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Review of: LENKA POĽAKOVÁ - MARTIN DJOVČOŠ – MÁRIA KUSÁ – EMÍLIA PEREZ (eds.): Translation, Interpreting and Culture: Old Dogmas, New Approaches Berlin: Peter Lang, 2021. 286 pp. ISBN 978-3-631-83881-5
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Geo Dumitrescu's poetic approach has its starting point in an attitude of revolt, of inadhesion to a counterfeit, unnatural reality; poet with an undeniable "penchant" for the real, Geo Dumitrescu assumes the prerogatives of sarcasm and irony out of an acute sense of inadequacy of literary expression to the data of the concrete. Acutely feeling the poetic word as an alienated and alienating way of communicating, improper to an authentic aesthetic dialogue, the author uses a "democratization" of poetic language, restricting the scale of consecrated vocables and relativizing the amplitude of themes with a consolidated, but otherwise constraining prestige. Poet belonging to the so-called "war generation" Ion Caraion established himself primarily through the originality of his lyrical universe, through his striking imaginary horizon transcribed in unconcessive, steep verse, of a negativist force rarely seen in our poetry. The insurgent spirit, the rebellious attitude are prevalent in Caraion’s poems, a poet for whom denial is a form of resonance with his aesthetic and ethical choices.
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The focal point of this paper is the exploration of Nigerian author Chinua Achebe’s (1930–2013) literary criticism of ‘othering’ and the solutions and earnest appeals he launches for eradicating conceptions of difference resulting from colonial ideology. The investigation focuses on both fiction and non-fiction, with special focus on the novel No Longer at Ease (1960/2010) and the collection of autobiographical essays The Education of a British-Protected Child (2009/2011). The close reading of the two texts discloses Achebe’s response to the prevalent themes of darkness and difference associated with the condition of Africans, a response which is redemptive, conciliatory and deeply humanistic. Colonial ‘othering’ was negatively constructed in terms of ethnicity and race and the writer posits at its core central themes like darkness, absence, and difference. Another common theme of the colonial discourse was its insistence on dehumanizing perceptions of Africans, and Achebe seeks precisely to reinstitute the humanity of his people. The analysis also explores celebration as a key-paradigm proposed by Achebe in order to repudiate the themes of darkness and absence. The denial of the African identity by the colonizer is another key-concern in Achebe’s writings, so he also calls forth the recovery of the Africans’ name, an act which coincides with the redemption of their abused identity. Finally, the paper focuses on Achebe’s view of literature as a celebration of humanity in its diversity, which constitutes yet another type of response to the mentality which harmfully represented the Africans as ‘others’.
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As part of the death drive, hate, so prevalent in world literature as the natural state of so many characters, has led the creative spirits, preoccupied invariably with metamorphosis and ascension, to produce genuine masterpieces. Whether malignant or benign (socially justified), hate, along with its many shapes and forms, generates attitudes which characterize a fundamental concept in Dostoevsky’s fiction, namely the antihero. Displaying typical features that are traceable throughout literature from the great Russian author on, the character dominated by hate withdraws from the world, thus fueling his alienation.
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As part of the death drive, hate, so prevalent in world literature as the natural state of so many characters, has led the creative spirits, preoccupied invariably with metamorphosis and ascension, to produce genuine masterpieces. Whether malignant or benign (socially justified), hate, along with its many shapes and forms, generates attitudes which characterize a fundamental concept in Dostoevsky’s fiction, namely the antihero. Displaying typical features that are traceable throughout literature from the great Russian author on, the character dominated by hate withdraws from the world, thus fueling his alienation.
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The paper focuses on the research of folklore in the collection of poems Levi kraljevi by Miodrag Stanisavljević. The research encompasses the noticing and identifying of folklore elements on selected examples of poems as opposed to the genres of the literary models used to create them, their understanding and study with regard to Serbian literature of the 20th century. In addition to the analysis of the content of the poems and the models, the paper also compares the language and style of the poems to the model. The following three poems were analyzed, in addition to the Foreword: Princeza i drvodelja, Kosovski boj and Kako poziraju životinje.
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Пристальный интерес Набокова к советской литературе вспыхнул еще до появления эссе «Торжество добродетели» (1930), а затем ровным огнем продолжал гореть во многих произведениях, как рассказах, так и романах, включая «Дар» (1937–1938 / 1952), и порой потрескивая очень яркими саркастическими искрами. Как явствует из интервью, в советской литературе у него были свои симпатии и антипатии. Так, например, в интервью Альфреду Аппелю он высоко оценил И. Ильфа и Е. Петрова, Ю. Олешу и М. Зощенко: “Ilf and Petrov, two wondefully gifted writers… <…> Ilf and Petrov, Zoshchenko, and Olesha managed to publish some absolutely firstrate fiction” (Nabokov 1973: 87)1. Но, кроме того, Набоков активно использовал самые разнообразные произведения советской литературы, как первого, так и второго и третьего ряда, в качестве претекстов. Использовал он и сами образы, публичные личины и биографические обстоятельства советских писателей.
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Пятьдесят первый сонет на смерть мадонны Лауры (CCCXIX в общей нумерации «Il Canzoniere»), переводить который О. Э. Мандельштам взялся в январе 1934 года, открывается следующим катреном: I dì miei più leggier che nes(s)un cervo; Fuggir come ombra, et non vider più bene; Ch’un batter d’occhio, et poche hore serene, Ch’amare et dolci ne la mente servo. (Petrarca 1999: 1214).
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This article shows how Polish chronicler Jan Długosz used the works of Petrarch. The examination is based on computer-assisted comparative analysis as well as on philological methods. The article describes the manuscripts containing Petrarch’s works which Długosz had at his disposal, and tries to respond a question when the chronicler (in what periods of his life) got with them in touch. It also analyses Długosz’ methods of drawing textual excerpts he inserted into his chronicle. Besides, the arguments supporting hypothesis about the existence of chronicler’s special catalogue, in which he might have collected the extracts from various sources, are considered. Finally, his method of the use of sources is characterised in more detail.
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The article deals with the problem of attribution of the 1559 edition of Liberum Arbitrium by Francesco Negri da Bassano with the ‘Pesclavii’ address, containing references to some Polish Reformation writers (Andrzej Trzecieski, Mikołaj Rej), that are missing from the same year edition pressed by Jean Crespin in Geneva. The printing was attributed to the Daniel of Łęczyca publishing house, recognizing the falsification of the publishing address as an element of Reformation publishing propaganda.
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The paper discusses Mamani Raism Goswani's The Moth Eaten Howda of the Tusker (2004) and Easterine Kire Iralu's A Terrible Matriarchy (2011) with reference to the plight of women in North East India. Although the socio-cultural context of the novels varies from each other, the paper argues that the characters depicted in the fictions are connected through the sense of deprivation and oppression that women have to undergo in a patriarchal society. Iralu's A Terrible Matriarchy and Goswami's The Moth-Eaten Howda of a Tusker underscore that neither religion nor modernity can offer a solution to the existing structures of domination and discrimination unless the women resist and break these structures from within.
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The study provides a basic overview of poetry for children published during the Protectorate of Bohemia and Moravia. The analysis primarily concerns such essential pieces as: Říkejte si se mnou by František Hrubín, Ladění by František Halas, verses by Jaroslav Seifert, Perníková chaloupka by Václav Renč, Vonička by Jarmila Urbánková and Pohádky o princezně Duši by Kamil Bednář. Within the literary-historical context, it also points at some selected more marginal titles of contemporary production. The study is based on analytical and interpretive procedures.
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Dans les prochaines lignes on va discuter sur la variante‐type 709 ATU dédiée à l’héroïne Blanche‐Neige, dans deux espaces culturels est‐européens, roumain et russe. Les onze motifs qui gouvernent le procès narratif sont observés ainsi du point de vue de la différence de substance des variantes: dans cette direction, apparaissent tantôt des analyses minutieuses générées dans des textes des contes sélectés, mais sont proposées tout de même aussi deux annexes qui observent la présence / l’absence soit des motifs du récit, soit des aspects variables qui arrivent de donner naissance à de nouvelles suites ou parenthèses narratives. Dans le parcours analytique sont utilisés deux types de procédés synthétiques, d’une part les uns dédiés au discours en soi‐même, d’autre part en précisant des références possibles et des profondeurs du parcours narratif. C’est la cause pour laquelle arrivent à être suivies les différentes nuances du rapport de la belle‐mère avec sa fille, les atouts du maléfique et les avantages inattendus ou les alliances du bénéfique. On peut observer aussi les notes sur les aspects mémorables pour chaque récit en particulier: parfois un refrain, autrefois des informations sur les conteurs spécifiques, certaines contaminations avec d’autres variantes‐type, des réussites linguistiques qui envoient à la sagesse populaire. En final, on retrouvera un regard comparatif sur les contes de ceux deux espaces culturels et on saura que celles‐là correspondent – à un niveau peut‐être subconscient – de notre besoin de charme et beauté.
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В своей работе «Руководствуясь не буквою, а духом» член Национального союза писателей Украины, поэт, прозаик, публицист, переводчик, Олег Гончаренко, на основе рецензионных откликов на его книгу «За Эминеску… к себе», издательство «Люкс», Мелитополь, Украина, 2012 г., исследует оправданность и перспективность пременения перепевов (свободных авторизированных переводов), как основной литературной формы, относительно презентации литературного гения Михая Эминеску и поэтических произведений других молдавских и румынских авторов украинскому читателю. Литературная критика на эту книгу почёркивает, что автор перепевов, поставив перед собой сложную задачу сохранения в первую очередь поэтики, философии, энергетики переводимых оригиналов, смог в большинстве случаев добиться этого. Кроме того переводчику, при интерпритации, удалось равноценно адаптировать все 66 презентованых произведений Михая Эминеску и других молдавских и румынских поэтов под менталитет украинского читателя. Олег Гончаренко подчёркивает, что тем самым ему удалось подтвердить своё убеждение, что перепевы, не просто имеют право на существование, а, более того, как никакая иная литературная форма перевода, способны духовно сближать наши народы.
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The paper Precursors of Russian Symbolism from the perspective of Russian Formalism proves that symbolism continues the myths, the subjects and the motives already present in the 19th century Russian literature, but in the same time it transforms and reinterprets them. Russian symbolists not only recognized their precursors in the works of Aleksandr Puşkin, Feodor Tiutcev, Nikolai Gogol, Mihail Lermontov, Feodor Dostoievski, Lev Tolstoi, Afanasi Fet, but also tried to explain the symbolist elements present in their works in many articles and critical studies. We can add the opinions of Russian formalists that identified the common ideas between precursors and symbolists: the transgression of the appearances, the musicality, the rhythmical syntax, the importance of the intonation in the realization of musical effects, the concern for the lost senses of the words etc.
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И Есенин и Баковия, являясь великими национальными поэтами, не обошли в своём творчестве темы природы, роли человека в обществе, основных нравственных принципов развития социальных отношений и сути жизни и «признака» смерти. В своих произведениях оба поэта ставят и разрешают множество вопросов: в чём сущность процесса творчества, каким должно быть отношение человека к окружаюшему миру, к природе, к дому, к отечеству и т.д. Оба поэта убеждены в том, что самым главным условием для творческого «я» является свобода. Если творчеству Есенина свойственны (в большой мере) жизнеутверждающие, оптимистические ноты, то Баковия представляет собой другого «героя», у него более пессимистический взгляд на мир. В творчестве Есенина и румынского поэта Баковия тема родины также нашла своё особое отражение. Каждый из них пронёс через всю свою жизнь и творчество и боль, и страдание, и веру в свою страну. Очень многое отличает этих двух великих художников слова, но роднит их «бережное» отношение к словесному материалу. У обоих встречаем широкое использование прилагательных-эпитетов (обозначающих цвет: голубой у Есенина и фиолетовый и алый у Баковия) с явной целью выявления большей яркости, наблюдательности и силы воображения; в палитре изобразительных средств языка этих поэтов метафора занимает особое место и является важнейшим способом создания переносных значений слов и словосочетаний. Собственно стилистическая часть нашей работы включает в себя исследование эмоциональной и экспрессивной нагрузки цветовых эпитетов и метафор с глаголом плакать, встречающихся в поэзии обоих поэтов и создающие неповторимость, своеобразие и специфичность каждого.
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This article is a part of another of our more comprehensive comparative study, which examines the peculiarities of recreation of proverbs in several translations of Don Quixote into Bulgarian, English, French and Russian language. With the help of the comparative method and through the analysis of specific fragments an attempt is made to prove the quality of translated texts according to the modern translation theory; to reveal techniques in recreating elements that are difficult to translate, and to establish possible interactions between the individual translations.
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We underline in the present article the fact that the postmodernist Russian writer, Viktor Pelevin manipulates with the realist-socialist elements from Furmanov’s homonymous novel and Vasilyev brothers’ movie, basically deconstructing the soviet myth of Chapayev. In fact, the relationship between Furmanov and Pelevin’s novel is similar to that between Furmanov’s novel and the soviet anecdotes, which means in a parodic way. In the same time, Pelevin’s intertextuality doesn’t stop to the soviet literature or anecdotes, he plays with the classic Russian writing (Dostoevsky’s Crime and Punishment) and the modern ones as well (Makanin’s Underground or Bulgakov’s The Master and Margarita) etc. In this post-modern age of void, Pelevin’s characters are torn from reality, suffering a personality and identity crisis, as the one of post-soviet Russia. In fact, this crisis is illustrated through an schizophrenic character, with a the divided self, that lives both in present and during the Civil War in 1919, but most certain in his own world – called inner Mongolia. Considering the postmodern context, we remark that Pelevin’s Chapayev seems to be constructed based on Baudrillard “logic of simulacrum”, where all the narrative’s borders are broken and the temporal status of the novel is “amorphous, discontinuous and fragmentated”. Chapayev and Void is the first Buddhist Russian novel, where the character Pustota (Void) represents the symbol of the narrative, which leads us to the conclusion that „any form is void”.
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In the literary output of the Slovak Modernist authors the period aesthetic universalities of the artistic Modernism, roughly dated 1890-1914, were connected with peculiarities of regional, national literature, traditionally defined by, as well as perceived through the national concept. As a result of predominance of the national aspect in the previous perception of literature, the Slovak cultural environment may have experienced restructuring of values of the period topics, but with a clear subscription to the autonomous character of the aesthetic function of literature and individual creative gesture. Slovak Modernism evinces identifiable thematic resonances and contextual proximities with the contemporary European ideological currents and trends. The authors, Ivan Krasko, Janko Jesenský, Ivan Gall, František Votruba, Ľudmila Groeblová, Vladimír Roy, Vladimír Hurban-Svetozárov, Martin Rázus, Samo Cambel-Kosorkin, Juraj Slávik-Neresnický, abandoned the social-ideological take on literature and undertook to emphasize the moment of intimacy and sensitivity of production, which was perceived as an individual self-expression, escape from solitude, the act of confession, and the outcome of a mood and artistic rendition of a unique moment. The starting point was the feeling of sensual deprivation, failure, disappointment, loss, intellectual distress, and crisis. The perception of crises became manifest in vacillation between of activity and inertia, harmony and chaos. The revived Romantic poetics with impressionist overtones began to appear sporadically around 1900 and after 1905 (the year Janko Jesenský‘s book of poetry, Verše / Verses/ was published), it became widespread, with culmination between 1908-1912. At that point, the revived Romanticism and Impressionism took a noticeably Symbolist turn. The motifs of decadent stylization are relatively rare. The inclination of late Symbolism towards the grotesque (grotesque-carnival) in the Slovak context is suggested by the repeated ironic twist of the texts and perception of life as a farce, carnival or fancy dress ball.
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