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This paper presents a methodical approach to the collection of sonnets O ženi (About a Woman) by Musa Ćazim Ćatić. The motif analysis takes up the motif of an extraordinary woman for its starting point of interpretation. The woman in Ćatić’s poetry is often a symbol, and, as presented in this paper, Ćatić introduces the motif of a woman in diverse forms. The aforementioned issue is interpreted through a problem-methodical approach.The objective of the paper is to examine the possibility of methodical interpretation of one part of Musa Ćazim Ćatić’s poetry. Through methodical interpretation the multi-layered text is used for several purposes: as a tool for acquisition of literary-historical facts and new cognitions, as well as a means in the process of motivating students to read poetry.
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The purpose of this paper is to present an analysis model called ‘intercultural philology’, which is aimed at documenting, analysing and interpreting culture by analysing verbal action. It uses linguistic discourse analysis as the scientific sub-discipline and employs a comparative-contrastive approach to disclose textually encoded cultural differences on the example of respective discourses about the Bologna process in Bosnia and Herzegovina and in Germany.
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Jan Beran's travel literary text Jedina is characterized by extremely expressive speech strategies, which multiply the influence on rhythm, the semantic-compositional structure, and especially the lyrical aspects of creating his travelogue contents. The aim of the paper is to investigate the horizontal spatial relationships of continuity and linearity in the constitution of the semantic-composition structure of Beran's travelogue and vertical relationships that include poetic/lyrical visualization of space based on a psychological point of view (perspective). In accordance with the basic principles of stylistics of the text, the unity of horizontal and vertical semantic-compositional relations will be considered as the basis of the stylistic expressiveness of the text. The paper investigates the emotionally-expressive and figurative linguistic means as the main carriers of the lyrical established expression of the semantic-compositional content of Beran's travelogue text Jedina.
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The work will include novelistic opus of Bisera Alikadic, that is, the novels The Grub and The Circle. Emphasis will be put on recognizing of denial of cannonized cultural model in the first novel in Bosnia and Herzegovinian literature that was written by a woman (The Grub) , and then, in the novel (The Circle) ,as well as on recognizing of freed speech that detabooizes imposed linguistic and cultural cannon which enables Bisera Alikadic to imagine woman's gender identity which except the process of her physically coming to senses, also begins the process of her auto(re)identification. Literary theoretical approach will also include recognizing of opus patterns known as fiction in jeans , which is among other things, this opus left on the margin of dominant literary cannon.
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The article is an attempt to utilize the pre-philosophical etymological meanings of the word subject in a proposal for the reflection that fits into the discussion on the possibilities of new posthumanistic approaches to the matter of subject. Its first part comprises etymological inquiry, inspired by the philosophy of M. Heidegger and the proposal of K. Okopien, into the Greek word ὑποκείμενον, the Latin subiectum and the Polish podmiot. In the second part, three new, ethically oriented proposals for perceiving the problem in the perspective of studying animals have been derived from the three former meanings of the Polish subject – a foundling, fraud, and bedding.
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The aim of the publication is to acquaint the Polish reader with a fragment of the most famous book by Tatiana M. Goricheva, „Holy Animals” (published in Saint Petersburg in 1993), which has not been translated into Polish so far. The author of the book is one of the few Russian-speaking thinkers dealing both with Orthodox Christianity and the question of animal rights. The attached commentary offers an introduction to her philosophy, which is here presented at the broad background of Eastern Orthodox thinking. In contradistinction to Western theology, it is the tradition that discusses the Christian idea of redemption in cosmic terms and points to the possibility of religious identification and sanctification of animals. Therefore, it seems that the Eastern Orthodox interpretation of the Christian doctrine provides a different perspective on the situation of animals and their suffering in the contemporary world and may lead to action to secure their status as individual subjects.
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The article is a presentation of spring rituals associated with animals in the Polish countryside, recorded by ethnographers up to the beginning of the twentieth century. In traditional Polish rural society, rituals associated with the Slavs beliefs and symbolism, which were to symbolically start the new vegetative year, were among the most important activities of worship the choice of animals for the ritual. These beliefs were so firmly embedded in the consciousness of the traditional communities that survived until the early twentieth century in the form of customs and the way of how animals were treated by the hosts. The relationship of man with the animal was very characteristic of the rural community, as it was associated with the supplementation of the basic needs of the host, which translated into a concern for the animals’ health and their lives. In the opinion of the former inhabitants of the village, caring for the animals apparently manifested in the practice of magic that was to prevent and ward off spells and diseases.
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Theories of the mainstream of animal ethics, represented, for example by Singer and Regan, are in favour of dietary behaviours that exclude the consumption of any animal products. According to such approaches to the subject, in our societies and in current living conditions, abandoning food of animal origin is an obligation in the light of the normative requirements of the theory of ethics. In this article, I will present a different perspective on the issue of reflective moral vegetarianism (defined in a very broad sense). Moving from some very critical phrasing to the arguments represented by the mainstream, I will propose the statement that it is more purposeful to consider vegetarianism as an element of self-development and self-care practiced by people who are honest active moral entities. Vegetarianism that grows out of personal reflections on the morality of relations between people and other beings, should be considered in the way in which active moral entities shape and cultivate their own character. Such a way of formulating vegetarianism makes it possible to avoid the problems of the mainstream arguments and allows conceiving more accurately the richness and diversity of people’s real choices concerning the issue of vegetarianism in the sphere of customary experiences of moral character.
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The “love factor” has increasingly figured in SLA research. Thus, Piller (2002) studied the language “glue” between cross-lingual couples; Marinova-Todd (2003) found a link between L2 proficiency and co-habitation with native speakers; Muñoz and Singleton (2007) reported a romantic connection between successful late L2 learners and native speakers; Gonçalves (2013) explored hybridity in bicultural relationships; and Kinsella and Singleton (2014) found that the participants in their study of late L2 learners whose L2 test results were all within native-speaker range had native-speaker life-partners. This issue is now being taken very seriously, as Dewaele and Salomidou’s (2017) recent article on “loving […] in a foreign language” demonstrates. In the present article we report on the results of some recent qualitative research, based on interview data collected from five individuals who are involved in intercultural and cross-lingual relationships. The research shows the L2 learning process to be clearly influenced by the affective context in which it occurs. The data also suggest that identity construction may be moved in a particular direction by the language principally adopted by the couple, and that, for the partner for whom this language is an L2, the results can be dramatic in terms of both linguistic and cultural affiliation.
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This paper examines some out-of-class Portuguese language teaching activities for foreign students learning Portuguese at the Faculty of Arts of the University of Lisbon and their results in the learners’ output. Even in contexts of immersion, students tend to focus only on class activities and not on community activities that involve face-to-face contact with native speakers. To change this situation, we have created a new subject, built on task-based language teaching, called Immersion Activities for the Portuguese Foreign Language Annual Course. We present the preliminary results of a study carried out with eighty students and twelve teachers, whose objective is to verify up to what extent this subject translates into a more effective learning of the language and if students’ perceptions, at the end of the semester, regarding the learning outcomes, coincide or not with those of the teachers. From the results, it is possible to observe that the students’ and teachers’ opinions converge in the same sense: immersion activities provide a better development of students’ communicative competence in Portuguese.
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In addition to the author's works, the inscriptions, both sepulchral and dedicatory or of other types, contribute to illustrating the diachronic development of a language. Among the Arbëreshë of Sicily, a considerable number of inscriptions reveals the uninterrupted use of the Albanian language, perhaps preceding the same work by Lekë Matanga (1591), and the constant effort for its orthographic result. Many of them, which have disappeared for the passage of time and human neglect, are witnessed by works of various authors, others, still existing, are shown in photographic images. From the reading of the texts, the scholar can get phonological, philological and diachronic considerations.
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This paper aims at outlining the role of Sofia as a centre of development for Albanian language in the late 19th century and at the beginning of the 20th century. This text is only a brief survey, focusing on the analysis of the learning and teaching of the Albanian language in Bulgaria, on the work of some Albanian teachers in Sofia and on their contributions for the Albanian Revival. Are mentioned and some results and developments of Albanian studies in Bulgaria too. One important source for acquaintance with the education on Albanian language in Bulgaria is the activity of the Albanian colony in Sofia. In the last decades of the XІX century an Albanian colony in the capital city of Bulgaria was established and it was determined to make a considerable impact on the development of the Albanian culture and education. The Albanian newspapers and magazines dedicated many pages on education matters and relevant actual events. Namely the reference and the overall analysis of this content is the goal of the current presentation.
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This paper aims at providing an overview of the myth as a generator of fiction and polis, their commonalities and particularities. In its origins of the kinship with myth, the fiction behaves at the same way like with polis as an ethical-political order. By itself, fiction seeks to be identified with poiesis as a mythic source, by forging fact versus polis. Polis get damaged from the presence of myth insofar as polis get destroyed from the lack of myth.Within the European space, from its origins to the present, myth has walked on three avenues that sometimes tend to cohabit but often take different directions. Historically and idiosyncratically observed, the myth was raised on the pillars that belong to the ethical, religious, and aesthetic avenues. This is why the attribution of the myth to these avenues becomes a way of looking at the world, in this paper.
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The presence of a mistake in the scientific and artistic text has its own specifics and a certain sense. The origins of the scientific interpretation of the phenomenon of false date back to the category of a Gammatia based by Aristotle. The attention to mistakes as a manifestation of the accidental and means of expression was actualized by researchers of avant-garde, futurism, postmodern literature. The purpose of the proposed article is to analyze the varieties of the artistic aberration as a factor in Lesya Ukrainka's poetics in the context of her modernist searchers. The mistakes in dramas of the author mostly are the plot center and they are the result of difficult choices of characters (“Blue Rose”, “Cassandra”, “Boyar”, “Rufin and Priscilla”, “Forest Song”, “Orgy”, “On the Blood Field”, etc). The formal mistake as a sign of absurdity most markedly forms the originality of the artistic world of Lesya Ukrainka's fantastic drama “Autumn Fairy Tale”. The semiotics of false facts in her writings is always subordinated to the figurative paradigm of the text. In particular voluntaristic temporal shifts in the usage of iconic symbols of nature or culture emphasize the essence of the characters in the drama “Advocate Martian”, “In the Dense Forest” and others. The aberration phenomenon appears the central problem in Lesya Ukrainka's story “The Mistake”, which is based on the self-analysis of the writer-revolutionary who stays in prison. It is proved that the narrator is close to admit his mistake to be “orpheustic” (Maurice Blanchot) which means that his desire to own the woman took precedence over the duty of the poet just sing about her. So, Lesya Ukrainka in her creativity offers a variety of interpretations of characters' reflections over the painful consequences of a false existential choice. In conclusions, Gammatia is recognized as a symbol of the author's interpretation of modern life, with the specific fluctuations of the individual between loneliness and solidarity.
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The article is devoted to an actual problem of genres in perspective of supertext relations. In particular, the functionalities of midquel as one of the genres based on intertextual relations are regarded. The subjects of the study were features of interaction of midquel texts of L. Tolstoy “The End of the Little Russian legend "Forty years", published by M. Kostomarov in 1881” and its pretext – stories by M. Kostomarov “Forty Years”. Deep philosophical and theological questions in unison with spiritual and creative pursuits of the Russian classic are considered through the grid of raised moral and ethical problems in the story of M. Kostomarov. The motif of punishment, which takes a key place in the story “Forty Years” of M. Kostomarov, is embodied through the loss of God by a man, leading to his moral decay. The lack of faith creates emptiness and spiritual blindness. Punishment is unnoticed for a man in this life. Tolstoy interprets the motif of punishment, he puts new meanings, entering with the author of pretext into polemics. In the interpretation of Tolstoy the lack of faith raises no emptiness but the feelings of constant fear and loneliness. Thus, awareness of punishment comes to a man in this life. The motif of punishment is combined with the motif of insight that opens a person who has lost God. So the pretext of M. Kostomarov “Forty Years” and the midquel of L. Tolstoy “The End of the Little Russian legend "Forty years", published by M. Kostomarov in 1881” are based on the same philosophical grounds, but have different ideological orientation. The problem of God's punishment is solved by writers in different ways, and their texts form a dilogy, which aims to demonstrate ambiguity and unpredictability of the laws of human being and to give the reader a space for reflection and research.
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The article studies images and motifs of Shevchenko based on the materials of works of another row of Ukrainian emigration writers of the 20-30ies years. Using the theory of archetypes of Jung, we identified an intermediate archetype acting on the verge between a Hero (a Savior) and a Sage, this is what Taras Shevchenko became for the Diaspora writers.Particular attention is being drawn to the genre palette of Shevchenkiana, artistic and stylistic features of the stories of the following writers are being defined: K. Polishchuk, B. Lepky, Dmytro Tyahnyhore, and Lesya Verhovynka. The Shevchenko motifs we discovered in the short fiction of the 20-30ies are usually united around the magnificent figure of Shevchenko, his portrait and his “Kobzar”. The archetypal figure of Shevchenko represents a symbol of a rebellious spirit and a national talisman for Ukrainian writers of the emigration. It is being determined that the portrait of the great son of the Ukraine serves as an icon for his people and is frightening for the others; words of the works of Shevchenko inspire heroes to fight for the liberation of the native land and act like a prayer; “Kobzar” serves as a talisman. Thus, motives of Shevchenko in the works of short fiction emphasize saving function for the characters and for their authors.As a result, it is being concluded that a dominant in all the stories and novels was both a respectful and a panegyric relationship towards the Savior of the Ukraine, Taras Shevchenko, and that his name and works became a philosophical guide that inspired artists to create Diaspora of the short fiction with patriotic content.
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Ontological background of the twentieth-century contributed the conditions which made a French novel strive for the genre of confession. One of the main features which denotes the renewal of confessional poetics in French novel is the intensification of “secondary” elements semantics. The markers of the “secondary” within the coordinates of literary text are narrative techniques that carry the semantic load on the structural elements of the text, which are traditionally considered less important: words in brackets, parentheses, “superfluous” words or even the whole chapters etc. Therefore, due to these narrative techniques the “secondary” elements of a text (which previously could be read faster than the main text or even could be thrown out of it without loss for content) transform into the ideological core of a novel. The reasons of this phenomenon lie through examination both of the confession as a Christian Sacrament and the specialties of new external grounding which modified the poetics of confession in the twentieth century. The research focuses on the novels of French Catholic writers G. Bernanos, F. Mauriac, J. Green. The analysis of their novels allows explaining epistemological value of “secondary” elements in the twentieth-century art and clarifying the narrative strategies of modeling the confessional image of the twentieth-century French literature.
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This paper looks into the Russian Soviet literature of both the “thaw” and “stagnation” periods (1960s and 1970s) in order to reassess the existing paradigm in its critical reception provided from the gender perspective. The discussion starts with consideration of the issue of motherhood – especially in the case of working mothers – and its literary treatment, but then expands to a feminist reading of the literature in question more generally. By suggesting an alternative interpretation of literary works of this period, especially those authored by male writers, the paper challenges the accepted understanding of this literature as essentially misogynistic. By revealing concealed insecurities behind hostile male rhetoric, it turns the tables round to argue that the prevailing model that arises from this literature is, in figurative terms, that of all pervasive motherhood, and as such is actually matriarchal. Thus, the suggestion made, is that this literature should be viewed at least as two-fold: superficially misogynistic, but matriarchal in spirit.
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