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The pamphleteer string of Eugen Jebeleanu's lyricism vibrated especially in the poems from the volume "Songs against death" (1963) and in the second cycle, "Civil Parables"of the volume "Hanibal" (1972). Jebeleanu, a militant poet, led a bitter fight against any injustices. He was mastered by a high senseof responsability before humanity. Jebeleanu, for whom "the grief of spirit is deeper than that of bones", rised firmly against war, which never won during the history.
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In 1919, at the beginning of the inter-war era, a series of academic protests at the Faculty of Letters were the highlights of the year. The reasons behind them were of an accusing nature and were acknowledged as the basis of administrative dealings according to the military commitments during the conflagration. The stake of the conflict was the attempt to suspend the professor Ilie Bărbulescu, who had had a pro-German attitude during the war, from the education system. The interest of the group which initiated the suspension proposition was triggered by the new context at the end of the conflagration, in which the winners aimed at obtaining rewards and punishing the `traitors`. As a result of having supported the official line of the Romanian state, the professors O. Tafrali, I. Găvănescu and I. Ursu sought, upon their return from their academic mission in Paris, to increase their influence within the Faculty. The academic staff around the Germanic philology professor Traian Bratu, though, understood that accepting Bărbulescuřs suspension would constitute important leverage for the professors returning from Paris. The moral primacy, claimed by the Paris professors, who were after a new power dynamic within the Faculty, was at stake. The opposition shown towards Bărbulescuřs suspension was meant to salvage several hierarchical positions, as the group seconding the accused professor struggled to maintain its primacy in managing the facultyřs decision-making processes. In the collective memory of the nationalist students, December 10th was instrumented as a founding event and perceived as a moment when the studentsř wishes expanded beyond the university environment (heating, scholarships), becoming an issue of national interest. The context of the conflictřs outbreak was set up. Between 1921 and 1922 there was an open conflict between the rector Traian Bratu and A.C. Cuza starting from the fake diplomas issued by the Faculty of Law. The Rectorate, as well as the Faculty, requested that the Ministry intervene to mediate in the disagreement. The central institutionřs indecision contributed to the lack of involvement of the two Iaşi University bodies in the case of the student acts of violence. With this background, nationalist students got a green light imposing their anti-Semitic program and blocking the Universityřs functioning.
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The purpose of the hereby study is to illustrate the significance of this genre starting from the definition of the epigram and also to present the significance of this issue and the interest of a large number of Romanian epigrammatists towards this literary field. For this purpose, I considered it necessary to briefly mention some aspects related to the Greek origin and to the evolution and the characteristics of epigrams in order to highlight their effect on Romanian epigrammatists. The thematic diversity of epigrams is the clearest evidence of the deep thinking and ingenuity belonging to the epigrammatists who appeal to the entire range of the comic in order to infiltrate, directly and immediately, into the reader's consciousness and to open doors towards dialogue.
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The present paper focuses on the idea of highlighting the fact that Lucian Blaga's concern to write poetry and philosophy, corollary his talent, enthusiasm and passion for reading is accompanied by his inclination for the art of translation and especially that from German poetry. I have also identified and traced the German direction within the poet-philosopher' development, considering Schiller as a "spiritual allodium intended for him."
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The calendar symbolism is always a component of the artistic message of the author (usually by filling in the dates of the Orthodox calendar). Although the time in Boratynsky's poem Eda is poetically clichéd, some folklore meanings still can be traced in the sensual atmosphere of the “magical” spring. In all three poems the author demonstrates the destructiveness of love passion in the destiny of the heroines. In the romantic poems Eda and The Ball the theme of love temptations is developed by contrasting motifs of darkness of the night and glowing “light” of the romance. At a decisive moment for the heroines the artifact of the Orthodox culture presents a certain barrier from the fatal step, a reference point in attesting the Truth. As the logic plot of the examined poems indicates, the possibility of happiness in the life tainted by the sin is negated in Boratynsky's artistic world. The poetics of night determines the dynamics of the poems Eda and The Ball. A calendar way of thought characterizes the large epic genres and organizes the plot of Tsyganka (The Gypsy) (Easter, July, the Christmastide fun and the Eve of Lent), which is a kind of attempt to the author's “eclectic” novel in prose. Boratynsky diverges from literary and cultural traditions not only in the development perspective of a romantic plot, but also in the semantics of winter and blizzard.
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The paper attempts to analyse some of the specificities and techniques in the production of book trailers. Special attention is given to their relation with e-games and comic books. Book trailers have the flexibility to unite the narrative features of literature, theatre and cinematography with the interactive possibilities of virtual reality, thus intertextuality becomes one of their characteristic features. They form links and interactions that lead to the development of new, syncretic art forms. The study also elaborates on the various narrative positions that the book trailers use to develop their narratives.
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The paper offers a possible literary-historical and semiotic-culturological interpretation of the image of the Dervish in the Bulgarian literature, an image that is exotic, mysterious as well as intriguing in its foreignness and otherness. The focus of the analysis is on the point of view of Hristo Brazitsov – a writer and a journalist, who is spiritually attached to Istanbul, the Orient and the ritual traditions of Eastern Dervish wisdom. At the same time, comments made by less familiar authors, such as P. Dachev, E. Mars, D. Bogdanov, and N. Kodov, are also taken into account. Their opinion on the censorship of the ancient Islam practice of the Dervishes-Mevlevi from the first years of the Turkish Republic meets in an interesting way the excitement and denial, the attraction and repulsion of the image of the Dervish in Bulgarian literature and journalism.
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Art is subversive when it crosses the boundary of the generally acceptable, though over time such art can and does become mainstream. A much more complicated question is what is subversive in aesthetics? Ecocriticism has already become, along with ecofeminism and animal studies, an academic discipline. It can be defined as subversive if it is understood in terms of an attitude, which is not anthropocentric. And here is the catch: how can the human also encompass the alien? The question that emerges here is all but rhetorical: how can we decentre and amplify our human consciousness and perspective to include zoocentric, biocentric or geocentric positions? At this point the contemporary theory creates contrasting opinions, which cross the boundaries of aesthetics, poetics and ecocriticism since they reach out to the fields of metaphysics and antimetaphysics. Within the phenomenon of perception the other always appears, as Deleuze said in his Logic of Sense, as “a priori Other”. We have to deal, henceforth, with a kind of pre-reflexive level of consciousness and amplified sensory perception, which, as we know, is the basic condition of artistic creation. Thus, this paper – because it seeks to penetrate into the node of these questions – takes literary art as its starting point. In the spirit of the above-mentioned observations, I have attempted to investigate in ‘minority literature’ (female authors of contemporary Polish and Slovene literature) how this decentred attitude, which Jure Detela, a Slovene poet, poetically defined, corresponds to our thesis on a particular ecocritical stream, which can be defined as an ecofeminist aesthetics. The ‘minoritarian literature’ here is meant exclusively in the sense that was defined by Deleuze and Guattari’s books Kafka and A Thousand Plateaus.
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Raša (Radenko) Livada, rođen u Subotici, 13. aprila 1948. godine. Roditelji Đuro i Branka Livada. Zemun Sremski Karlovci Osnovnu školu „Svetozar Miletić” pohađao (1956–1964) i završio u Zemunu. U Sremskim Karlovcima pohađao i završio Učiteljsku školu (1964–1969).
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Andrea Grill is an Austrian poet and writer. She has published several novels and two volumes of poetry, Happy Bastards (2011) and Safari, inner wilderness (2014). For her work she earned a number of prestigious literary prizes. Her novel The beautiful and the necessary was translated into Russian. Her latest novel appeared in 2015, Dr. Caspari’s paradise (Zsolnay Verlag, Wien). Andrea Grill also translates from Albanian into German. She has lived in Tirana, Amsterdam, Cagliari (Sardinia), Neuchatel and Bologna, and today resides in Vienna.
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Judith Nika Pfeifer is a writer, comunicologist and linguist. She writes poetry, prose and scenic or semi-scenic pieces. Author of the transmedia art projects in Vienna, Berlin, Edinburgh, Montreal, Munich, Rome, New York and Helsinki. Pfeifer’s texts appear in Austrian and German literary magazines and anthologies (kolik, lichtungen, Literatur + Kritik, the gap, Leaf Garden among others). She likes performing, experimenting and collaborating with other artists in search of new possibilities. Recent publications: manchmal passiert auch minutenlang gar nichts / sometimes, nothing happens at all. Vienna: Berger 2015. zwischen. Prosa / between. Short Story Collection.Vienna: Czernin 2014.nichts ist wichtiger. ding kleines du / nothing is more important. thing little you. Wels: Mitter 2012. Her poems have been translated into English, Chinese, Polish, Slovenian, Bosnian, French, Dutch and Italian. Awards and residences: Reinhard-Priessnitz-Prize 2012, Artist in Residence Paliano, Italy 2016. Schloss Wiepersdorf, Germany 2014, Writer in Residence, City of Ptuj, Slovenia 2015, Artist in Residence at Künstlerhaus Villa Waldberta City of Munich 2015.
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