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In the paper extracted, analysed and commented on is the anthroponymic data of the people baptised in two baptismal registry books of the parish of Jablanac in the period from 1860 to 1895,which has been recorded on microfilm and available on the website www.familysearch.org.
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The study focuses on the analysis of lyrical miniatures by Radek Malý from his collection Listonoš vítr (2011), most notably the poem Zaklínání psí in the reception of both adult readers (student teachers) and pubescent readers (upper secondary on grammar school). The subject of the research is the comparison of both communication situations, verification of the textual prompts of the poem in relation to the reader's age-receptive dispositions, assessment of the aesthetic coherence of the given text and illustrations by Pavel Čech. The research investigation produced some surprising findings. First: In the reception of adult readers, Radek Malý's poem Zaklínání psí was interpreted mainly in a sentimentally nostalgic, idyllic, or in a contemplative position, while in the reception of pubescent readers it also highlighted bitter themes of life (the problem of drunkenness, addiction and abandonment) in the form of fairy-tale motifs. Second: The poem, due to its compactness of form (motivic density), encouraged diverse (even contradictory in meaning) readings. Third: Readers' and illustrators' concretization of the text mostly differed in the reception.
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Based on the latest balance evaluations of poetry for children and youth, it can be concluded that the number of books of instructive poetry and nonfiction poetry for children is currently increasing. These genre variants, in our opinion, reflect the needs of contemporary society, i.e. to raise and educate the current generation in an information-saturated world (which is fulfilled by poetry of fact or nonfiction poetry) with questionable moral models (which is fulfilled by instructive poetry). This resulted in a research gap, namely to characterize instructive and nonfiction poetry for children and their poetological and value variations. The research method is qualitative content analysis, interpretation and evaluation of selected literary works. The author of instructive poetry deliberately works with a formative function in order to shape the recipient’s personality, and the author of nonfiction poetry deliberately works with an informative function in order to change the knowledge of the recipient. At the end of the study, we also present specific didactic activities for the mentioned genre variants and a table summarizing the common and different features of instructive poetry and nonfiction poetry for children.
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The study presents the results of the content analysis of current reading books for the 5th grade of elementary school. First, we define the context of didactics of literature in relation to the teaching of poetry, and then we deal with the content analysis of current reading books from three selected perspectives. We identify which types of poetry texts and from which poetry collections are included in the reading books, we analyze the way in which the theoretical knowledges about poetry is presented, especially the definition of poetry and prose on the one hand and lyric and epic on the other, and we analyze selected examples of assignments for pupils.
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The Slovak authorial fairy tales published before 1930s are nowadays often seen as works without real artistic character. The literary research and theoretical sources about authorial fairy tale development describe this period only in some (even contradictory) general information. Our interpretation of the historical resources (books published in the period from 1877 to 1928) shows the initial inclination towards contamination of genres and the didactic purpose. First steps of the genre foundation can be found in the didactic (Christian-didactic) works written by J. D. Čipka and A. H. Škultéty modelling a child character. The first concept of the authorial fairy tale genre in Slovakia is formed in Kristina Royova´s animal fairy tale. In the period 1910–1930 the main tendencies in the works labelled as fairy tales are modelling a child hero; didactism: the stories based on a didactic purpose seen in reward or punishment of the main character; imitating a play of children, and working with the elements of dreaming.
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The study deals with the topic of Czechoslovak RAF pilots, its place in Czech literature, the basic features of the work and the typology of characters, which is characteristic of the stories of pilots from the Second World War. In the introductory part, the position of the Second World War in Czech literature is generally outlined. Furthermore, the most important historical information on the issue of Czechoslovak RAF pilots is mentioned, because their works are strongly connected with historical realities. Finally, the study is devoted to the application of the topic in education reality, specifically in literary education. Here are presented several proposals for implementing the topic in lessons within the framework of both literary education and interdisciplinary relations (history, citizen education).
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In a 1955 article, Perelman and Olbrechts-Tyteca suggest that their theory of argumentation could provide a foundation for a study that they place under the sign of semantics: the study of notions. In the Treatise on Argumentation, the multiplicity of the examples cited can monopolise the reader’s attention and prevent him from finding the lineaments of this semantic reflection. If a semantic project appears in the Treatise, it is in the manner of a watermark. The analysis that Ducrot proposes of the word But and his commentary on Pascal’s Refutation of the Dominicans could offer a precious means of making the functioning of this study of notions promised by the New Rhetoric more visible. Ducrot’s strictly linguistic approach will allow for a better understanding of the workings of the Perelmanian method, a method that, by contrast, we will call “rhetorico-grammatical”.
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The article analyzes an aspect of the conception of space – its openness or isolation. This aspect is analyzed as it appears in the works of three Lithuanian poets that belong to different generations and who were involved differently in Soviet life: Alfonsas Maldonis, Judita Vaičiūnaite, and Antanas A. Jonynas. The analyzed poetry was written when the dogmatic censorship in Soviet literature was already less strict and its protectors less vigilant. In the poems by Maldonis the isolation of a space can save lives, which corresponds to the views of a poet who has agreed to collaborate with Soviet authorities. He sympathizes with people that seek freedom, but he wishes that they safely survive in their currently hopeless situation (referring to the 1968 Prague events). Vaičiūnaitė perfectly expresses the oppressive isolation and lies of the Soviet world in her poem “Atsisveikinimas” (Farewell) of 1977: it is only possible to be honest and to remain faithful to oneself in a madhouse. In the poetry of Jonynas, resignation and despair stop a musical phrase; he expresses the closeness of the world with the image of a cage, a directionless railway, and a break-up in human relations. This article also refers to poems that were important for these Lithuanian poets and were written by Russian poets Osip Mandelstam and Anna Akhmatova who never attuned themselves to the totalitarian regime. It is possible to assume that the conception of space in the analyzed poems is not always related to the structure of the society in which the poets lived; however, that relation is quite essential.
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The city of Liepāja has played a crucial role in the lives of two individuals from the Gūtmanis family, Olafs Gūtmanis (1927–2012) and Egons Līvs (1924–1989, real name – Egons Gūtmanis), serving as their place of residence and influencing their professional and creative pursuits, as well as shaping their individual and collective identities. This study aims to reveal the experiences of the city by Gūtmanis and Līvs, as well as their representation of it in their autobiographical and journalistic works, by examining the identity of specific places in interaction with the writers’ individual identities. The study explores how elements of Liepāja’s topography are manifested in the mental maps of Gūtmanis and Līvs, which in turn are depicted in their works. The theoretical framework of the study draws on identity theories, particularly place identity (influenced by such scholars as Lewicka, Stobbelaar, Pedroli), and the concept of mental/cognitive mapping (as proposed by Downs and Stea). Additionally, a phenomenological approach inspired by Maurice Merleau-Ponty is employed. Although both writers share professional and place-related experiences in Liepāja, their perceptions of the city’s places differ in their works. Gūtmanis, being a native of Liepāja, meticulously describes the places in detail, demonstrating a place-referent continuity. Conversely, for Līvs, who is considered an outsider in Liepāja, place identity is portrayed more generally, with places evoking strong emotional responses and serving as sources of inspiration, often intertwined with the biographies of various individuals.The city of Liepāja has played a crucial role in the lives of two individuals from the Gūtmanis family, Olafs Gūtmanis (1927–2012) and Egons Līvs (1924–1989, real name – Egons Gūtmanis), serving as their place of residence and influencing their professional and creative pursuits, as well as shaping their individual and collective identities. This study aims to reveal the experiences of the city by Gūtmanis and Līvs, as well as their representation of it in their autobiographical and journalistic works, by examining the identity of specific places in interaction with the writers’ individual identities. The study explores how elements of Liepāja’s topography are manifested in the mental maps of Gūtmanis and Līvs, which in turn are depicted in their works. The theoretical framework of the study draws on identity theories, particularly place identity (influenced by such scholars as Lewicka, Stobbelaar, Pedroli), and the concept of mental/cognitive mapping (as proposed by Downs and Stea). Additionally, a phenomenological approach inspired by Maurice Merleau-Ponty is employed. Although both writers share professional and place-related experiences in Liepāja, their perceptions of the city’s places differ in their works. Gūtmanis, being a native of Liepāja, meticulously describes the places in detail, demonstrating a place-referent continuity. Conversely, for Līvs, who is considered an outsider in Liepāja, place identity is portrayed more generally, with places evoking strong emotional responses and serving as sources of inspiration, often intertwined with the biographies of various individuals.
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This article focuses on the gaze of the flâneuse as portrayed in the novel Sieviete (The Woman, 1930) by Tija Banga (1882–1957), the collection of prose poems Ielu maldos (Delusion in the Streets, 1923) by Lūcija Zamaiča (1893–1965), and the collection Dzejas (Poems, 1932) by Austra Skujiņa (1909–1932). These works of Latvian feminist modernist literature call for a reevaluation of women’s place in the city and, therefore, in society. The concept of flâneur, the idle street-walker of 19th century Paris, was initially developed by Charles Baudelaire (1821–1867) and other French writers, eventually becoming a key figure of modernity, as conceptualized by Walter Benjamin (1892–1940). However, this concept lacked a female counterpart, as women’s presence in public spaces was often limited to specific social roles that usually were not compatible with respectability. During the interwar period of the 20th century, albeit unusual, the existence of the flâneuse in Western metropolises seemed less implausible. In Latvian interwar literature, a few voices of urban women emerged to challenge the dominance of the male gaze. Writers, such as Banga, Zamaiča, and Skujiņa placed the female perspective at the forefront of their work, questioned the masculinity of urban men, and contemplated the presence of women in urban environment.
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This article focuses on the context and time when the first two plays of the Theater of the Absurd were staged in Lithuania. The aim of the article is to answer the following questions: what dramatic experiences existed in the Soviet era, in what ways playwrights were trying to communicate with the reader/viewer, what message was formulated and conveyed in the plays, and how the expression of drama has changed since the Soviet era. By focusing on two cases of the Theater of the Absurd – Kazys Saja’s Mamutų medžioklė (The Mammoth Hunt) and Arvydas Ambrasas and Regimantas Midvikis’s Duobė (The Pit) –, this article examines the period in question and the collective consciousness of the playwrights’ contemporaries as seen and revealed in the plays and performances.
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The text comments on the problems of the reception of texts in the Bulgarian classical literature. The thesis that is defended is that reception is impossible if the literary text is not placed in a system of contexts. Different contexts are successively commented: national-historical, cultural-historical, biographical, technological, context of personal experience, context of the literary process. The opportunities they provide, as well as their productivity/non-productivity in a specific receptive situation, are analyzed.
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This article examines two works of one of the first Latvian postmodernists, Marģeris Zariņš (1910–1993): Viltotais Fausts jeb Pārlabota un papildināta pavārgrāmata (Counterfeit Faust or Corrected and Supplemented Cookbook, 1973) and Trauksmainie Trīsdesmit Trīs (The Turbulent Thirty Three, 1988). The author of the article analyzes the postmodern techniques used in these books with a purpose of criticizing and deconstructing the ideological framework of Soviet regime and the Socialist Realism art that was prevalent during that era. Three additional research questions are asked to explore this thesis. First: how is the language used to go against the Socialist Realism grain? What are its peculiarities? Second: what “decadent” and modernistic cultural references and tropes are used? How do they contradict the Socialist Realism standards? Third: what Socialist Realism tropes and archetypes are reinterpreted or confirmed? With what aim? What is their relation with more modernistic elements in the both books? In this research, the methods of close reading and comparative analysis were used. It is concluded that Socialist Realism and socialism is criticized and challenged in both of the aforementioned works: in Counterfeit Faust predominantly through the use of language and intertextual connections with Western modernism and postmodernism, and in The Turbulent Thirty Three by combining fourth-wall-breaking and surreal episodes with a harsh satire of Soviet life.
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The article presents an overview of Grice’s notion of implicatures with a focus on the interpretation of quantitative (scalar) implicatures. Processing an implicature in the case of scalar implicatures is based on automatic understanding of expressions that are part of a linguistic scale. Such linguistic scales are sequences of terms where the use of the stronger term implies the weaker one or the use of the weaker term implies the negation of the stronger one. With examples that affirm the linguistic intuitions of members of a language community, it is illustrated that within these scales, the meaning of expressions is used with varying degrees of strength according to the speaker’s meaning.
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The purpose of the article is to present the role and significance of Hesiod's poetry for the formation and development of the moral canon and the moral-philosophical thought of ancient Greece. For this purpose, the text traces and analyzes various biographical information, comments and evaluations about Hesiod's life and work. Special attention is given to the uses and meanings of the world ethos by Homer and Hesiod and their evolution under the influence of Hesiod's moral maxims (gnomes) in „Works and Days “. The main conclusion is that Hesiod's individualized, systematic and rational reading of archaic myths played a decisive role in the transition from myth to logos and the formation of the moral-philosophical views of ancient Greece about the happy life, the good person and the ideal state.
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The article considers, for research purposes, the role and the meaning of the lyrics (words) in the vocal-instrumental genres of the English-speaking world, emphasizing its content and meaning. A counterpoint to this type of musical genre is instrumental music, which in specific cases is used as an opportunity to compare different musical forms. Special attention is paid to the sung words in the musical works of the English-speaking world in the context of the distinction between speech and language.
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