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The article deals with peculiarities of the development of Ukrainian and Belarusian children’s literature in the postcolonial period. The research history of children’s literature within the field of comparative studies is analyzed. The evolution of investigation approaches in relation to the children’s literature phenomenon at the end of XX – beginning of XXI century is examined.
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In the article conditions and factors of onthological and aesthetic discourse in the works of a well-known modern Belarusian poet in Poland Ian Czykwin are analyzed. The author validates the question concerning the status of the lyrical hero as a polemical answer to limitations and aggressiveness of an official discourse. She also emphasizes that a discoursive broad-range analysis requires texts written by other representatives of philosophical poetry, which guarantees reflections on the phenomenon and explanations of the specific features of aesthetic strategies used by the author of the Polish-Belarusian border.
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In the article the results of the analysis of the avant-garde and neo avant-garde tendencies in the lyric poetry of Belarusian poet Ales Navrotsky are presented. The transformation of conventional language in literature, techniques of increasing intellectual significance of poetry, and developing wording are also discussed. Very often Navrotsky’s poetry is based on playful approaches, experiments with sounding of poetic texts, additional attention to the rhythmic capabilities of free and accentual verses, nontraditional rhythm formats, internal harmony of words, and attraction to grotesque and absurd.
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According to the analyzed examples the artistic image of Kostyushko has been widely used as a concept by Belarusian poets and translators since the 19th century. They broke with this tradition in Soviet times. The image of the hero functions as a symbol in the cultural and historic discourse of Belarusian poets. The patriotic feelings are of Lithuanian-Belarusian nature without the division into Lithuanian or Belarusian type. The presence of various historical periods on the territory of modern Belarus has been emphasized.
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Belarusian literature of the interwar period reflected such an important issue as the interpretation of scientific and technological progress in an opposition to civilization and culture in theoretical and literary texts. This topic in the article is discussed from the point of view of both actual philosophical context and aesthetic quest. We are talking about the original theoretical development of Belarusian intellectuals of the early twentieth century as well as considerable importance and mastering of foreign experience because 1920s and 1930s witnessed an increased attention to various aspects of the topic in Belarusian humanistic space. This was due both to general tendencies in the European philosophy and art, and to the fact that after the victory of the Russian Revolution of 1917, publications of the 1920s called to create a new type of culture. The analysis of literary and cultural texts of E. Borichevsky, P. Dvarkevich, A. Babareka, T. Klyashtorny and other authors enables to conclude that the context of Belarusian literature and culture of the 1920s and 1930s reflects not only the high aesthetic level of poetry and criticism, but also the desire to comprehend most significant problems of human existence and complicated relations between civilization and culture.
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Topos of home is one of the main elements of the artistic picture of the national reality in the Belarusian poetry of the early 20th century. Increased interest in topos of home results from the revival of Belarusian history and culture. On the subject-shaped level topos of home is represented by a peasant house, on the semantic level – metonymically correlated with homeland. Topos of home is represented by the opposition home–anti home, a fellow countryman–a stranger, the living–the dead. In Belarusian poetry home represents moral and material values.
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The article deals with the identification of the topos of home as fatherland in the works of outstanding Belarusian women poets in the second half of the 20th century such as Eugenia Yanishchits, Nina Matyas and Raisa Borovikova, who are natives of a separate region of Belarus – Polesie. Semantic content of the topos has been discussed and comparative analysis of its identification in women model of the world based on their lyrics has been made.
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One of the aims of many non-governmental organizations, foundations and societies in Poland is to promote modern literature of Central and Eastern Europe, including Belarusian literature. Eastern Europe Collegium founded in 2001 by Jan Nowak-Jeziorański is actively involved in education, culture and publishing. The foundation publishes the books, CDs and DVDs in various languages, including the Belarusian language. The article presents a series of Belarusian books translated into Polish published by Jan Nowak-Jeziorański Eastern Europe Collegium Publishing House in 2006–2011.
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In the focus of the article are the plays of Belarusian playwrights belonging to elder (A. Dudarev, E. Popova, A. Delendik, S. Bartokhova) and younger (N. Orekhovsky, D. Balyko, K. Steshik, D. Bogoslavski, P. Pryazhko) generations, who problematized the future of their heroes. The article identifies different models of percepting future by the post-Soviet man of the future: the idea of a “bright future”, admits the link between the past – present – future, the location of consciousness in the present, the eschatological vision of the future. We determined the authors’ aesthetic strategies of their realization at the level of a character and a chronotope, that allow typological parallels with Russian drama (E. Popova – “a new wave”, D. Balyko, K. Steshik, D. Bogoslavski – “a new drama”).
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The article is devoted to the analysis of Yanka Luchina’s (Jan Niesłuchowski) oevure, one of the representatives of Belarusian literature in the 19th century. Special attention is focused on the contribution of “Akwarelki myśliwskie z Polesia” in the development of the author’s Belarusian national idea. This literary work is considered a saga of the Belarusians. The poet’s posthumous works with their themes and problems reflect mentality of the Belarusian people on the turn of the 20th century. The main idea of the poet’s writing is based on the assumption that Belarusian character is revealed in the style people live, their inner world and perception of reality.
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On the basis of the analysis of the letters of Vladimir Naklajev to his wife, Vola, the author con- cludes that the linguistic forms used in the letters serve the function of conceptualisation of the emo- tions of their author. In fact, they are an example of ego-documents that represent the self-perception and interpretation of a particular political event in Minsk in 2010, through which the Belarussian poet, Vladimir Naklajev, verbalises his personal accounts of himself, events and other people linked with these events in the Belarussian capital. It is worth pinpointing that the language of the letters has a specific emotional climate that changes in accordance with events, situations and people, to which their author refers. The properties of the linguistic code of the letters allow to understand them as texts that symbolise the personal senses of their author.
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In der vorliegenden Studie wurde gezeigt daß die Weißrussische, Russische und Mordwinische Überlieferung von der Einladung an Gott (Bog, Dobro, Raj, Sparyš, Škaj-paz), das Haus zu besuchen, mit der lettischen Überlieferung vom mythischen Helden Jumis, der in der Erntezeit durch sein Treiben eine reiche Ernte sichern soll, eine Einheit bildet Ebenso wurde auf die auffallende Parallelität mit dem von R. Katičić rekonstruierten urslawischen Mythus vom Ins-Land-Kommen des (grünen) Georg hingewiesen und eine mögliche Interpretation des mythischen Inhalts des auf den Ackerbau bezogenen Zyklus der slavischen folkloristischen Überlieferungen dargeboten. Es erschließt sich eine dramatische Biographie eines mytischen Helden (Sohn des Donnergottes) die von seiner Geburt am Jahresanfang (als Božić, "kleiner Gott") als der von den Seelen der Verstorbenen (der maskierten Umzügler, koledari) in das immergrüne Reich jenseits des Meeres entführt wird, Uber seine Rückkehr im Frühling als Juraj/ Jarylo der, unerkannt, seine Zwillingsschwester Mara ehelicht, weiter über seine Untreue und die Rache die ihn erreicht (nun als Ivan, Ivo ), über sein Treiben am Feld und die Heimbringung in Form der letzten Garbe oder des Erntekranzes (Sparyš, Jumis) bis zu seinem letzten Erscheinen am Jahresende als der alte Großvater (dedo, did, diduh ) der im Feuer verbrannt wird, hinreicht.
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Belarusian poetry is defined by the presence of many common worldwide literary archetypes: the House, the Stranger, the Boundaries, the Transformation, the Sacrifice, and others. It is believed that in poetic works of J. Czykwin one archetype often means an emphasis of the other. A combination of several archetypes is clearly manifested in the verse, the primary basis of which serves a daily human life and its surrounding reality. The image of the House in the works of J. Czykwin is conceptually multidimensional, emotionally and spiritually rich, full of ontological content. J. Czykwin’s poetry embodies a unique spiritual experience, national cultural code of the Belarusian people, which occurs through the use of archetypical images and motives inherent to the Belarusian culture.
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Literary creation of Belarusian writers in Bialystok region is an integral part of modern Belarusian literature. In fact, its existence contributes to the creation of multiple polarity and decentralization of the literary process necessary to complete the development of our literature. And its further development can be considered a continuation of earlier processes, which applies to Nadzeya Artymovich’s interesting poetry. The article examines the possible points of contact between Nadzeya Artymovich’s poetry and the poetry of Western Belarus, of Natalya Arsennyeva in particular. The analysis is based on both literary studies and the original texts, The author concludes that such features as individualism/isolation, existential motives, the theme of the poet and poetry, and reserved patriotism are connected with general typological coincidence or “typology of thinking”.
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