal, Bay Hiç; Murathan Mungan, Bir Garip Orhan Veli; Güngör Dilmen, Galatea ile Pigmalion; Nezihe Meriç, Sevdican; Sezai Karakoç, Çeyiz; Orhan Asena, Bir Küçük Gece Müziği; Turan Oflazoğlu, Çağrı. These works were analyzed in the light of data presented in the introduction section of Benjamin Roland Lewis’ book named Contemporary One-Act Plays. In the introductory part of the study, one-act plays are briefly introduced and the scope of the study is made clear. In the first part the subject, in the second part the technique, in the third part the dialogue, in the fourth part the stage- business and stage-direction in the one-act plays, in the fifth part the one-act play analyzes are discussed and in the sixth part the results obtained from the study are listed. In one-act plays, the singleness of impression and dramatic effect to be left on the reader/ audience, the skilled workmanship of the play wright in the process of bringing technical elements together, the pursuit of the rare, rather than the situations often encountered in everyday life, handling of the most crucial points of every stage of human life and the desire to reveal the whole; the small number of people, the limitation of time and space, but their intensity and depth; subject diversity (mythology, history, mysticism, psychology, philosophy, migration, love, passion, art, aesthetics, etc.) are among the characteristic features of one-act plays identified throughout the study. One-act play is the feast of the climax in the art of drama/theater.
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In this paper, the author intends to examine the conjugation tables of Italian verbs published in Poland with special regard to a) the general textbook structure, b) the simplified grammar presented in the introduction, c) some phonetic/orthographic peculiarities of the Italian conjugation, d) the presentation of the third conjugation verbs in -ire that require the insertion of -isc- before the ending, e) the overabundance in Italian verb inflexion, f) defective verbs, g) verbs with prefixes.
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Ferhad ü Şirin story, which has been a chapter of Hüsrev ü Şirin story that was worked on in the Eastern literatures for centuries, has been also a subject of the theater literature. Among the poets who converted a story into a theater play in the Turkish literature, Nazım Hikmet and Samed Vurgun, who lived in different geographies but in the same periods and adopted the same art method, especially draw attention. While Samed Vurgun from the Azeri Literature converted the story into a theatre play in a poetical way with the name Ferhad and Şirin, he used the mesnevi Husrev and Şirin of XII century poet Nizamî as a source (1941). Nazım Hikmet, on the other hand, wrote Ferhad and Şirin in a prosaic style based on the folk story version of the work (1948). Both poets reflected their socialist-realist understanding of art to their works, and featured the character of ‘Ferhad’, a folk hero. Due to the differences caused by the poets’ temperaments, the culture of their surroundings and their individual life stories, and the political events of their time, they enriched the story with new elements or omitted some elements. While both poets retained the motif of ‘Ferhad’s strong love for Sirin’ in their works that they built around two love and three people, Nazım Hikmet converted this love into a love of public service and Samed Vurgun added the love of homeland and freedom to the work.
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Review of: Metin Turan, „Beyaz Güzel Bir Boşluk“. Review by: Emine Ayan
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In Orhan Pamuk’s Yeni Hayat, it is mentioned about a life which can be considered as meaningful by being converted to a fiction by the protagonist, Osman. The cycle of journey occurs in the dark depths of Osman’s subconscious. This cycle bears the signs of rootlessness, desire for liberation, and desire to become a ‘subject’. The image of angel pursued during these journeys points to Osman’s desire to find his existential meaning through an imagined ‘other’ associated with innocence and childhood, to build his identity and to be complete. During these journeys, the angelic image, which appears continuously as a way of salvation, refers to the desire to return to the paradise lost and mother figure; as well as the purification of sin. Eventually, this vicious cycle points to the process of Osman’s self-realization, self-recognition and self-discovery. Thereafter, he completes his ego and become a ‘subject’. In this article, a psychoanalytic review on Orhan Pamuk’s Yeni Hayat with the help of Sigmund Freud’s and Jacques Lacan’s theoretical perspectives on anxiety, id-ego-superego, creative writers and day-dreaming, psychoneurosis and mirror stage will be expounded.
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