„…Unscheinbarkeit und viel Erinnerung“: Gedächtnismedien in Bettina Spoerris Konzert für die Unerschrockenen (2013)

Author(s): Małgorzata Dubrowska / Language(s): German / Issue: 5/2020

In this article, the reconstruction of the family history in Bettina Spoerri’s novel Konzert für die Unerschrockenen [Concert for the Fearless] is analysed. The narration contains different mediums of memory. The central medium of memory is music: for the narrator, this archive of the memory mainly consists of old recordings, but also of reminiscences about the concerts and private performances of Leah, the main protagonist of the novel. Photographs, by means of ekphrasis, serve as another essential medium of memory, opening up “the windows of time” (Overath). In this article, these mediums are considered in the context of the ideas of Sontag and Barthes. The widely understood concept of art (paintings by Rothko, installations by Horn, plays by Chekhov) is yet another medium of memory, connecting the present with a past that does not exist any more. This reconstructed story is part of the genealogy of the writer, who belongs to the third post-Shoah generation.

„Речевая память” языка и спонтанная рекурсия стилистической нормы

Author(s): Olga I. Severskaya / Language(s): Russian / Issue: XXVIII/2019

The article documents cases of grammatical, phonetic and lexical “irregularities” occurring in modern Russian. The conclusions are based on analysis of the National Corpus of the Russian Language and internet queries. The author pays special attention to phrases indicating time relations: “for some time” / “after what time”. It is noted that there is an “older” and “younger” standard for using collocations with the lexeme „time” and prepositions, and the change in the norm resulted from the transition from treating space-time as an abstract, uniform chronotope to the idea of time as a discrete quantity, i.e. certain fragmented, countable sections (century, year, month, day, hour, minute, second). Research has shown that discrete forms denoting time began to dominate from the mid-nineteenth century, which is related to the changes in the image of the world taking place at that time. The old ways of speaking about time, however, still appear in modern Russian. The article shows that other lexical and inflectional archaisms (e.g. short forms of adjectives) are also returning to modern speech. This can be considered a manifestation of social linguistic memory, which involves having the ability to recall and use old forms or meanings, according to norms that used to be applied in the past. The author proposes that this phenomenon be called “spontaneous recurrence of the norm”. It is claimed that such recurrence of the old norm may be caused either by speakers’ ignorance of the current norm or by their desire for a “retro” style that results from fashion or manners. It could also be a manifestation of “language refreshment” through the activation of speech memory, or retrieving former forms and old standards out of the “subconscious” of language users.

„СМЕАТА НА МЕДУЗАТА“ ОД ХЕЛЕН СИКСУ – ПРВ МАНИФЕСТ НА ЖЕНСКОТО ПИСМО

Author(s): Marina Mijakovska / Language(s): Macedonian / Issue: 75/2020

In “The Laugh of the Medusa of Hélène Cixous – The First Manifesto of Écriture Féminine“ the first manifesto of woman’s writing as écriture féminine is illustrated. Hélène Cixous defines écriture féminine as a text written by femininity and with the female body language. According to Cixous, feminine writing is circular and fluid similarly to the female body. Women writers have a maternal sense of self, and that is why they write with white ink, i.e., with breast milk and the mother’s gender role. Based on this thesis, Cixous equates the mother with the writer. According to Cixous, writing for women is an attempt to change the world. She points out that every female subjectivity is unique and is a key to writing different women’s histories and experiences in language. The main thesis of Cixous in this manifesto is that the transformation of women’s history can be accomplished on two levels: a) At the level of individuality - The woman writes for herself. She will turn into the body that is placed like a strange alien on the screen. The body’s censorship censors both breath and voice. Thus, the writer will penetrate into the secrets of the female body organs and gender markers when writing. Body territories that are darkened by self-awareness and self-analysis lead to the exploration of the female body as a dark continent. The female subject realizing herself must urgently become aware of herself and start talking about herself. In this sense, the woman must inspire the breath of the whole woman aware of herself and aware of her needs. b) At the level of the female subject’s utterance - Writing about her own bodily sensations, the woman actually expresses herself and her spiritual state and breaks the trap of silence. The body speaks the truth, physically materializes what it thinks, sees, listens to and loves. She insinuates what she is saying outside the linear, objectified and generalized story of history. Through this, Cixous emphasizes female points of view and the female narrative and expressive subject(s) on the statement itself. This Manifesto defines the paradigm of écriture féminine and its stylistic features and themes. The creativity and metaphor of birth, sex differences and differences in literary discourse are presented as differences between female and male script. The power of women is to get out of syntax by breaking the popular themes, having to write about a small topic that they express. The writer uses bodily syntax, bodily and passionate words. The writer’s language is a body language. Body language is created when the oppressed exits through the act of utterance, and then, the voice and truth of women is heard.

„СТРАННОСТ НА УМА“ НА ОРХАН ПАМУК – КАК Е НАПРАВЕН РОМАНЪТ (ТЕЗИСИ)

Author(s): Tsvetan RAKYOVSKI / Language(s): Bulgarian / Issue: 1/2020

The article explores the diversity of narrative techniques in Orhan Pamuk’s novel A Strangeness in My Mind. The main idea is that the drama of a private life is told against the background of the drama of the life of Istanbul. To do this, the novel parallels the biographical ‘I’ of the main character and the historical ‘He’ of the City. This comparison provokes the idea of the novel’s close relation to the history of Istanbul and Turkey over the last fifty years. Orhan Pamuk does not spare the reader any of the specific, purely "Turkish problems" with the Kurds and Greeks, as well as the radical and conservative moods and public discontent from the 1950s to the 1980s. The narrative line is developed slowly and minutely, owing to the author's intention to authenticate real events through the perspective of fictional characters and vice versa – to romanticize cultural and purely civilizational processes in the last half century of the development of this part of the border between Europe and Asia. This is the only way to explain the presence of the problem of women's emancipation and the lack of that misunderstood "patriotism" which often prevents the depiction of purely national processes in life. This refutes the widespread opinion that A Strangeness in My Mind is a postmodern novel.

„Тъмният герой“ на Вазов и неподчинението на авторитета

Author(s): Strashimir Tsanov / Language(s): Bulgarian / Issue: 5/2020

The paper deals with ’A Dark Hero’ - a representative text from Vazov’s social prose. Its social-psychological problematics has been interpreted through the prism of the books ’Obedience to Authority: An Experimental View’and ‘The Lucifer Effect. Understanding How Good People Turn Evil’ by Stanley Milgram and Philip Zimbardo. It analyses how Nenko –the main character – overcomes the ordeal forced on him by the social situation and the authority of the powers that be. These observations lead to the conclusion that the disobedience to authority, through which Nenko preserves his moral purity, is a result of his Christian morality and his ability to balance the acceptance of time and not to fall into the trap of living only for the present.

„Уви, не съм човек, а лунатичка...“ – специфики на проблематичната екзистенция в поемата „Лунатичка“ на Дора Габе

Author(s): Preslava Georgieva / Language(s): Bulgarian / Issue: 25/2020

This text explores the psychological and physical specificities that, when put together, make up the main character of the poem “Lunatichka” (“Lunatic”) by Dora Gabe. It also attempts to place Gabe’s work in Bulgarian interwar literature. The poem itself paints a clear picture of a crisis in human existence and social marginalisation, which allows it to be placed within the framework of one of the strands in the development of Bulgarian literature in the 1930s. The main emphasis in this text, however, is laid on an attempt to disentangle the unique melding of mind, soul and body that the author calls “lunatichka“. This last argument suggests that, with her poem, Gabe opens a new avenue for the development of Bulgarian interwar literature. A key facet of this avenue is the mystical experience endowing the soul with greater sensitivity to human suffering and reflecting the existential crisis typical of the period in both its individual and its collective dimension.

„Фейк” — современное лицо масс-медийного обмана

Author(s): Lukasz Malecki / Language(s): Russian / Issue: 1/2018

The phenomen of “fake news” disseminated by the mass media is a relatively new phenomenon, the impact of which has not been extensively studied. The article is devoted to the problem of fake in contemporary mass media, which is understood not only as a modern type of lie, but also a fabricated information designed to manipulate public opinion and creating specific form of an image of the world in the human consciousness.

„Эпитафия Владимиру Высоцкому” Яцека Качмарского как интертекст

Author(s): Bartosz Osiewicz / Language(s): Russian / Issue: 1/2011

This article is devoted to the analysis of the poem Epitafium dla Włodzimierza Wysockiego (Epitaph for Vladimir Vysotsky) of Jacek Kaczmarski. In this poem the Polish bard conducts an intertextual dialogue with outstanding Russian poet and singer Vladimir Vysotsky.

აგიოგრაფიული ციტატა

Author(s): Ivane Amirkhanashvili / Language(s): Georgian / Issue: 16/2015

At first glance citation bears an accidental sign, as a reduced form, as a passage,as a fragment but at the same time it is quite a logical process, part of the conscious sideof the text, a meeting point of real and ideal, objective and subjective, where an idea isconstructed and literary status of a text is enhanced.It is always in the upper layer of the text archeology. In relation to the text it is symmetric and contrasting. Passivity is not inherent, always active until not devalue itself with excessive intensity.This is academic method of expressing the thought, automated subject, scheme which takes part in the formation of the ontology of the text. According to the genre rule,it is not a detail but meaning. However, the meaning cannot be considered the only factor.It has dialectics which is realized by the principle of unity of the components. A construction obtained by means of fragmentation has an ability of multifaceted development. It development by leaps, a technique of out word action, mechanics of style, manifestation of the dialectic nature with a claim of fullness.It has both empiric and speculative, detached from the reality, separated from practice.After clarification of the direct meaning, it starts associative reception, increases motivation of psychological action.The formation of thought takes place which aims to attain the beauty: express an idea effectively and make an impact on the reader.By form hagiographic citation approximates to the scientific cognition rather than literary. The reason of its use and the size is to be determined by the author but there are instances when the text of composition requires this.

არაგვისა და „არაგვიანის“ სემიოტიკა (ლინგვისტურ-სემიოლოგიური ძიებანი)

Author(s): Gocha Kuchukhidze / Language(s): Georgian / Issue: 20/2019

ბატონიშვილი ვახუშტი ენისა და წიგნის გამო ერთიანი საქართველოს ნიშანთა შორის

Author(s): Meran Ghaghanidze / Language(s): Georgian / Issue: 20/2019

ბიბლიის განმარტების მეთოდები

Author(s): Eliso Kalandarishvili / Language(s): Georgian / Issue: 10/2009

Among the methods of the explanations of the Bible, which have been elaborated by the clergy for centuries, the most distinguishing is Allegorical Method. It has been established in the Alexandrian School. Palestine was the first country where there were followers who were trying to learn the covert conceptions of the text of the Bible. Although, its final formations are connected with the name of Paul the Disciple. He established the Christian-Allegorical method of explanations of the Bible and also created its terminology. The most important type of an Allegorical explanation is Prophetic Explanation. This is an attempt of searching the indications for the future occurrences. For example: arrival of Messiah, resurrection of deceased, establishment of heavenly kingdom by Christ and etc. Many of the Bible parts are explained as prophesy about the church. This method of an explanation of Bible is also well known for Georgian spiritual literature. All the terms that are used by the followers of this method are well known for our writers. The most developed tendency is the one, which is in accordance with the fact that all the occurrences or events of “New Testament” are predicted in “Old Testament”. This way, the events of the Divine History is connected to Christ and his epoch. Allegory connects two great worlds with each other. In old Georgian translations of “New Testament” there are preserved those terminological details, which allows us to observe the processes of Christian Theology – formation of Theological terms, exegetics, as an interpretation of the letter of the text of divine, formation of theological bases. This proves that translation skills in working for the public Georgian erudite, their principles were based not only on knowing Greek language perfectly, but understanding Christian Theology with its esthetic-theory issues. Palestinian rabbis used to separate indirect, non-literal interpretations of the Bibl in different types. According to Philon’s idea, there are two main types of allegorical interpretations: physical and ethical. Both of them present the types of allegory and it is supported by the examples from philosophical researches, therefore allegorical interpretation is equal to the philosophical interpretation. By the influence of Philon, Climent from Alexandria turned the philosophical interpretation into Christian side and also added four types of “New Testament” which is know as a term of “Allegory”. Climent is using other equal words for the term “Allegory”. But at last Climent separates the interpretation of Holy Scripture into two classes: direct and allegorical, whereas allegorical into three classes: moral, physical and theological. It has to be pointed out that these ideas of Middle Age theologians were shared by Dante Alighieri and he also made all these for the fundament of his “Divine Comedy”.

გეორგ ლუკაჩის ლიტერატურული კრიტიკა

Author(s): / Language(s): Georgian / Issue: 20/2019

გოეთეს „არჩევითი ნათესაობა“ კონტრასტული ლინგვისტიკისა და თარგმანის თეორიის კონტექსტში

Author(s): Nata Janelidze / Language(s): Georgian / Issue: 10/2009

Contrastive or confronting/contacting linguistics is a considerably new direction, which came into being on the basis of typology. In the depth of contrasting linguistics, parallel to the sphere, oriented on the applied direction, another variant has developed, which takes an increasingly intensive part in the formation of the linguistic theory. Every language can be compared to any other language, i.e. it is always possible to find common features between them, enabling us to describe and identify them. This position is based on the supposition that the characteristic feature of every language is to express the content in a wider sense, which belongs to the sphere of the theory of translation. The eternity of mankind’s values unites the world by the literary meta-language, implying the existence of universal dimensions, expressed on the level of language universalias. (Chomski, Coseriu, Zailer, Leman, etc). How does any person take the genius of any nation? It was an answer to this question that laid foundation to the theory of translation the so called “translaticas”, which raised the comparative research on the level of a text and placed it in the internationalinterdisciplinaryarea. Translation is a means of multiplying of “language realias” and its basis is the versatile foundation of languages.(N. Gogolashvili). We live in the epoch of the refinement of contacting technologies: on the contrastive-comparative way, the direction, adequate to every language level cropped up and fully comprised the stratification space. The presented article is devoted to the “Elective Affinities” by Goethe, translated by Nelly Amashukeli.The work is an attempt of anthropologization of the theory, borrowed from the field of chemistry and is presented within the frame of this theory.

იდეოლოგიური დისკურსის ფუნციონირება ტოტალიტარული რეჟიმის ოფიციალურ ტექსტებში

სტალინის 60 წლისთავისადმი მიძღვნილი კრებულის მასალების მიხედვით

Author(s): Konstantine Bregadze / Language(s): Georgian / Issue: 20/2019

دلالات الاهانة عند الطوارق من خلال طقوس الأداء

Author(s): Meriem BOUZID SABABOU / Language(s): English,Arabic / Issue: 19/2019

Disparage, cursing and verbal abuse are among the discarded topics, or which society tries to avoid, to say the least. The Tuaregs share with numerous other societies their interest in the Word and its purpose. They know that it more painful than a strong hit that causes physical pain. The saying "Wounds do heal while the Word doesn't" (T∂zza ∂boussen W∂r T∂zza t∂yna) may be an indication of the word impact on its hearer if it is "bad" or hurtful. Slander affects individuals, men or women, and tribes as well. It collectively harms these hierarchical societies governed by relationships that balance between seriousness and humor. The latter is nothing but an essence of a wind-proof of the painful events witnessed by the society. It allows transformation of social pains into outlets through which harmony could be achieved and embarrassing situations could be avoided. We try, through the proverbs, poems and various tales, to limit the words and forms of curse and insult within the Tuaregs, by focusing on ritualistic cursing through the pertaining poems and songs, which has become prohibited topics except in rare situations with heavy reservations. That is because poets quitted sarcasm until it became prohibited due to its impact on individuals and groups, propagation rapidity of songs and poems and the lightning-like memorization, transmission and broadcast of such songs and poems.

علاقة القرآن بالشعر

Author(s): Halim Öznurhan / Language(s): Arabic / Issue: 27/2013

The relation of poetry with Qur’an has been the matter for discussion since the Qur’an came. The verses of Qur’an have stressed that Qur’an is not a poem and the prophet is not a poet. Due to the opinions of Arabs about pre-Islamıc beliefs and the characters of the poets in this era, the poets in these verses are mentioned as negative. Only in the Surah of al- Shu‘arâ, there is an exception that the poets who believe and behave in a right way have been exempted. When the prophet is alive, poets read poems and then there has been a change in the topics of poetry due to the effects of Qur’an, and the poets who are inspired by Qur’an expressed their beliefs in their poems.

علاقة اللفظ بالمعنى وتعليم العربية

Author(s): al-Dyab Ahmed / Language(s): Arabic / Issue: 32/2016

It is discussed in this study that (or this study is about); the relation between meaning and utterance and how the foreigners can benefit from this relation in Arabic Language education. This study comprises of three parts: The first part discusses some scholars prefers utterance to meaning. The second part discusses some scholars want to follow the way of seperation of the meaning and utterance (or isolate the meaning from utterance), sometimes they choose meaning, the other time utterance.(They can choose meaning or utterance from time to time.) In the third part; the idea “utterance and meaning can not be seperated from each other” is examined.

عين على الصَّقالبة عین على الذات قراءة في "جنائن الشرق الملتھبة؛ رحلة في بلاد الصقالبة"

Author(s): Mahmoud Al-Ashiri / Language(s): English,Arabic / Issue: 18/2018

This study is reading through one of the contemporary Arab journeys to the countries of Slavs, as Arabs called them in historical literature. This journey is written by Saeed Khateby under the title of “Eastern inflamed gardens; a journey to the Slavs’ countries” published in 2015 and winner of “Ibn Battuta” prize for contemporary journeys. He toured between Ljubljana, Graz, Zagreb, Sarajevo, Srebrenica, Belgrade and Kiev, in an extension of the literary, geographical and cultural heritage of which we got to know the famous journey of “Ibn Fadlan”, under a common ancient history of the Ottoman control and the nationalism and political trends in modern history, as well as the fertile human experience. As the narrator is trying to read the others in this text, he is also trying to discover his self and contemplate a side of its reality; as for what is not present, insight might be present in terms of absence, which can be read by eye and contemplated by insight. As research is questioning this singular work it’s also questioning the documentary type to which it belongs. Is journey literature still capable of producing thrill and excitement confronting the revolution of communications, filmmaking, documentaries and publicity of other types of novels? Did easiness of travel and mobility forfeit journey literature its privacy and flavor? The research is addressing the journey text as a narrative one, hence questioning the nature of this implicit convention by which this belongs to this type and how it is regulated. That is very different from other narrative modalities, like: novels, stories, diaries and confessions. In this context, we discuss some of the questions such as where journey literature text stands between information and imagination. To what extent does focalization intersect with the narrative ideology, and how the different components of focalization: cognitive, psychological and emotional can vary under the ideology of the text.

غادة السمان في رحلاتھا أو كیف یصبح الجسد حقیبة سفر

Author(s): Yousef SH’HADEH / Language(s): English,Arabic / Issue: 18/2018

In a book entitled ”The Body is a Suitcase” Ġāda as-Sammān publishes narratives from places visited by her in the years 1964-1976. In the form of essays and reportages, she describes European and Arab cities, including many capitals. These materials that resulted finally in the abovementioned 520-page book had been earlier published separately in two Lebanese journals and one of them also in a Kuwaiti journal. In her works Ġ. as-Sammān do not focuses on descriptions of visited places but she shows noteworthy and often surprising phenomena or cases that should be interesting for the curious Arab reader. She picks untypical traditions and titbits referring to the daily life of the European societies and correlates them with Arabian traditions. The aim of this paper is to analyse the concept of journey in terms of Ġāda as-Sammān works and destabilisation as a consequence of the journey. Ġ. as-Sammān herself declares that destabilisation instigates the people to think. Therefore, during her journey she contemplates many important issues relevant to the cultural and political life of Arabs. Language used by the author is very colourful so in this paper it also forms an area of investigation. It is worth noticing that sometimes Ġ. as-Sammān’s works are full of metaphors and beautiful expressions adeptly and tastefully used by the author. On the other hand, some of her essays are written in simple language and can be understood directly – the conclusion is that Ġāda as-Sammān’s main goal was to make her works get to the broadest audience possible.