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Maciej Gaździcki’s chapter deconstructs "RoboCop"—the eponymous knightly hero of Paul Verhoeven’s original film and subsequent installments in the franchise—including the world he exists in, through a medievalist perspective. Gaździcki discerns between Robocop’s role as either a futuristic knight or merely caricaturesque animated armour. Relevant and explicit similarities are made and analyzed between Verhoeven’s crime-fighting hero and the characters from Chansons de Geste, Arthurian legends, and hagiographic stories (otherwise known as loricati). The author also includes connections to works based on medieval chivalric epics. Concluding, Gaździcki attempts at finding parallels between the latest incarnation of Robocop and the Middle Ages.
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In this chapter, Krzysztof Uniłowski analyzes the function of historical allusions in Sapkowski’s pentateuch on the adventures of Geralt the Witcher and his companions. The saga is said here to allude to the Second World War, but also to the Germanic invasion of Britain in the fifth and sixth century, including the colonization of North America by Europeans. In addition, the series is viewed as featuring clear literary references to the historical novels of Henryk Sienkiewicz, Arthurian tradition, or texts based on Indian Wars. All these allusions defy Sapkowski’s allotopia and emphasize— just like the creative irony of Romanticism—the dependence of allotopian world on the writer’s creativity. At the same time, history functions like a prop room with plenty of motives, threads, and figures. From this perspective, fantasy literature confirms Fredric Jameson’s thesis that western societies have lost a sense of history. Nevertheless, in the light of peripheral character of the Polish culture, it can also mean freeing from the burden of history, or, to speak more precisely, from phantasmal imaginations. As an author, Sapkowski is conscious that we have lost the historical experience from our perceptive horizon as the most traumatogenic events of the twentieth century did not teach us anything. He further points out that what has been repressed, may always return. And it returns even in the frames of fantastic convention.
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There are many definitions that recognized authors have elaborated looking for the concept of literary education; nevertheless, the definition of M. Bierwisch will be the model to base this investigation: on the one hand, the literary education includes, not only the aptitude to understand but also, producing texts; on the other hand, the acquisition of the literary education is determined by sociological, historical and aesthetic factors. In this work, we try to think how the way of life and the social and technological changes are increasing the classic concept of reading based on the written text, incorporating the reading competence into a wide space of possibilities that take as suport the image and the mass media – paintings, photography, publicity, video-clips, music. In consequence, if we try to bring the universal texts near to teenagers, we must provide opportunities of learning in those the real communicative experiences must be integrated to educational processes- learning near to the experience of the own reader, his reading competence and his cultural experience.
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The following article examines loanwords which entered the Russian language directly from the Polish language or from other language groups through Polish. The study material has been excerpted from all available issues of “Vesti-Kuranty” from 1600—1670. The aim of the article is to demonstrate the process of phonetic adaptation of Polonisms and indicate word variations on the phonetic or graphic level in order to determine the manner of the borrowing (whether oral or written) and a degree of adjustment of the word to the system of the Russian language during the first seventy years of the 17th century.
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This article aims at examining the rhetorical strategy employed by the editorial board of the „Śląsk Literacki” quarterly as well as at reconstructing the historical context. The journal was published between 1952 and 1956; it was a part of the Katowice branch of the Polish Writers’ Union, but it also promoted writers from the area of Opole. Adopting a rhetorical perspective makes it possible to focus on the persuasive aspect of the texts published in the quarterly. Following Aristotle’s theory, modes of persuasion have been divided into three groups: logos, pathos, and ethos.
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Literary creation in Bosnia-Herzegovina is very complex. Viewed as a whole and throughout its historical duration, it has not been realized within the framework of one nation or one ethno-national community, nor within only one language or only one alphabet, nor within the framework of only one cultural-civilizational circle. This fact and this kind of literary-historical and cultural-historical reality gives the basis from which it is now possible to talk about a unique, singular literature of Bosnia-Herzegovina, or Bosnian-Herzegovinian literature, and also about parallel, plural literatures of Bosnia- Herzegovina – Bosniak as well as Croat and Serbian literatures in Bosnia-Herzegovina, together with the literary traditions of Bosnian-Herzegovinian minority communities, such as the Jewish community and others. Also, it is possible to speak about a phenomenon that should – given its own, internal historical-developmental dynamics and its literary-developmental principles and relationships in general – probably be named the Bosnian-Herzegovinian interliterary community. Related concerns are necessarily reflected in the definition of Bosnian literary studies and in particular in the definition of cultural Bosnian literary studies. Bosnian literary studies, and especially cultural Bosnian literary studies, can not, in fact, be defined using the principle of one language – one literature – one nation – one culture, nor in the framework of a single state, because this principle does not correspond to the historical reality of the literary creation nor to what is the contemporary reality of literary practice in Bosnia-Herzegovina. That is why, in understanding the phenomenon of literary creativity in Bosnia-Herzegovina, as well in defining both Bosnian literary studies and cultural Bosnian literary studies, primarily the theoretical concepts of interliterariness as well as closely related concepts of interculturality occur as potential solutions, as – both of them – have their essential meaning and full realization in the cases of both literary and culturally complex phenomena like literature in Bosnia-Herzegovina in general, as well as Bosniak literature in particular.
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Although the composite structure of literature in Bosnia and Herzegovina had developed under rather specific social, cultural and historical circumstances, only, and on rare occasions in the past, some authors from these parts wrtote their works in exile (Habiba Rizvanbegović-Stočević, Arif-beg Rizvanbegović), but the separation from a homeland was the topic that some of its prominent writers from all its constituent segments came back to from time to time (Šantić, Andrić, Šop, La Bohoreta, etc.). It was only during the horrible war events towards the end of 20th century, which had forced not only hundreds of thousands of people to leave their native soil, but also inspired diverse forms of literary activities to emerge in exile. Their fundamental defining element was the attempt of securing and preserving ethnic, cultural and any other form of identity in the new surroundings. The paper tries to find some answers to the basic question posed in relation to a determination of literature in/and from Bosnia and Herzegovina, more specifically in view of its Bosniak component, which has been expresed in the published collections of poetry and short stories, rarely in plays, and in the majority of cases, in novel forms – from Norway, Denmark and USA, as well as some other parts of contemporary world. It points out to the situation in the immediate neighbourhood, nowadays largely referred to as the ‘region’, where some authors have continued to write their works, although they remained deeply connected to the language, culture, custioms and identity of the ethnic background they had come from, despite the fact that, in the meantime, they became citizens of the countries of admission. They all have continued to add a characteristic exile expression to the literary output in these new homelands. A rather specific issue deals with the concurrent belonging to literatures those Bosniak authors contributed to with their works, irrespective if their books had been published originally in the languages of these places, or in their mother Bosnian tongue. The works of Bekim Sejranović, Alen Mešković and Ismet Prcić have been analysed in the paper, together with some other names, as the possible examples of either proving or disapproving the initial hypothesis on the identity duality in the Bosniak or any other literature(s) for that matter.
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From the perspective of modern literary theory, the development of literary criticism in Bosnia and Herzegovina from 1945 on is characterized by constant balancing between positivism and impressionism, the interrelationship between academic and political discourse and amateurish use of theoretical terminology. Literary criticism in Bosnia and Herzegovina did not reach the level of postmodern hybridity until the post-war period. The critical approaches to the works of Muhsin Rizvić and his personality can, with some necessary simplification, be positioned between two opposite reception poles: the negative critical pole (Kazaz, Ibrahimović), which takes the position of radical poststructuralist revisionism of literary history, on the one side, and the positive critical pole (Maglajlić, Džanko), which glorifies Rizvić’s works and the role it had at the time when it was written, on the other. There is also a third critical pole, whose strategy can be termed as affirmative recycling. The middle road, outside of the apologetic or leveling discourse proved to be the most appropriate to the present situation which in its statement requires the right to diversity.
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This article presents chosen passages from Roman literature, in which color epithets are collocated with nouns such as e.g.: gladius, flagellum, arcus or hasta. The aim of the text is to outline variety of the mentioned collocations as well as to describe their functions and explain interpretative problems with reference to historical and traditional context. The main emphasis is put on a conviction that color in literature let a reader construe (through senses) world and visions created by authors. It is possible to highlight personal characteristic thanks to vivid depictions and metaphors. Furthermore, color itself can lead into space of surprising solutions, noteworthy ideas and unusual descriptions, which have an impact of readers’ imagination.
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Unique copies of school chronicles consist a valuable part of local documentation heritage. In many cases, their significance becomes even more pronounced, given that – contrary to many historical documents – a lot of them survived the times of unrest. A school chronicle regarded as a text of culture belongs, in its material aspect, to the group of the so‑called remembering objects, and in its nonmaterial aspect, it sheds new light on the process of uncovering and interpreting or reinterpreting of the cultural past. From this perspective, school chronicles allow not only to construct a timeline of the local history, but also constitute one of the foundational elements of public discourse. As a historical source, school chronicles remain rather underutilized. Such chronicles, once upon a time, existed in all educational facilities, as they constituted an important document. Contemporarily, the presence of such chronicles in schools is more of a tradition, since chronicles ceased to perform their reporting and evaluating functions, and transformed into a kind of occasional writing.
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The aim of the article is to direct the attention of the public to the heretofore neglected relationship between the popular volume of the sermons of Peregryn of Opole and the bourgeoning anti‑heretical discourse of the turn of the 13th century, in which the Dominican Order remained deeply involved. The article focuses on the figure of the author mainly in the context of the activity of the Inquisition, but also in the context of the secular reforms of the Fourth Council of the Lateran, which adopted a polemic stance with regard to insubordinate devotion.
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The article presents the figure of an esteemed classical philologist, historian of literature, translator and teacher at the secondary schools in Przemyśl and Lvov, Stanisław Schneider (1858–1917). His translatorial debut consisted of “excerpts from ancient poets.” He translated Homer, Horace, Ovid and Vergil. The collected works were then published in „The Report of the Headmaster of the Imperial‑Royal Secondary School in Przemyśl for the School Year 1888”. It was the third full translation of Ovid’s „Metamorphoses” into Polish (after the 17th‑century translations by Jakub Żebrowski and Walerian Otwinowski). Moreover, the article contains excerpts from Schneider’s translation of Ovid’s „Metamorphoses”.
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This paper (part of a larger task) reveals the language reflection, construction and establishment of the image of the Brazilian Indians from the 16th century, tracked in the Portuguese informative texts written about the newly-found Brazil. It covers the peculiarities when mentioning the Indian nakedness, and in turn, it is often used as manipulation purposes according to the defined Imperial policy on colonization. On the grounds of similar interpretation of nakedness, extreme images have been made up about the native Brazil population – varying from angelic innocence to demonization - yet always in advantage of the ruling European culture of expansion in the 16th century.
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Albanian is an Indo-European language which forms its own branch in the Indo-European family and has no close relatives. It is spoken by about 7.6 million people, mainly in Albania and Kosovo, and also in parts of Italy, Macedonia, Montenegro, Greece, Romania, Serbia, and the diaspora. Albanian is thought by some scholars to be a descendant of Illyrian, a group of Indo-European languages spoken in the Western Balkans until perhaps the 6th century AD. Others believe that Albanian descended from Thracian or Dacian, Indo-European languages spoken in parts of the Balkans until about the 5th century AD. Albanian absorbed some words from Greek and many words from Latin between the 2nd century BC and the 5th century AD. After that, it was influenced by the languages of Slavic and Germanic tribes who settled in the Balkans. There were also borrowings from the Proto Romanians or Vlachs from the 9th century AD. A few brief written records are preserved from the 15th century, the first being a baptismal formula from 1462. The scattering of books produced in the 16th and 17th centuries originated largely in the Gheg area and reflect Roman Catholic missionary activities. Much of the small stream of literature in the 19th century was produced by exiles. Perhaps the earliest purely literary work of any extent is the 18th-century poetry of Gjul Variboba, of the enclave at San Giorgio, in Calabria. Some literary production continued through the 19th century in the Italian enclaves, but no similar activity is recorded in the Greek areas. All these early historical documents show a language that differs little from the current language. The documents from different regions and times exhibit marked dialect peculiarities, however, they often have a value for linguistic study that greatly outweighs their literary merit. The standard language, written in a standard Roman style orthography adopted in 1909, was based on the south Gheg dialect of Elbasan from the beginning of the Albanian state until World War II and since, has been modeled on Tosk. The Albanian alphabet, that is still in use today, was approved in the Congress of Manastir and it is composed of two main dialects: Gheg and Tosk
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Migration, displacement, maturative dislocation and identity crisis constitute themes for literary discourse in the twenty-first century, especially as fall-outs of colonialism and globalization. The Nigerian literature of the twenty-first century reveals the preponderance by writers, some of who live abroad, to confront the notions of migration, dislocation and identity crisis, through their literary works. They portray varying prevalent social realities, especially as they affect people of the Third World. It is not uncommon, therefore, to encounter the child-protagonist as he/she grapples with the vicissitudes of daily existence, maturation and identity formation in a dystopian environment. For example, Chimamanda Ngozi Adichie uses the characters of Kambili and Jaja (Purple Hibiscus); Ugwu (Half of a Yellow Sun) and Ifemelu, Obinze, Emenike etc (Americanah) to explore the growing-up motif as a tool for exposing the maturational processes of the child-protagonist who struggles towards identity formation in a seemingly hostile environment.
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Amin Maalouf’un Les Désorientés adlı romanı dilimize Ali Berktay’ın çevirisiyle Doğu’dan Uzakta olarak kazandırılmıştır. Roman, yetmişli yıllarda yaşanan Lübnan (romanda adı hiç geçmese de) iç savaşından yirmi beş yıl sonra, dünyanın dört bir yanına göç etmiş arkadaş grubunun bir araya gelişini anlatan bir eve dönüş romanıdır. Lübnan’ın kendisi gibi çok dinli ve çok kültürlü olan bu arkadaş grubundan iç savaş sonrası ülkeden göç edenler farklı farklı ülkelere göç etmişlerdir. Yahudi inanca sahip, homoseksuel olan Albert, Amerika’ya, Hristiyan olan Naim Brezilya’ya, romanın baş kahramanı Hristiyan olan Adam ise Paris’e göç etmiştir. Ayrılmaz ikili olan Ramzi ve Ramez’den Ramzi diğer adıyla, Bazile kardeş Lübnan’da bir manastıra kapanmış, Mühendis olan Ramez ise, çok zengin olmuş kah Lübnan’da kah Umman’da yaşamaktadır. Bir çatışmada ölen Bilal’in kardeşi Nidal ise koyu bir islamcı militan olmuştur. Kalanlardan, Bilal’in özgür ruhlu sevgilisi Semiramis hiç evlenmemiş bir otel işletmektedir. Murad ise, milletvekili daha sonra bakan olmuş, iç savaşın ülkeye sunduğu, rüşvet, adam kayırma, yolsuzluk gibi yozlaşmalara aldırmadan, sisteme ayak uydurmuş, karısı Tania ile birlikte, zenginliklerine zenginlik katmışlardır.
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