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Poems by Erika Bíró - "Statiszta", "Takarásban", "Fel se néz", "Bodzaszag".
More...Dvakrát dva překlady téhož textu do češtiny v 16. století
This article analyses translations of Ep. 5,27 by Marsilius Ficinus (Veritas de institutione principis): the work of an anonymous translator (perhaps Ř. Hrubý) and a later translation by O. Velenský. The article also analyses translations of Historia Bohemica by Aeneas Silvius (M. Konáč, 1510, and D. Adam, 1585). The translations are compared with their Latin originals and with each other: the translators’ strategies towards the intended readers are identified, as are the relations between the later translations and the earlier ones. The first Ficinus translation simplifies the ancient realia, avoids Latin infinitive constructions and translates some words with two expressions (multiplication). Velenský imitates Latin grammar in Czech. Konáč adheres to the verbum de verbo method, but substitutes words considered critical by Utraquist readers. Adam translates faithfully, but like the first translator of Ficinus, he uses multiplication and explicates within the translation. The translation style for the more literarily challenging texts is influenced by the translators’/publishers’ estimation of the readers’ skills (this expectation was lower for the vernacular text than for the Latin one).
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Poems by Tomasz Rozycki - "Entropie", "Un milion", "Coada", "Paradox", "Epilog", "Din funingine și cenușă", "Timpul", "Pe masă", "Întrebare", "Omul", "Pământul", "Plastisfera", "Dumnezeu", "Incarnare", "Dragoste", "Cădere", "După-amiaza crește".
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Poems by Andreea Militaru - "Amanta lui Dumnezeu", "Învierea din Casa Morților" / Anca Boldea - "Viețile noastre", "Eternă", "La ceas de seară"/ Adrian Alui Gheorghe - "Un fel de geamăt, un fel de țipăt (fragment)".
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Orientalist literature has long and continuously dealt with Kipling’s novel Kim, published in 1901, after which the author’s commitment to India and at the same time to British colonization provided an excellent opportunity. It is no coincidence that its 1987 edition was prefaced by Edward Said himself, who provoked much controversy with the new definition of the concept of Orientalism. While a number of studies and books have analyzed the historical, political, or artistic dimensions of the novel and the role of the real people depicted in it, it is only a recent development that one of its fundamental backgrounds, Buddhism, has been examined. The study attempts to circuits the question of whether Kipling’s novel can be understood as a Buddhist fable that takes place between the key concepts of samsara depicting the cycle of rebirth and the liberation from it, the nirvana.
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Travelogue by Milo Jukić: "VALPOVO: POKRAJ KARAŠICE SELO MALO"
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Travelogue by Slađana Jovičić: HOĆE LI NAM U NEKOM DRUGOM GRADU BITI BOLJE?
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Mathnawi, one of the most important works of Mevlana, has attracted great attention from both the Mevlevi circles, other sects shaped by mysticism, and social layers with different intellectual structures in the society, since the date it was written. The tradition of advice has an important place in Mathnawi, where Mevlana tries to guide the individual and society to the right path based on religious arguments. Mathnawi has been translated and annotated many times since most of its couplets are covered with symbols, have a closed expression, and are written in Persian. Muinîddîn b. Mustafa tradition of annotating Mathnawi in Turkish, which started with the Mesnevî-iMurâdiyye written by himself in the 15th century, continued until the 21st century. The fact that Mathnawi has a deep layer of meaning, especially originating from Sufism, prevented it from being easily understood by the public. For this reason, some well-educated intellectuals of the period, assuming the identity of commentary, wrote Mathnawi commentaries to make Mathnawi more understandable in society. Of course, commentators have benefited from many sources for these activities due to the difficulty of the existing text. The first reference sources of commentators who grew up in a cultural world shaped by Islamic values and the perception of the mystical world were, of course, religious sources. Dictionary and grammar books, Mathnawi commentaries made by other authors, non-religious poems, history, biography, etc. different sources written in many fields enriched the commentator's world of interpretation and thus offered him a broader perspective.
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This text presents methodological ideas in literature for specialized training in high school. The subject of the methodological strategy is the Bulgarian Nobel Prize winnerElias Canetti, born in Ruschuk (Ruse). The presented innovative ideas are intended for two modules: dialogical readings and critical thinking.
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The article talks about the transition from reading fiction on screen to teaching literature through the screen of online educational platforms. The peculiarities of "vertical" screen reading do not lead to durability and depth of reading, but it saves time and allows for multiple returns to the text. Constructive changes as a result of online learning are mainly related to the acquisition of new digital competencies for teachers and students, which support in different ways the reading and understanding of fiction. This opens the prospect of hybrid education with the best of face-to-face learning and the effectiveness of distance learning.
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Euripides’ tragedy Iphigenia in Tauris is an interesting combination of something that today’s theatre-goers would describe as being a classic horror play based on the motif of a childhood trauma (on the one hand) and – on the other hand – a cleverly designed metatheatrical study of how the mechanism of (Greek) tragedy really works. The terrifying, cruel and murder-obsessed Iphigenia is at one and the same time a wronged, unhappy child imprisoned in the body of a grown woman. She struggles with her pain by re-enacting her own unaccomplished murder in a sinister „theatre within a theatre”, i.e. in the temple of Arthemis, where – among macabre decorations made from remnants of the bodies of those Greek sailors that she has slain so far – she ritually kills any further newcomers from her homeland. An unexpected visit by her brother Orestes proves to be an effective remedy for Iphigenia’s distress. In this play, Euripides not only enables his audience to achieve catharsis, but also – through metatheatrical means – shows us exactly how a human mind is purged of dangerous emotions: as soon as Iphigenia stops concentrating on her own pain and starts to sympathize with Orestes, her mind is cured, and she is restored to a state of happiness. At the same time, the audience – who sympathize wih the characters – also feel a sense of relief. Iphigenia in Thauris is therefore a play within a play that shows us how a good tragedy works.
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This monologue-like poem or poem-like monologue about the vulnerable borderline existence of refugees, written by the award-winning Iraqi short-story writer and filmmaker Hassan Blasim, sheds light not only on the human dramas behind manipulative newsfeeds and statistics, but also on the hypocrisy of European promises of freedom and equality.
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