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Жизнь в виртуале, или Конфигурация внутреннего пространства в условиях белорусской гетеротопии

Жизнь в виртуале, или Конфигурация внутреннего пространства в условиях белорусской гетеротопии

Author(s): Tatjana Autukhovich / Language(s): Russian Issue: 5/2015

The question that one can ask about the heterotopias space at different levels, including the global, civilizational scope and the necessity of the study of self-perception of the people, who live in the heterotopias space, has been put in the article. The self-perception of the modern Belarusian who lives in the heterotopias space is determined by the “metaphysics of absence” (V. Akudovitch). The various configurations of the internal space demonstrated in the poems of the Belarusian poets of the beginning of the XXIst century have their individual differences, but they all reflect the life outside the boundaries of the real space and they are the variants of the virtual time-space. These are the spaces of the authors’ phantasms created on the basis of the mythical worldview, of the computer quest and oneiric poetics. The escapist in its intention to virtualize the time-space in the modern Belarusian poetry has been determined by the specific conditions of Belarus as the heterotopia of the whole world, and its position between past and future, between earth and sky, between other spaces and cultures. The life in the virtual space evokes the feeling of the real life which has not been lived, of lameness and deficiency. “The crisis of the subjectivity” (A. Gytenev), the loss of his own, the formula “the absence of a man” is typical for the post-modern period, however it is realized as the common state of its inhabitants just in Heterotopia of Belarus. The inconsistency between its own destiny and the historical destiny of the country from one side and The Eternal Book of Being from the other side causes dissatisfaction and forms the strained sensation of “extending” between the earth and sky.

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Мозаика архивных детективов пограничья

Мозаика архивных детективов пограничья

Author(s): Pavel Lavrinec / Language(s): Russian Issue: 2/2018

The review of: Александр Федута. Следы на снегу. Минск: Лимариус, 2018. 328 с.(Библиотека «XIX») / Alexander Feduta. Footprints in the Snow. Minsk: Limarius, 2018. 328 p. (Library "XIX")

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Cienie Franciszka Alachnowicza jako przykład dramatu ealistyczno-symbolicznego

Cienie Franciszka Alachnowicza jako przykład dramatu ealistyczno-symbolicznego

Author(s): Andriej Moskwin / Language(s): Polish Issue: 1/2019

The present article is devoted to the work of the Belarusian playwright Franciszek Alachnowicz. In his work “Shadows” traces of poetic devices can be found. First of all, the author of the article pays attention to the psychology of the figure, the inner life of the heroes, a conflict between consciousness and soul, as the author creates an atmosphere of tension and horror. These features of his artistic style allow him to be counted among the representatives of the „new drama” – an interesting artistic phenomenon in European drama at the turn of 19th and 20th centuries.

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Walżyna Mort ("Do Antygony, depesza", "Scena wojny w średniowieczu")
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Walżyna Mort ("Do Antygony, depesza", "Scena wojny w średniowieczu")

Author(s): Walżyna Mort / Language(s): Polish Issue: 686/2021

Poetry by Walżyna Mort ("Do Antygony, depesza", "Scena wojny w średniowieczu")

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Rzeczywistość sądowo-prawna jednodworców w świetle dzieła Wincentego Dunin-Marcinkiewicza Pińska szlachta

Rzeczywistość sądowo-prawna jednodworców w świetle dzieła Wincentego Dunin-Marcinkiewicza Pińska szlachta

Author(s): Karol Łopatecki / Language(s): Polish Issue: 2/2020

The article presents an analysis of historical and legal reality depicted in Wincenty Dunin-Marcinkiewicz’s work The Nobility of Pinsk. It is the work of utmost importance for the Belarusian national culture, and an outstanding primary source depicting the legal culture of the epoch. The Nobility of Pinsk was written in 1866, and it reflects the situation of the degraded nobility who after 1831 was ranked as the odnodvortsy - ‘owners of one homestead’. They had their own laws and duties that placed them between the dvorians and the peasantry. Despite the text’s form of comedy, the political culture of this class was painted in extremely dark colours. According to Wincenty Dunin-Marcinkiewicz, the judicial and police omnipotence of the land court and local court pristavs was total. On the other hand, the knowledge of law and their liberties among the odnodvortsy was at a very low level. Th e only way for them to settle the case was either through fraud (to bribe witnesses) or through omnipresent corruption. What draws attention is constant reminding of the Third Lithuanian Statute, which - despite being legally invalid for 26 years (1840) - was notoriously quoted in court, for it was regarded as the symbol of the judiciary by the contemporaries. Under the pretence of the cited normative acts which in fact did not exist or did not apply, the problem of non-application of the rules of law in judicial and police organs and far-reaching corruption is emphasised.

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ПОВЕСТ О ТРИШТАНУ И ИЖОТИ: СРПСКА, БЕЛОРУСКА И ПОЉСКА ГЛЕДИШТА

ПОВЕСТ О ТРИШТАНУ И ИЖОТИ: СРПСКА, БЕЛОРУСКА И ПОЉСКА ГЛЕДИШТА

Author(s): Milica Spremić Končar / Language(s): Serbian Issue: 3/2021

The Byelorussian Tristan is a unique Slavonic rendering of the French thirteenth‒century Prose Tristan. It survives in the Byelorussian language, in a single, late sixteenth‒century manuscript preserved at the Raczyński Public Library in Poznan, Poland (MS 94). It is generally accepted that The Byelorussian Tristan stems from a now lost Serbian medieval romance on Tristan and Isolt. Taking into account the Serbian, Byelorussian and Polish views on The Byelorussian Tristan, this paper aims to demonstrate that the Slavonic retelling of the Prose Tristan, like certain other works of Serbian medieval literature, departs form romance and changes into a kind of a ‘feudal epic’, much more appealing to the audience of the period, unaccustomed to the notion of courtly love.

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BAJKE: Вихорови поклони

BAJKE: Вихорови поклони

Author(s): / Language(s): Serbian Issue: 3-4/2021

Belarusian folk tale translated by Dajana Lazarević:ВИХОРОВИ ПОКЛОНИ.

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ОД ПРЕДАКА ПОТОМЦИМА ПРЕДАТО РАДИ САМОПРОСВЕЋЕЊА

ОД ПРЕДАКА ПОТОМЦИМА ПРЕДАТО РАДИ САМОПРОСВЕЋЕЊА

Author(s): Ivan Alexeyevich Charota / Language(s): Serbian Issue: 1-2/2022

ЖИВА ВОДА – белоруска народна предања и легенде, прир. Иван Чарота; превела са белоруског Дајана Лазаревић, Алма, Броград, 2021

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ПРОФЕСОР ДР ИВАН А. ЧАРОТА

ПРОФЕСОР ДР ИВАН А. ЧАРОТА

Author(s): Žarko Milenić / Language(s): Serbian Issue: 1-2/2022

Професора др Ивана А. Чароту нисам имао прилике лично да упознам. Упознао сам га преко неких његових текстова и превода захваљујући вриједној Дајани Лазаревић. Након тога сам добио велику жељу да га сретнем у Београду, Москви или Минску.

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Метафорика и интертекстуальность: ещe раз об изоморфизме и функционировании (на материале русской и белорусской поэзии)

Метафорика и интертекстуальность: ещe раз об изоморфизме и функционировании (на материале русской и белорусской поэзии)

Author(s): Sergei Kurash / Language(s): Russian Issue: 21/2022

The purpose of the study is to characterize the isomorphism of metaphorics and intertextuality and to identify concrete linguistic forms of intertextual metaphors, represented in the language of Russian and Belarusian poetry, mainly of the 20th century. Based on the works of domestic and for­eign scientists, the problem of intertextual and intercultural poetic interaction is investigated. The isomorphism of metaphorics and intertextuality leads to the closest union of these two phenomena; metaphors dialogizing in poetic speech undergo certain structural and semantic changes both within the language of one national literature and in the interaction of different national literary and poetic traditions.The research methods are structural-functional, component, contextual and oppositional analysis.The results of the study. The effect of the tropeic mechanism beyond the source text is re­vealed. Various methods of linguistic realization of intertext dialogue in Russian and Belarusian poetry at the level of the trope (continuation, branching of the metaphorical image, its denial, etc.) are identified and systematized.Conclusions, research prospects. The conclusion highlights the unity of the literary and cultural continuum, within which both traditional and unique, individually authored metaphorical tropes of Russian and Belarusian poets are dialogized. The active interaction of metaphorics and intertextual­ity is largely explained by their isomorphism. The proposed approach can serve as a working model for the study of other elements of the figurative structure of a poetic text as figurants of an intertext dialogue.

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Poetycki model prozy Iwana Ptasznikaua
(na przykładzie opowieści Łonwa)

Poetycki model prozy Iwana Ptasznikaua (na przykładzie opowieści Łonwa)

Author(s): Beata Siwek / Language(s): Polish Issue: 15/2021

This article is devoted to an issue of the poetry of Ivan Ptasznikau’s prose that is illustrated on the example of one of the most significant texts written by this Belarusian author titled Łonwa (1964). The novel is built around historical issues (events from The Second World War and its consequences) and makes a perfect example of a conscious creation of a narrative language, dialogues and characters’ monologues on a strategy basis and techniques typical of poetic texts. It is proved not only by countless metaphors and comparisons, behind which the author was hiding a painful wartime reality but also by excellent syntax organisation that brings out new semantic spaces of the piece. Ivan Ptasznikau mixes various types of repetition (anaphors, epiphors and concatenations) within relatively short sections in an incredibly skillful way and uses sound values from the repetitiveness of letters and syllables (their multiplications or prolongations), thanks to which he creates a very suggestive space, saturated with colours, sounds and smells that are used not necessarily as a background for characters or events but as a means to shape senses and meanings that emerge from the plot. What is particularly interesting is the fact that he combines a narrative level with a feature level by using sound and rhetorical devices and a peculiar linguistic and stylistic over–organization. Particular words, recurring phrases and systematically recurring strategies and syntax tricks (especially those that form the so–called poetry of atmosphere) bond these two levels together, broadening the interpretation field of the whole piece.

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Aspects of Belarusian Verse Parodies

Aspects of Belarusian Verse Parodies

Author(s): Arnold McMillin / Language(s): English Issue: 64/2021

Present since the beginnings of modern Belarusian literature along with the adjoining genres of satire and disguise, parody became particularly relevant at the end of the 20th century. Among the most widespread parodic themes in contemporary Belarusian literature are the dreamlike experiences of the past, rejection of the fashions of the present, patriarchy, feminism, the role of women as companions and as obstacles for men, imaginary relationships with great writers of the past, sacrilege, too many 'ordinary' poets, love between passion and comedy, alcohol, food and parasitism. Also prevalent are themes such as self-satisfaction, the professional ambiguity of literature, poetic writing, often implying that the latter must be abandoned, as well as prosody, the privilege of travelling abroad and, finally, obscurity and incomprehensibility. No Belarusian writer is too important to do without parody. Ryhor Baradulin, not mentioned here, Uladzimir Njakljaeŭ and Ales' Razanaŭ were not spared from parody, sometimes successfully, sometimes less so. Humour touched the great poets and the weaker ones alike. It is difficult to say whether this is to be read as a sign of maturity in literature, as some have argued. It is certainly not the victims or their executioners who will say.

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Dmitrij Strocev e la resistenza della poesia

Dmitrij Strocev e la resistenza della poesia

Author(s): Giulia De Florio / Language(s): Italian Issue: 64/2021

This article is devoted to Dmitry Strocev (Minsk 1963), one of the major voices of Belarusian poetry in Russian. The investigation begins from the political and cultural context in which Strocev develops his vision of the world and of art, namely the multi-faceted world of Belarusian dissent in the second half of the 20th century. Particular attention is devoted to two personalities who have been fundamental for Strocev: Kim Chadzeeŭ (Kim Chadeev), the driving force behind the “second culture” of Belarus, with whom Strocev comes into contact at the beginning of the 1980s, and Veniamin Ajzenštadt (known by the pseudonym Blažennyj), with whom he shares the same artistic and existential tension, which takes the form of an open dialogue with God, but imbued with concrete reality. The poet becomes an “apostle of things”, in a vision that never separates the transcendent from the immanent and finds in the mythical vision a key to interpreting the history of his country. After identifying the main sources of Strocev's poetry, the article briefly traces its evolution, from the first collections, influenced by avant-garde experimentation and Moscow conceptualism, to the last poems, in which the poet explores new genres and introduces elements of surrealism into the chronicle of everyday life. The last part of the article is dedicated to Strocev’s most recent production, the “protest poems” (protestnye stichi) first published on Facebook, and then translated into several languages (Ukrainian, Polish, Lithuanian, Italian, German, Swedish) through which Strocev gives testimony to the most recent history of Belarus in revolt. The aim of the article is to present the figure of Dmitrij Strocev within the context of Belarusian poetry in Russian, highlighting the sources, themes and language that the poet uses to communicate his view of the world and to express through art his opposition to Lukašenka’s regime.

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Al'herd Bacharėvič's Sabaki Ėŭropy: A Belarusian 1Q84?

Al'herd Bacharėvič's Sabaki Ėŭropy: A Belarusian 1Q84?

Author(s): Tomasz Dominik Kamusella / Language(s): English Issue: 64/2021

The article presents a reflection on Dogs of Europe (2017), the major work of Al'herd Bacharėvič, a reflection that opens with an introduction to the author's biography and literary career. Both developed intertwined with the history of today's late Soviet, post-Soviet democratic and authoritarian Belarus and the fate of the Belarusian language, suppressed in the Soviet Union, revived in the first half of the 1990s and now marginalised again. This novel is as much about the present moment and future of Belarus and Belarusians as it is about the Europe of individual freedoms and its antithesis in the form of the authoritarian Russian Reich. The Belarusian language and the ability to make individual choices are indicative of democracy and civil liberties, which are completely suppressed in today's Belarus and Russia.

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Dmitrij Strocev, Terra sorella; Dmytro Strocev, Pyl, sčo tancjuje; Dmitrij Strocev / Dzmitrij Strocau, Bela-rus ’ oprokinuta / Belarus ’ perakulenaja

Dmitrij Strocev, Terra sorella; Dmytro Strocev, Pyl, sčo tancjuje; Dmitrij Strocev / Dzmitrij Strocau, Bela-rus ’ oprokinuta / Belarus ’ perakulenaja

Author(s): Alessandro Achilli / Language(s): Italian Issue: 64/2021

Reviews of: 1. Dmitrij Strocev, Terra sorella. Trad. e cura di Giulia De Florio. Valigie Rosse, Livorno 2020, 122 pp. 2. Dmytro Strocev, Pyl, sčo tancjuje. Duch i litera, Kyjiv 2020, 128 pp. 3. Dmitrij Strocev / Dzmitrij Strocau, Bela-rus ’ oprokinuta / Belarus ’ perakulenaja. Trad. di Andrej Chadanovic. Novye mechi, s.l. 2021, 131 pp.

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Війна як повсякденність у „Відлунні світу” Саломеї Русєцької де Пільштин

Війна як повсякденність у „Відлунні світу” Саломеї Русєцької де Пільштин

Author(s): Ihor Nabytovych / Language(s): Ukrainian Issue: 10/2023

The memoirs of Salomea Regina Pilsztyn née Rusiecka can be called a Baroque novel and, at the same time, is a remarkable monument of Belarusian and Polish literature. The work is a vivid manifestation of the self-identification of the author, who not only tries to see her life path in the context of her contemporary era but also records the memories of her life, recording the movements and experiences of her own soul. Here, the memoir genre gradually begins to dissolve in the narrative strategies of a prose work. War should be considered in memoirs as an artistic image and a phenomenon of everyday life. The discourse and historiosophy of the image of war as a history of everyday life in the memoirs of Salomea Rusiecka become the heart of his narrative strategies. War is one of the most important artistic concepts of this work. The poetics of the image of war in the text is based on a realistic presentation of events and details. War, captivity and death, blood, and suffering in the memoirs of Rusietska de Pilschtyn appear as indispensable and integral details of the history of everyday life of people and peoples of the Baroque era.

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Поэт в «малом» и «большом» времени. Творчество Олега Минкина

Поэт в «малом» и «большом» времени. Творчество Олега Минкина

Author(s): Siergiej Kowalow / Language(s): Belarusian Issue: 1/2022

In the context of the ideas of the Russian literary critic and philosopher Mikhail Bakhtin about the “small” and “great” time of a work of art, the article examines the work of the famous Belarusian poet Aleh Minkin (born in 1952). Analyzing the poems of Minkin from the poetry collections of Surma (1985) and Raskolina (1991), the author of the article comes to the conclusion that Minkin’s poems, which arose in the context of a “small” time (the biography of the poet, the history of Belarus at the end of the 20th century), still remain relevant in the thematic and ideological aspect (national revival motifs, dreams of freedom and true independence of the native country), and thanks to the deep rootedness in the literary tradition, intertextual connections with the masterpieces of world literature (Dante’s Divine Comedy, Edgar Allan Poe’s Raven, Maxim Bahdanovich’s Chase, etc.), the perfection of the artistic form strengthen their presence in “great time”: they are being republished in collections of selected works of the poet, collective anthologies, influencing the work of other writers and, before our eyes, becoming classics of Belarusian literature.

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O poczuciu tajemnicy i dylematach gatunkowych w obrębie kategorii konfesyjności w prozie Swietłany Aleksijewicz Czarnobylska modlitwa. Kronika przyszłości

O poczuciu tajemnicy i dylematach gatunkowych w obrębie kategorii konfesyjności w prozie Swietłany Aleksijewicz Czarnobylska modlitwa. Kronika przyszłości

Author(s): Anna Stępniak / Language(s): Polish Issue: 38/2022

The article refers to Chernobyl prayer, the documentary prose of Svietlana Alexievich. The aim of the article is to draw attention to the presence of the genres of confession and prayer in the reportage. They are used by the interlocutors, who entrusted the journalist with their accounts of the traumatic experiences in connection with the Chernobyl nuclear disaster in 1986. The author focuses on showing various features of both genres (intimacy, familiarity, discretion) and describes them with the perspective of an average person who unknowingly and instinctively searches in them for answers that medicine and science cannot give. Alexievich’s reportage describes the loneliness of an individual in the face of events that most ignore in silence, while their participants remain helpless and mutilated for life.

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Białorusin? Rosjanin? Homo soveticus? Problem tożsamości narodowej w dramatach Maksima Dośki

Białorusin? Rosjanin? Homo soveticus? Problem tożsamości narodowej w dramatach Maksima Dośki

Author(s): Anastasia Gulina / Language(s): Polish Issue: 7/2023

Since the beginning of the 21st century theatre, and to a greater extent modern drama, has been performing journalistic functions due to the absence of independent media in Belarus. The article analyzes the work of the Belarus playwright Maxim Dosko (Radio Kultura, London) from the national identity manifestation point of you on his characters, in order to understand how this category functions and develops in the conditions of bilingualism, and how it is influenced by post-colonial mental phenomena. The heroes of Maxim Dosko’s plays are ordinary residents of the Belarusian province or the suburbs of Minsk, unconsciously looking for answers to the most important questions related to mentality and identity. At the same time, they are characterized by the absence of cultural traditions and even ignorance of their native language. Using an interdisciplinary approach, the author analyzes the self-identification of the heroes of the young Belarusian drama, asking whether they feel like representatives of an independent state or whether they still function in the homo soveticus model presented in Svetlana Alexievich’s book Secondhand Time: The Last of the Soviets.

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Развітанне з радзімай. Pаэзія Алега Мінкіна перыяду трансфармацыі

Развітанне з радзімай. Pаэзія Алега Мінкіна перыяду трансфармацыі

Author(s): Siergiej Kowalow / Language(s): Belarusian Issue: 7/2023

The article deals with the poetry of Aleh Minkin (born in 1952) of the period of transformation: poems written in 1991-2016. in Vilnius and Moscow, after the departure of the poet from Belarus. In addition to changing the place of residence, Minkin’s work of the late period was also influenced by important historical events: the transformation of Lithuania, and then Belarus into independent states, the first presidential elections in Belarus and the coming to power of Alexander Lukashenko, the fiasco of the Belarusian national revival, strengthening the colonial dependence of Minsk on Moscow, turning Russia and Belarus into totalitarian states. Poems from the collections Pyenaty (2007) and Myanye tut nye bylo… (2018) are analyzed in a biographical and socio-political context. The main direction of the poet’s creative evolution is determined: from neoclassicism and neomythologism of the early collections of Surma (1984) and Raskolinа (1991) to the lyrics of direct experience and metaphysical poetry of the late period.

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