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Comparative literature facilitates a thorough understanding of themes and motifsin the context of the culture of both literatures, namely what has been preserved andwhat has been borrowed, and how these themes and motifs create a uniquesymbiosis in poems charged with religious, demonic meanings, or containing acomplexio oppositorum that gives them that distinctive, masterpiece note. Thearticle proposes to identify the similarities between English and Romanian lyrics,and above all, those poems in which the echo of the English romantics resonatedmost strongly, as well as those subtleties that cannot be discovered without athorough study, on the text, where the influences are not left hard to discover,because some poems perfectly infuse with the essence of English lyricism, going asfar as the coincidence of the title: the famous Byronic hero Conrad, the dark demon,an alter ego of the great English Lord. But a thorough study is necessary and even vital where the influences are not coincidental and where we have to look atcomparative theory in relation to other social or historical principles, such as thepoetry of Shelley or Keats.
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Selon Louis Porcher […] il ne faut pas séparer la langue et la civilisation, car « aucun trait de civilisation n’existe indépendamment de la langue » (PORCHER, 1982) et la langue est un porteur de la culture et de la civilisation. De ce fait, l’enseignement de la langue et la civilisation doivent se mener de pair. (https://arlap.hypotheses.org/3571)
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Against numerous, more or less favourable backgrounds, education is among the many fields of activity always changing for progress, as it is designed so as to meet the needs of society. For some decades now, and even more to come, the main trigger for change has been technology. Being acknowledged for its immediate benefits, such as effort and time saving or enjoying the convenience of accessing wide-open resources, digital technology has considerably influenced all interested stakeholders’ perspective on education. This article aims to present the role that digital technology tools play, not only in addressing the teaching challenges inherent in the aftermath of the COVID-19, but also in engaging and empowering students attending the English for Economics and Business Communication seminar at the Bucharest University of Economic Studies (ASE Bucharest). Many of the approaches used in what was called hybrid, blended, asynchronous or semi-synchronous teaching and learning currently prove to be useful tools in bridging the digital world with the physical one, with the purpose of driving engagement, avoiding info dumping, diversifying assessment means, all in all providing interactive experiences for both teachers and learners.
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Comics have a very old and interesting history, dating back to around the 18th century. Since the 1970s, a period of acceptance of its role as an educational tool has begun. Comics, according to many theorists and educators, not only tell the story of creatures with supernatural powers, but also have the power to transmit knowledge. This article will examine the possible use of comics as a pedagogical medium in the EFL classroom. In particular, we will look at its functions and practicality in the learning of French as a foreign language.
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In this article, we have chosen to observe the functioning of citational practices through theanalysis of a corpus of articles published in satirical newspapers written in French andRomanian. In fact, satirical discourse most often presents uses of quotation sometimesconsidered "deviant" in the sense that it subverts the norms: the role attributed to directdiscourse is different, the sources cited are chosen and named according to particularcriteria, the methods of inserting the quoted discourse into the quoting discourse transgressusual practices. In the articles taken into consideration, the purpose of this diversion is thetriggering of laughter through the degradation, the distortion of reality. Our analysis willexamine the sources of laughter through the nuanced observation of the uses of citationalpractices identified in the corpus, in an equally comparative and complementary approach
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The current paper discusses the topic of business to consumer interaction in the postCOVID era. It briefly reviews key literature on aspects related to business communicationpractices and trends, and analyses a corpus of customer reviews selected from leadingonline e-commerce sites to see how customers interact with service/product providers toexpress satisfaction and dissatisfaction. The analysis will try to identify how the languageused reflects the relation between participants, their credibility or lack of credibility in frontof each other, and whether such aspects may be said to influence online sales trends
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The paper is a commentary formulated as a reflection on the argumentative sequence established by Gérard Genette in his study Boundaries of Narrative. Genette mentions Parmenides as one of the writers excluded from Aristotle’s “Poetics” because they ignore the representational function of poetry. The aim of the paper is to recapitulate the general poetic background of Parmenides’ epic poem and then to verify how valid is Genette’s inclusion of Parmenides among the writers of direct expression.
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Gotika je první umělecký styl, který utvářel všechna tehdy stávající umění. Tak tomu bylo alespoň v českých zemích. Nesl sice jisté znaky jednoduchosti, ale na druhé straně přinesl mnohé, co má dodnes trvalou a platnou hodnotu. Josef Čapek byl dokonce přesvědčen o jedinečnosti a výlučnosti gotiky: „gotika opravdu není dětským uměním, po kterém se vyvinula pozdější umělecká období k větší dokonalosti, neboť její vyspělá vědomá uzákoněnost a její formové znalosti nebyly žádným stylem předstiženy“ (Čapek 1958: 77). Josef Čapek při formulování této myšlenky měl nepochybně na mysli zejména gotickou architekturu a výtvarné umění, jeho slova platí však i pro literaturu.
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Erica Pedretti, who deceased on July 14, 2022 in her 92nd year, leaves behind an extensive and important literary oeuvre. In the forty years of her literary career, between 1970 and 2010, she published fourteen major prose works, wrote seven radio plays and seven essays, and also created three picturetext. Trained as a goldsmith and silversmith, then and for life active as an object artist, she became a writer in the course of the 1960s because she could only cope by writing with her loss of homeland in Czech Moravia. Her texts remained consistently shaped by this experience, even though she repeatedly used distancing effects in the confrontation with it in new literary ways. The article follows her literary publications from Harmloses, bitte (1970) to fremd genug (2010) and shows that she has become a literary innovator in Switzerland and far beyond in several respects: she broke, in literary distancing, the silence about the suffering of German speakers in the history of Czechoslovakia, contributed significantly to the renewal of experimental writing by women, proved to be a pioneer for the “decade of women” in Swiss German-language literature, belonged to the forerunners of the “New Radio Play” in the German-speaking world between 1970 and 1976, and, through her early thematization of double and multiple belonging as a migrant, anticipated what literary studies began to recognize as the literature of migration in the course of the 1990s.
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This article analyses the madness motif in Die Elixiere des Teufels written by E.T.A. Hoffmann. There is consensus among literary scholars, that the novel’s protagonist exemplifies the problem of the split ego, the accompanying madness, and the impossibility of deciding for oneself. However, despite several hints in the novel, scholars have overlooked the fact that the adventures of the monk Medardus have little to do with fictional reality. This has to do in particular, as the article shows, with the fact that he never left his monastery cell. By treating the motif of the mad monk according to the principle of romantic irony, Hoffmann on the one hand expresses his fears and on the other polemicizes with the Enlightenment and classical conviction, that man could develop into an autonomous and unified subject.
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The aim of the article is to examine the meanings of the concept of homeland (‘Heimat’) in Juli Zeh’s novel Corpus Delicti and how they change depending on the perspective of the individual characters. The author of the article puts forward the thesis that the home category in this text primarily functions as a specific value space and is accordingly semanticized. In this respect, the homelands depicted in the novel are not primarily of a geographical and spatial nature, but primarily of a normative and social nature. To make this clearer, the author of the article analyzes the tension between the two worlds presented in the text using the characters and their attitude towards the spaces of the values described in the novel. Firstly, this means the presented reality, which takes place in the second half of the 21st century, and secondly, the world of the 20th century, idealized by certain characters, which is only remembered nostalgically. The proposed reading of Zeh’s novel also proves to be an inspiration for current socio-political debates, as it is currently becoming a trend that individuals in modern societies feel less and less tied to a place, and instead they increasingly find their real homes in the value systems they share.
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Michael Zeller and Stephan Wackwitz belong to the generation of grandchildren who search traces of their own family history. In the novel Die Reise nach Samosch by Michael Zeller a young writer Sebastian tries to reconstruct his family history for his grandmother, who comes from Opole (Oppeln in German). She experienced traumatizing stories during the war and after it. Her grandson, a young writer, finds out while working on the family chronicle that his biological grandfather was not a German but a Pole when working on the family chronicle. Stephan Wackwitz, in turn, deals with a diary of his grandfather who worked in southeast Africa and Upper Silesia – these lands belonged to Germany before. He fought in the First World War as an zealous nationalist. The author’s father spent the Second World War in the American captivity. The author tries to explore his grandfather’s and father’s motivation for their attitudes in their lives. I would like to examine and reveal the strategies used by both authors, as presented in the process of their ancestors’ coping with the culture of remembering. The aim of the paper is to provide evidence for the extent to which spatial constellations in the novels by Zeller and Wackwitz are to be viewed as significant memory carriers. I consider family novels of the generations of grandsons a meaningful platform for presenting very problematic historical processes (national socialism, communism) in 1930s and 1940s in central Europe.
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Shame is an omnipresent, yet difficult to study emotion that is reluctantly experienced and often tabooed. The analysis of the selected works by German authors of Polish origin, Adam Soboczynski, Alice Bota, Alexandra Tobor and Emilia Smechowski, allows one to conclude that the socially and culturally shaped feeling of shame is presented there as an existential experience in the migration process. Against the backdrop of resettler emigration from Poland to Germany in the 1980s, the texts show moments of self-reflection by literary figures before an internalised alien observer whose system of norms and values they at least partially recognise. The literary representation of shame includes the representation of manifold causes of shame (stigmatising origin, social position, violation of norms) as well as short- and long-term effects of the experienced degradation on the migrants’ selfimage and behaviour.
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The story about the rough Pomeranian has been repeatedly revised and published – by editors who have been independent of each other – for almost half a millennium. It has been modified by about 35 authors in about 40 versions. Its roots seem anecdotal; it has been adapted in epic, lyrical and dramatic texts. It referred to a long-established stereotype with negative connotations about the region of Pomerania and its inhabitants. On the one hand, it showed the perception of the autochthonous population, but on the other hand, it also offered a way of dealing with this detrimentally tainted image. The article compares individual variants of the story and interprets them imagologically.
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The article is an attempt to analyse the qualities of airspace captured in the lyrical texts inspired by Chagall’s works and to outline their atmospheres and moods. The subject of the interpretation are the poems by Johannes Bobrowski, Rose Ausländer, Ulrich Grasnick, Joanna Kulmowa and Tadeusz Kubiak, which refer directly to Chagall’s works or evoke his poetic worlds, exposing mainly the scene of love flight. Reflections are not only made on the material airspace in which the lovers float, but also on the affective atmosphere that envelops them, in which the transmission of affects is possible and which in turn unfolds a transpersonal intensity. Methodologically, the analysis moves in the field of ‘atmospheric’ literary and cultural studies, which are non-representational approaches working to accentuate and deepen problems that the atmosphere as a diffuse and ephemeral background poses, as well as to examine how it is composed and organised and what meaning that has.
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Obituaries belong to the most important text types in the public communication about death, which is the reason why the choice of language means in these texts reflects culture-specific conceptual patterns connected with dying, characteristic for the particular language and culture community. In the paper, we analyse the neutral and euphemistic vocabulary referring to the act of dying in 19th century obituaries from Vienna newspapers. The main focus of our attention lies on identifying the types of expressions for death occurring in the collected corpus as well as describing the relationship between observed statistical preferences for the use of particular neutral and euphemistic expressions and the culture-specific conceptual patterns, typical of the 19th century community of Vienna.
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The article deals with the current situation of German minority teaching in Poland. The current situation is explored from the perspective of the thirty-year development of the German minority language in the Polish school system on the formal legal, social and didactic level. In principle, the focus of the analysis is placed on educational aspects. Accordingly, a redefinition of the German minority language in the didactic frame of reference and the processing of a corresponding textbook are declared necessary.
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The article characterizes the existence of literature as a basic kind of art that is closelyconnected with people’s lives. Its professional creator is a writer who often draws attention to unusual interpersonal relationships in his texts. Slovak novelist Peter Andruška (1943) in his cycle of short stories Ballads for Father and Tree (1984) describes the healthy and questionable aspects of everyday life in the background of individual human destinies (especially from the family aspect); writes about the traits of the characters and describes their various actions. On the basis of these attributes, the world of the Imroch family (especially the father and three sons with their wives), who live their lives with adequate joys and problems, opens up to discursive readers. The text also uses excerpts from prototexts and metatexts of important literary theorists, which outline individual theoretical and inspirational starting points for the objective-subjective interpretation of this concrete prose.
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A Novel of Production was an important stage in the Hungarian prose turn. The Introduction to Literature and Esterházy’s later works, which could be interpreted as a further reflection on it, were rearranged in a direction in which the unresolved dilemmas already indicated came to the fore. The questions of the integrity of the personality and the relationship between personality and community came to the forefront of the horizon of the writer’s approach. The question is not unrelated to the context of spatial existence, because one of the burning issues of the post-regime change world is the question of self-interpretation of identity. Esterházy’s She Loves Me can be related to contemporary Hungarian and world literature that simultaneously posits the inability of the grand narrative and the self-identical narrative subject to function, linking this to the problem of the literary representation of gender roles. It is composed of ninety-seven short chapters, in which only the numbering shows a building character, since there is no narrative progression. The title is repeated in almost every short section, which may give the reader a sense of the hopelessness of constantly trying again. At the same time, the repetitive structure and the inherent differences and spatio-temporal shifts may lead the reader to rethink the fixed structures stuck in the tradition, which are no longer suitable for reinterpreting the integrity of identity and interactivity with the other.
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