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Iako je prije nekoliko godina (1956) proslavljena i 75-godišnjica od smrti velikog ruskog pisca F. M. Dostojevskog, njegova izuzetna književna pojava nesmanjenim intenzitetom i danas privlači cijelo kulturno čovječanstvo. Dostojevski nije u svojim djelima ostvario za svoje razdoblje normalnu, harmoničnu i kompozicijski smirenu sliku svijeta. Taj karakter priznaje njegovim djelima i Istok i Zapad, ali ga u isto vrijeme i različito tumače. Dok na Istoku dekompoziciju stvarnosti sociološki dovode u vezu s antikapitalističkim karakterom njegovih djela, na Zapadu je tumače kao podlogu za duševno stanje modernog čovjeka, stavljajući tako naizrazitijeg Rusa na čelo najekstremnijih zapadnih literarnih pokreta.
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Najavljena će tehnika biti ilustrirana i tumačena na tekstu jednoga pisca, i to na jednome jedinom njegovu tekstu kao što to, uostalom, već podnaslov navješćuje i određuje. Pauza je ovdje shvaćena kao vrednota govorenoga jezika. Odmah se, i to posve opravdano, može postaviti načelan prigovor: riječ je o jednoj vrednoti govorenoga jezika (o pauzi), primjeri se uzimaju iz pisanoga teksta; a poznata je nepodudarnost pisane i govorene riječi, dapače i njihova antinomija, jer pisana je riječ prikraćena za popratne pojave govorene; i poznato je da se jezik u pismu ne očituje u svojoj totalnosti kad pismo nema niti bi moglo imati konvencionalnih oznaka za bilježenje svih govornih vrednota: intonacije, registra, intenziteta, tempa i pauze (da navedemo samo akustičke govorne vrednote).
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U ovoj antologiji skupljeni su, kako urednik piše u kratkom predgovoru, »najvažniji radovi i napisi poljskih naučnika, koji govore o predmetu, granicama, zadacima i ispitivačkim sredstvima nauke o književnosti«. Sastavljač antologije se pri tome nije ograničio samo na one radove koji imaju visoku naučnu vrednost već je uneo i neke odlomke koji imaju izvesnu pionirsku ili istorijsku vrednost. To se naročito odnosi na tekstove iz XIX veka kada se kod poljskih istoričara književnosti nije moglo naći mnogo originalnih misli iz oblasti teorije književnih proučavanja. Izuzev u dva slučaja sastavljač antologije, prof. Markjevič, izbegavao je da unese teorijske rasprave o književnoj kritici. Vremenske međaše knjige predstavljaju godine 1814. i 1939, godina izdanja Istorije poljske književnosti Feliksa Bentkovskog iz koje je donet jedan kratak odlomak iz Uvoda i godina brutalnog i bestijalskog hitlerovskog napada na Poljsku.
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Research on Hans Christian Andersen represents an extensive field of scholarly interest. It includes not only reception research, but also text interpretation, biographical studies, etc. As for the individual national research, the situation changes from country to country: the early English translation reception was studied by E. Bredsdorff and V. Hjørnager-Pedersen, the early German reception by I. Y. Møller-Christensen, the French one by P. Høybye, the Polish one by Z. Brzozowska. With regard to reception research, a significant role has been played by the Anderseniana journal, in which many partial research outcomes have been published. As for the domestic Danish reception, it has not been processed so far. Nevertheless, there are works covering the early reception of fairy tales (E. Nielsen) as well as critical reception in the form of reviews (M. Brønsted). Slovak reception of H. Ch. Andersen’s works developed in the context of the rising international recognition of the author, whose novel The Improvisatore brought him success in the German-speaking area in the 1830s and later also among Russian, English and French critics and readers. In the 1840s, first translations started to appear also in Czech and Polish periodicals and in the next decade they were followed by translations of Andersen’s first novel into both languages. The Czech translation also played a mediating role in the Slovak reception of Andersen’s work. However, while the early translation reception of the author in many language areas is associated with the novel genre, the first phases of Slovak reception process are based on his tales only.
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In the Hungarian literature texts that tried to disrupt the boundaries between “the own” and “the foreign” and between “the original” and “the transcription”, in recent years have shown rapid canonization skills. The interpretation focuses on texts that specifically interfere with the separation of the original and the translation – and refer to the adversarial nature of the position and the possibilities for the placement of the text. As an example there is a book of translations written by Zoltán Csehy titled Hárman az ágyban – Three in a Bed (2000), a more accurate translation of the verses ascribed to Gaius Valerius Catullus; a collection of poems by András Ferenc Kovács titled Hazatérés Hellászból – Homecoming from Hellas (2006) with the subtitle Kavafisz-átiratok – Kavafis-Transcripts and the translations of plays by Lajos Parti Nagy (for example the play titled The Sisters-in-Law written by Michel Tremblay). This concept also appears in the plays with the author’s name in them and in the title, for example in the formulation of “Moliere: Tartuffe, written by: Lajos Parti Nagy” (2006). The study deals with the thus generated simulation techniques, parasitic texts and hybrid identities.
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This article looks at the topic of hypermedia and geo-spatial and augmented literature from five angles. Firstly, it analyses the context where these phenomena first appeared, the New Media. Secondly, it presents the most important contemporary theories on the topic proposed by Lev Manovich, Stephen Wilson, Ronald T. Azuma and others. Thirdly, it discusses the issue of hypertext as defined by Ted Nelson, Roland Barthes, Charlie Green and George Landow. Fourthly, it examines the paradox of the limited appeal of hypertext and the simultaneous huge impact of hypermedia literature on readers. Finally, this article examines some examples of multimedia and geo-spatial and augmented literature. The conclusion of the article offers a way of approaching New Media literary practices.
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