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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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Literature can be one of the important factors in raising environmental awareness and educating the youth. The paper starts with the assumption that reading fiction with environmental content encourages care for the environment, emphasizes the need for proper management of natural resources, develops love for nature and every living being, as well as implies awareness of ecosystem preservation. Through an appropriate analysis of Macedonian children's literary works that deal with environmental topics (eco-awareness, eco-education, pollution, natural environment, protection of animal species, eco-activism) we come to certain conclusions about the quality, shortcomings and the state of eco-awareness among the children's population in Macedonia. More specifically, the paper will analyze children's science fiction novels: "Planet Octaltz" (1988) by Liliana Beleva (dedicated to an ecological cataclysm); "The Adventures of Marko and Damjan" (2005) by Mirko Zafirovski (who initiates the search for an unpolluted planet). Then, we shall focus on the youth novel "Poplars at the End of Grandfather's Meadow" (2001) by Bistrica Mirkulovska (as an illustration of school ecoactivism); the children's novel "Kinder Kvacka" (1999) by Kiro Donev (through which children can properly and unobtrusively learn about environmental content from an early age); the novel "Professor Ednokamchev" (1999) by environmental activist Mimosa Ristova (dedicated to the problem of the survival of wild bears) and finally the eco-novel "Green Story" (2008) by Zvonko Sharevski (which deals with the problem of forced reclamation).The performed analysis revealed the problems of insufficient representation of children's environmental literature in formal education, use of literary forms not adapted to the age of children, as well as inadequately processed contents.This paper was aimed at discovering how the analyzed literary works reflect the relationship of man to the environment in which he lives, highlighting the importance of environmental topics for humanity. All of this is done with one basic goal to initiate the need to create adequate eco-literature in Macedonia, which will lead to changes in the overall attitude of society towards nature.
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Water. Interview with poet Balázs Szálinger, by Papp Attila Zsolt.
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Poems by Fanni Horváth - "Megadás egyszer", "Óvatos pillantás Délre", "Várni befogott szemmel", "Alapvető kölcsönhatások".
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Poems by Adrián Bene - "HP-hungarocell", "kikötni valahol", "rossz passz", "kétértelmű labirintus".
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Poems by Attila Papp-Sebők - "(feltárás)", "(távolabbi tartományok)", "(perem)".
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Poems by Mihai Marian - "1983", "amíg te (în timp ce tu)", "homokba rejtőző hal (un pește care se ascunde în nisip)", "sóvárgás mozgás és elevenség iránt (tînjind după mișcare și viață)", "TNT", "pavor nocturnus".
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A fragment of a play written by Szűts István, Bella István, Seregi Zoltán, Zalán Tibor - "Drakula-Fantázia".
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Though imitation had always been an acknowledged process of poetic creation, and as such it had played an important role in the Persian classical poetic tradition, the popularity of composing poetic replies (javābs) to well-known or otherwise interesting ghazals significantly grew in the 15th century. Many of Mīr ʿAlī-šīr Navāyī’s (d. 1501) Persian ghazals are poetic replies inspired by poets whom he respected. Two of these are javābs written to the ghazals of his contemporary Niẓām ad-Dīn Aḥmad ‘Suhaylī’. Based on unpublished manuscripts of Navāyī’s and Suhaylī’s collections of poems, the present article examines these two imitation ghazals and their models. It can be said that though all the poetic replies of Navāyī preceded by the heading tatabbuʿ-i yār-i ʿazīz are javābs were earlier suggested to have been inspired by ghazals composed by Suhaylī, only two of the model poems were found in the unpublished manuscripts of Suhaylī’s dīvān. The comparative analysis of the model poems and the poetic replies suggests that Navāyī’s javābs were composed to express the author’s respect to his friend whom he considered a talented poet.
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