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This article’s topic is the analysis of the theme of sleep and ways of his linguisticrepresentation in Nadezhda Teffi’s poetry. The author distinguishes various updatesof the selected motif, divided them according to their meaning and thematic scope andpointed out their importance in the poetic achievements of the Russian emigrant. Thesubject of the analysis is the context of direct nominations of the lexeme, its derivates,semantic words and antonyms, appearing in the debut volume of poems Seven Fires (1910)and in Poetry Poems published in Exile: Passiflora Shamram. Songs of the East (1923).The research concept adopted by the author remains in line with the communicationstyle of the text, whose tasks cover various aspects of the analysis of the literary textperceived as a form of communication reflecting both the stylistic standard and theindividual style of the author
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The article analyzes hiterto unknown, unpublished letters by Jerzy Szaniawski (overall 19 letters dated 1965–1970) addressed to Hans Gernot Herrmann, a German Slavic languages expert who spoke Polish. The letters reveal a private character, and they were written by Szaniawski himself, as well as (with his knowledge and permission) his wife, Wanda Anita Szaniawska, a particularly eccentric individual. The majority of the letters is concerned with the search for one Ernest Wirrwa, who espoused the ideals of “making the homeless happy,” an idea which the Szaniawski couple wanted to propagate in Poland. The author analyzes the letters in the context of the concept of neo‑sentimentalism and the so‑called roaming of ideals.
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Olga and Jenny’s dispute on priority and equality is framed against two other conflicts. One ist hein complete match of language and reality: ‘sister’ is a symmetric relation in the kinship term system but less so according to social tradition. The other is the contest between pragmatics, which Olga relies on, and semantics, which Jenny appeals to. The elder sister’s failure to adapt her argument to the situation almost costs her the sought domination. So how does this dialogue translate to languages where kin terms reflect relative age?
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The paper is based on memories of Wladyslaw Chodasiewicz’s wife - Nina Bierbierowa, which are good source for researching of the poetry and the personality of the poet. This source seems to be very different from the professional expressions and opinions of the critics and writers in the emigration (M. Wiszniak, W. Wejdle, G. Struve, M. Ałdanow, W. Nabokow, J. Terapiano and others) Chodasiewicz in the Bierbierowa’s memories is mainly a noble man although with many faults and doubts. In my opinion Bierbieriowa doesn’t understand fully Chodasiewicz’s poetry, his excellence and perfection, beeing concentrated mainly on understanding and knowing herself.
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The proposed text discusses the adequacy of the psychiatric interpretation of Dostoevsky’s works, and especially of his novel “The Devils”. The author analyses the views of the most popular literary critics insisting on the psychopathological characters as an expression of the inner life of Dostoevsky himself, as well as some Russian psychiatric texts on the same topic. The main idea of the article is that the pathology of Dostoevsky’s fictional characters is rooted in the spiritual – and not in the psychological – sphere and despite the close resemblance between some clinical cases and the behavior of these characters, the latter is due to the conception of the demonic mangodhood and its different incarnations.
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The article deals with a stereotypical perception of Lesya Ukrainka drama Blue Rose as an experimental and somewhat incomplete work. The main thesis of the text is: the drama fits into the context of European dramaturgy of the late 19th – early 20th century and is consonant with the aesthetic searches of symbolists. The author analyses the motive of hereditary insanity, psychology drama, including fears of the protagonist, autobiography of work, and makes a comparison between interpretations of love themes in Lesya Ukrainka and Dante, and in Lesya Ukrainka and Russian symbolists (A. Blok, A. Bely). The basis for drama philosophy of two worlds was made through the establishment of platonic love doomed to end in tragedy in an imperfect world. The activation of a Middle Ages discourse allowed Lesya Ukrainka to do all the artistic discoveries, which later become the basis for the formation of symbolist theatre.
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The article attempts to trace the sources of “polonophilia” in the Soviet culture of the sixties and to consider the strategies of the representation of the Polish text in Russian literature after the Khrushchev Thaw on the material of Stanislav Kunyaev, Boris Dubrovin and Emil Janvarev’s poetry. The special influence on the formation of the geo-cultural image of the Polish People’s Republic in this period is discussed in the context of Polish cinema (in particular Andrzej Wajda’s film Ashes and Diamonds).
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Bogomilski legendi (Legends of the Bogomils) by Nikolai Rainov is a unique book that can be said to have Protean qualities insofar as each of its four editions, published in 1912, 1918, 1938 and 1989, presents a different version of the text. Because of this peculiarity readers’ responses to the book have tended to vary, and even commentaries by professional literary critics have often given the impression of being about totally different books rather than about different editions of the same text. Rainov edited Bogomilski legendi extensively. The book’s four editions differ in a number of significant ways but are best approached as a composite text. This article links the book’s Protean textuality to medieval manuscript culture in which a text existed in several different versions because it was copied by different scribes. The first edition of Bogomilski legendi contains intertextual references to the Bible and The Secret Book of the Bogomils. It also invokes a number of medieval apocrypha which were subsequently brought to the attention of the Bulgarian reading public by the literary historian Yordan Ivanov, who published his Bogomilski knigi i legendi (Books and Legends of the Bogomils) in 1925. The correspondences between the first edition of Rainov’s book and the apocrypha suggest that Bogomilski legendi may be read as a literary mystification. The article presents such a reading.
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The article examines homeless metaphor in Russian media discourse. This metaphor is perceived as the element of Russia’s image. The main tasks of the article are to identify source of metaphors in the framework of modern linguistic- cultural situation, and also to analyze the development of metaphorical image in the context of changes of lexico-grammatical semantics and connotation of the lexeme homeless.
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О досадашњим књижевнотеоријским, поетичким, књижевнохисторијским и књижевнокритичким тумачењима дјечије књижевности, с посебним освртом, на босанскохерцеговачку дјечију књижевност: на маргинама негацијских читања дјечије књижевности.
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The book market in Bulgaria has been deluged with memoirs, memories, autobiographies and stories about the communist regime ever since 1989. A great number of the authors belong to the so called “nomenclature”, whose stories of the recent past fill the collective memory of a great part of the society, and this in practice makes this memory blocked by the usurped versions of the past because the narrative strategy in this case involves a focused selection or avoidance of the facts through euphemisms. On the other hand, the memories of the victims of communist regime are available – much less in number and in certain cases demonizing the system. Among the memories of the “executioners” and the memories of the victims abides the silence of “the little people” with their personal memories and individual stories of socialism, based on biographical data about the individual and the private path of socialization. Ilija Trojanow’s The world is big and salvation lurks around the corner, Dimiter Dineff’s Angel languages and Sybille Levitscharoff’s Apostoloff are novels, attempting to articulate this type of memories. Of special interest, in literary and oral personal stories, are the intersections between the "great history" of ideologies and the private versions of the experience in the individual stories. They provide information about the degree to which the public space has penetrated into the personal sphere, the everyday life of ordinary people, families, schools, the relationship between parents and children. They also show in what ways the narrative about the communist past nowadays influences the individual memory and the shared collective memory in the direction of idealizing, demonizing or marginalizing the past.
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The article presents the multi-volume Bulgarian Etymological Dictionary as one of the main academic works of the Institute for Bulgarian Language which can serve as a valuable practical aid in Bulgarian language teaching. In brief the character and the conception of the dictionary are clarified, and on specific examples the possibilities for wider use of the dictionary as a source of comprehensive knowledge of the Bulgarian language and the Bulgarian people are shown.
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On September 2, 1901, in Brăila, Romania, was born Andreas Embirikos (1901-1975), one of the most significant Greek poets who, along with Seferis, belonged to the so-called Generation of the ‘30s – an important representative of Greek modernism who introduced surrealism in Greek context, confirmed revolutionary of the word, great visionary, and heretic from his first poetry collection. In addition, professional psychoanalyst, enthusiastic photographer, and literary critic. The Great Eastern (Ό Μέγας Ἀνατολικός) is his magnum opus – the mega-novel of Embirikos, he has been working on for more than two decades, and was published only after his death. The Great Eastern contains 100 chapters, unfolding upon more than 2000 pages. The novel was released in 8 volumes only in the 1990s. There has been no comprehensive translation of the novel so far. The Great Eastern was on the verge to become the great unpublished of Embirikos and, unfortunately, remains the great untranslated of Embirikos. The Great Eastern is actually the name of a giant transatlantic steamship, a veritable Titanic‘s predecessor, which made several courses from Liverpool to New York and back in the second half of the nineteenth century. In a nutshell, in The Great Eastern Embirikos reveals a ten-day voyage of the giant steamship in May 1867 as a journey through hedonism and beyond, during which her passengers devote their selves to love without boundaries and generally to all kinds of crossing the boundaries. The Great Eastern is a transgressive novel. It represents literature that many would call dangerous. This is a good reason for speculating over the concept of transgressive. Boundaries and boundlessness are a matter of perspective. The real question is what goes beyond the boundaries of boundlessness.
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The paper offers a discussion on number symbolism in “The Magic Mountain” and more specifically on Thomas Mann’s utilization of the repertoire of symbols belonging to number seven. The analysis focuses on the ways in which the multiple heptads in the novel rule over both its structure and contents. Hypotheses have been suggested about the various functions of the numerological references and the overall design implicitly present in them.
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