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„Słuchajcie, co wam teraz powiem…” Obsługiwałem angielskiego króla Bohumila Hrabala – fikcja literacka a „historia opowiadana”

„Słuchajcie, co wam teraz powiem…” Obsługiwałem angielskiego króla Bohumila Hrabala – fikcja literacka a „historia opowiadana”

Author(s): Katarzyna Uczkiewicz / Language(s): Polish / Issue: 02/2012

Oral history accounts area natural object of research for anthropologists, sociologists, researchers of cultural studies, ethnologists, as well as psychologists engaged in memory studies. As narratives of experience they became the antipositivist rebellion against the monopoly of major historical narratives that, according to the reflection of the second half of the 20th century, were supposed to lead to the catastrophes of war and genocide. In historiographic research the questioned positivist discourse based on the corresponding theory of the truth has become counterbalanced by the discourse of memory. As a consequence, also in historical research there is noticeable appreciation for other, non-classic, forms of historical narratives which include oral history accounts. What can a researcher of literary fiction contribute to reflections on oral history whose greatest value should be authenticity, this “truth of experience”? To what extent can literary texts in the convention of a narrative of appeal, first-person narrative, monologue (in which crucial roles are played by dialogue, orality and rhetoric of the text) be read in the perspective of oral history? When analyzing I Served the King of England novel by Bohumil Hrabal – author who by default rejects ‘the macrocosm’, the world of great politics, historical necessities, social processes, for the world of microcosm, i.e. a life of each person and what is more, he rejects any need for psychological or sociological (or any other) analysis of this microcosm – one can notice that the dichotomy of literary fiction and the authentic experience of oral history is not that obvious as it may seem. Categories of text, narration and memory, although analyzed from different research perspectives, are common for both forms.

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„Sól ziemi”, czyli tęsknota do eposu

„Sól ziemi”, czyli tęsknota do eposu

Author(s): Łukasz Tischner / Language(s): Polish / Issue: 1/2012

The aritcle is an attempt at interpreting Józef Wittlin’s “Salt of the Earth” in the context of the epic story’s historical semantics and the novel investigated not as much as regards their formal construction but the original connections with the different cultural formations which as superior “macrostructures” define the conditions of the authentic functioning of those artistic forms. In his analyses the author refers to Hegel’s aesthetic views and Lukács’ “Theory of the Novel.” He asserts that Wittlin’s novel is of internally antinomic and intentionally equivocal structure: it is set between an attempt at reviving the epic story as a form that corresponds to “closed culture” and a need to be a novel form peculiar to culture in which “totality of the world” is no longer accessible. It results in the construction of the narrator who wants to be an epic story aoidos but cannot be one in the world alien to him.

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„SPLENDEURS ET MISÈRES“ DER DEUTSCHEN RUMÄNISTIK IN DER GESCHICHTE. EINE FRAGE DER GEGENWART UND ZUKUNFT

Author(s): Luminiţa Fassel / Language(s): German / Issue: 4/2006

Dans son intervention «Splendeurs et misères des études de philologie roumaine ‘dans l’histoire’», Luminita Fassel entend lancer le débat sur l’état des choses actuel et les temps à venir; LuminiŃa Fassel n’a nullement l’intention d’écrire une «histoire de l’enseignement de la philologie roumaine», ni de la recherche pratiquée en Allemagne. Elle est toutefois très inquiète sur l’état de la philologie romane en Allemagne; l’on assiste à une spécialisation pure et simple. Elle déplore la suppression des cours magistraux d’introduction à la philologie romane voire à la linguistique romane.

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„Spotkanie, którego nie będzie”. „Na wierzbach… nasze skrzypce” Juliana Stryjkowskiego
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„Spotkanie, którego nie będzie”. „Na wierzbach… nasze skrzypce” Juliana Stryjkowskiego

Author(s): Grażyna Maroszczuk / Language(s): Polish / Publication Year: 0

Grażyna Maroszczuk’s sketch concerns the migration experience of the writer, whom fateand history sentenced to frequent changes of abode due to political coercion, to the desire to save his life and, in the post-war period, to the cognitive curiosity realizing itself through travel. The experience of encountering the Soviet occupation zone in the East and the American continent in the second half of the 1960s could not remain without consequences for both the subject and for the places, which his imagination was taking possession of. Changes of place turned the writer into a migrant, influenced his way of interpreting reality, showed the complicated issues of identity transformations and auto-identification entanglements inscribed in the story and autobiographical narrative “about encountering” the Other.

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„Steag & Jertfă” – un model diegetic optzecist
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„Steag & Jertfă” – un model diegetic optzecist

Author(s): Ramona Trifan / Language(s): Romanian / Issue: 3/2013

The story entitled Sacrifice & Flag can be considered a successful foray into the history of an ancient custom practiced in Izvoru village, a custom which offers the necessary pretext for the narrative art of the eighties writer Dumitru Ungureanu to be brought forward. The author skillfully uses techniques and procedures specific to the eighties generation, but succeeds not to abuse them in order for the narrative not to be affected. Irony and self-irony, parodic references to other texts, metalepis, textualism, alternating narrators, fragmentation, the theories regarding the autonomy of the text and the disappearance of the author from the text are used by the author in order to construct a text whose still visible fundamental trait is the verb, the saying. The author does not fall into the trap of self-reflexivity and avoids the excessive technicism in time, returning after each temptation to textualize to the lucidity of the one for whom the charm of the writing lies in the dynamism of diegesis. Structurally, the story is composed of three parts, separated by a pause that allows the narrator to express his views on textualism. The last part, linked to the first ones by resorting to the mythical plan, distinguishes from the others by allowing multiple interpretations and bringing forth an extradiegetic narrator. Although published relatively late, in 1999 - Dumitru Ungureanu's story demonstrates the author's affiliation to the eighties generation, the reference to the mythical and fantastic plan being easily traceable in the volumes following to this one. Dumitru Ungureanu's volume reveals an author in his creative maturity, for whom writing equals to rivaling the world and who declares through one character's voice that he writes for the pleasure of writing, pleasure that that he forwards to the reader sublimed without fall in the pleasure to read.

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„STOUPNOUT SI PŘED DĚJINY A STUDEM NEZRUDNOUT“ (OBRAZ EVROPY 30. LET V POEZII OTOKARA FISCHERA V KONTEXTU ČESKÉ LYRIKY TOHOTO OBDOBÍ)

Author(s): Nikola Richtrová / Language(s): Czech / Issue: 4/2006

In Fisher’s lyrical poetry of the 30ies his former motives come to life again – in a sober way and matter-of-factly – both in monumental and song-like form. The author leaves his former literary or historical autostylization and creates scenes and characters symbolizing human destiny in the context of European situation (Peřeje, 1931). In Poledne (1934) he adapts the genre of poetic travel book into poetry with deep reflexive base – unlike Nezval in his avant-garde model of Poetry in Sbohem a šáteček, published in the same year. Also his following books of poetry (Rok, 1935, Host, 1937) reflects rather existential insecurity and anxiety or topics of solitude and death which can be found in works of the poets of time and silence (Hora, Seifert, Hrubín), or so called antipodes of avant-garde (Halas, Holan, Závada, Zahradníček). Fisher’s picture of Europe is more universal, though. It is formed primarily by cultural and historical motives, where the aspect of spiritual values is emphasized. In Poslední básně (1938), published after his death, the theme of complicated identification with native country is completed together with the tragic feeling and responsibility during the time of the national menace.

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„Strieborný vek“ ruskej literatúry. Pojmy a interpretácie
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„Strieborný vek“ ruskej literatúry. Pojmy a interpretácie

Author(s): Soňa Pašteková / Language(s): Slovak / Issue: 1/2012

The article takes inspiration from contemporary Russian theoretical thinking on literary modernism, specifically the aesthetic models of the late 19th – early 20th century Russia, also known as the Silver Age of Russian literature. As recent Russian theoretical writing on modernism suggests (V. Polonskij and others), the determining factors of this period in the Russian artistic and cultural history can be approached from a number of productive positions. Among these are an analysis of the methodological approaches to the historiography of literature of the period, including both the vertical overlaps of modernism and classical literature and the horizontal dimension (the West European backdrop of Russian modernism). In addition to the issues of historiography, there are the questions of the poetics and the evolution of genre (the dynamics of the Silver Age), the terminological ambiguity, the socio-philosophical and cultural context of the era, the dialogic basis of the Silver Age aesthetics. The scholarly reflection of the Silver Age is supported by several relevant principles: comparison with other aesthetic systems (architecture, music, theatre, fine art) and the dualism of socio-historical and cultural developmental models (tradition – modernism, Europe – Russia).

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„Südseetraum“ und Kunsttheorie – ein Streitfall? Die Südsee-Thematik bei C. Einstein und G. Benn im Spiegel ihrer avantgardistischen Poetik...
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„Südseetraum“ und Kunsttheorie – ein Streitfall? Die Südsee-Thematik bei C. Einstein und G. Benn im Spiegel ihrer avantgardistischen Poetik...

Author(s): Matthias Berning / Language(s): German / Issue: 1/2015

This paper intends to show the disillusion of exotic projections onto the South Seas by Bertolt Brecht and Robert Müller, as well as similarities and differences in how Carl Einstein and Gottfried Benn deal with Lucien Lévy-Bruhl’s idea of mystical participation in their writings. Brecht’s early piece of work Tahiti is a metaphor of escapism. Later on in the 1920s the trend towards this motif of the South Seas became a target of satire. Robert Müller’s novella Das Inselmädchen tells us about the failure of trying to understand genuinely the archaic world of the South Seas. Einstein emphasizes the autonomy of primitive art and tries to interpret ethnographically its sculptures. Benn uses linguistic material of scientific books about the South Seas to evoke the transcendent ‘you’ that has been lost in modernism.

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„Svijet je otišao…“ Paul Celan i apsolutno pjesništvo

„Svijet je otišao…“ Paul Celan i apsolutno pjesništvo

Author(s): Žarko Paić / Language(s): Croatian / Issue: 20/2014

U onome što slijedi neće biti riječi o još jednoj interpretaciji Paula Celana. Doduše, bit će govora o jednoj njegovoj pjesmi i održanome zahvalnome govoru povodom dodjele nagrade Georg Büchner 1960. godine. Naziv pjesme je „Veliki užareni svod“, a zahvalnoga govora „Meridijan“. U suvremenoj filozofiji te su dvije stvari“ mišljenja i kazivanja obrađene u različitim prigodama u predavanjima i ogledima Hansa-Georga Gadamera, Jacquesa Derride i Philippe Lacoue-Labarthea, među inim koji su se osmjelili pristupiti tamnoj rijeci Celanova pjesništva. Kada kažemo da neće biti riječi o interpretaciji, tada se pretpostavlja da bi moglo biti govora o nečemu drugome. Interpretacijom se odmotava tekst onoga što je već napisano i ima značajke događaja pisanja. Etimologijski, interpretare upućuje na izlaganje, posredovanje, tumačenje.

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„Szanfary”. Raz jeszcze o przekładach Adama Mickiewicza i Ludwika Spitznagla
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„Szanfary”. Raz jeszcze o przekładach Adama Mickiewicza i Ludwika Spitznagla

Author(s): Paweł Siwiec / Language(s): Polish / Issue: 2/2014

Towards the end of 1820s there appeared two independent Polish translations of a famous qasida “Lāmiyyat al-cArab” ascribed to a legendary “brigand-poet” named Aš-Šanfarā, one of which by Adam Mickiewicz and the other, unfinished, by Ludwik Spitznagel, a young Orientalist, poet, and Juliusz Słowacki’s friend. The two translations competed with each other from the beginning of their composition. Their artistic values were compared and their degree of adequacy to the French philological translation by Silvestre de Sacy evaluated. Mickiewicz’s version was reproached for being a relay translation based on the French text, while Spitznagel, passed as an excellent expert in Eastern languages, was thought to have translated directly from Arabic. To date, no attempt has been made to meticulously compare both translations in respect of the Arabic original. The paper aims to complete the shortcoming.

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„Szczególna manifestacja osobowości ludzkiej”. Tymona Terleckiego rozumienie literatury

„Szczególna manifestacja osobowości ludzkiej”. Tymona Terleckiego rozumienie literatury

Author(s): Andrzej Karcz / Language(s): Polish / Issue: 3/2012

The article presents and analyzes the postwar critical and scholarly activity of the Polish émigré critic Tymon Terlecki, who represented the trend in literary criticism known as personalism. Including journalistic writings, reviews, articles, essays, and books, his rich critical output of the postwar years addressed the issues ranging from the responsibilities of Polish writers in exile, the idea of literature committed to moral and political matters, the poetic works of Kazimierz Wierzyński and Stanisław Wyspiański, to personalistic literary criticism and Christian existentialism. In literature Terlecki saw “a special manifestation of human personality“ and this idea, pervading almost all of his critical and scholarly writings, constitutes the main subject of analysis in the article.

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„Szkoła rozczarowania” w poematach dygresyjnych: Słowacki – Musset

„Szkoła rozczarowania” w poematach dygresyjnych: Słowacki – Musset

Author(s): Magdalena Siwiec / Language(s): Polish / Issue: 07+08/2010

The article constitutes a comparative analysis of three Romantic digressive poems: Juliusz Słowacki’s Podróż do Ziemi Świętej z Neapolu and Beniowski (Journey From Naples to the Holy Land) and Alfred de Musset’s Namuna; at all of the poems are presented as an expression of the crisis of the generation of writers born around the year 1810 and often referred to as école du désenchantement. The experience of disappointment and disenchantment with reality, which is characteristic of this generation, becomes transformed here into a loss of faith in the power of one’s own poetry which is associated with the „anxiety of influence”. The interpretation of the texts aims at highlighting the means used by the cadet-poets which are specific to Romantic irony and at presenting them as a strategy for dealing with the crisis through turning it into the main topic and transforming it into the subject of poetry.

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„születtem, elvegyültem és kiváltam”. A József Attila-életrajz időszerűsége
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„születtem, elvegyültem és kiváltam”. A József Attila-életrajz időszerűsége

Author(s): György Tverdota / Language(s): Hungarian / Issue: 01/2012

Idejétmúlt-e az életrajzírás? Igen, ha megszokás, ha pusztán kollektív beidegzettség, ha csak az intézmények tehetetlenségi ereje támasztja alá. Létjogosultsága azonban kétségbe vonhatatlan, ha olyan fontos ismeretek kifejtésének eszköze, amelyekhez más módon nem, vagy csak fogyatékosan férhet hozzá az olvasó. Szabolcsi Miklós, évtizedeken át József Attila legfontosabb életrajzírója, tisztában volt a biográfia legitimációs alapfeltételével. Ez volt sikeres monográfusi munkásságának a titka.Szintézise annyiban problémátlan, magától értetődő vállalkozás volt, hogy egy lehetséges sor első tagjaként született. Ki vonná kétségbe, hogy a költő pályája körül az évtizedek során felhalmozott rendezetlen, megrostálatlan adatok, híresztelések, pletykák, feltételezések tömegét kritikának kellett alávetni, egységes folyamatrajzba kellett beilleszteni, s ezt az állományt a korszak történeti nyersanyagából kiemelt, megformált, nem kisebb tömegű ismerettel kellett kiegészíteni? Ha valaki ezt a feladatot körültekintően, alaposan elvégezte, amint ez Szabolcsi munkájáról szólva elmondható, kkor az így kialakított összképet bizonyos pontokon ésőbb legfeljebb módosítani, pontosítani kell. Fölösleges másodszor is nekifutni ugyanazon tennivalóknak.

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„Ta sama szara lalka patrząca w bok”. Fotografia, tożsamość i różnica w „Klarze Milicz” Iwana Turgieniewa.
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„Ta sama szara lalka patrząca w bok”. Fotografia, tożsamość i różnica w „Klarze Milicz” Iwana Turgieniewa.

Author(s): Magdalena Szczypiorska-Mutor / Language(s): Polish / Issue: 4/2013

This article is a proposal of such an analysis of Ivan Turgenev's story, in which the central theme is the picture (the problematic of status of photographed subject), and interpretive filter - a reflection of identity and difference, developed in theory, philosophy and aesthetics of photography. Photographic theme of “The same grey doll looking to the side”, on one hand constructs oppositions like-other, living-dead, present-absent (in a double respect: to the "Klara Milicz" and to reflections of Barthes, Belting and Freedberg), on the other hand- in a specific way to photography, deconstructs their sharp binarity.

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„TALENT (NIE)WYŻSZY NAD MIERNOŚĆ”. KILKA UWAG O ZJAWISKU WIERSZOMANII NA LITWIE W LATACH 1815–1830

„TALENT (NIE)WYŻSZY NAD MIERNOŚĆ”. KILKA UWAG O ZJAWISKU WIERSZOMANII NA LITWIE W LATACH 1815–1830

Author(s): Jolanta Kowal / Language(s): Polish / Issue: 69/2014

An overview — even cursory — of literary culture in Lithuania in the first decades of the nineteenth century indicates there were many people who pursued poetry writing. According to Piotr Chmielowski, such a phenomenon did not exist then to this extent and with such intensity in any other part of Poland’s territory. As proof, in one of his works, he lists more than seventy names of poets who in the years 1815––1822 had their poetry printed on the pages of journals published at the time. This number, certainly, does not fully reflect the scale of the said phenomenon. It should be noted that young people strove for a place on local poetry Parnassus, for example, also through parlor readings or through entries in memory books. Those young poets were often satisfied with minor, fleeting poems, handed from one person to another, without hope of the fruits of their poetic labor appearing on the pages of periodical press. Unfortunately, few of these poets possessed “talent above the mediocrity”, hence few manged to impress their audience. The paper aims to present selected views of contemporary audience concerning the poetry as its members also made an attempt at evaluation of the poems and aesthetic valorisation of the authors’ talent.

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„Tekst kanoniczny”, „intencja twórcza” i inne kłopoty. Z zagadnień terminologicznych tekstologii i edytorstwa naukowego

„Tekst kanoniczny”, „intencja twórcza” i inne kłopoty. Z zagadnień terminologicznych tekstologii i edytorstwa naukowego

Author(s): Kamila Budrowska / Language(s): Polish / Issue: 3/2006

The paper comprises a review of researches, mainly monographs and longer theoretical treatises, on the changes of meanings and scopes of the terms “textology”, “academic editing”, “canonical text” and “artistic intention”. According to the author, the space encompassing the work on the textual basis is too narrow to incorporate two independent disciplines; thus textology and academic editing were given the same goals. Textology, which – as a term – was taken over from Russian science, is understood as a study of text in general. “Academic editing” seems to be a term closer to the discipline in question. Academic editing – according to the idea contained here – can have exclusively theoretical, or theoretical and practical goals. Its theoretical speculations would deal with the examination of the history of all accounts of the text and with the understanding of the author’s intention recorded in drafts, notes and letters. The practical aim would cover the preparation of a critical edition.

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„The Less Deceived”? Mniej oszukani, czyli o dwóch przekładach Philipa Larkina

„The Less Deceived”? Mniej oszukani, czyli o dwóch przekładach Philipa Larkina

Author(s): Katarzyna Szymańska / Language(s): Polish / Issue: 3/2011

The article approaches the problem of Polish reception of Philip Larkin, one of the most influential 20th-century English authors. The image of the poet is shaped principally by two translations: one by Stanisław Barańczak (1991) and the other by Jacek Dehnel (2008), both of which contributed to important literary critical debates in Poland and diversified the reader’s perception of Larkin influenced by Jerzy Jarniewicz and Czesław Miłosz. The article presents a case study of one poem from “High Windows” collection, “The Building,” accompanied by a comparative analysis of two different translation strategies and extra-textual factors which modulated distinct poetological shapes of the renderings. As a consequence of the translators’ choices, the Polish Larkin bifurcates into two images: Barańczak’s metaphysical and “brightened” version, and Dehnel’s skeptical and a more subversive one.

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„THE MOST BEAUTIFUL UGLY PEOPLE”- THE IMAGE OF THE GIPSY IN TRANSYLVANIA’S MENTALITY

„THE MOST BEAUTIFUL UGLY PEOPLE”- THE IMAGE OF THE GIPSY IN TRANSYLVANIA’S MENTALITY

Author(s): PUSKÁS-BAJKÓ ALBINA / Language(s): English / Issue: 04/2014

Gypsies, or Romanies, have provided writers with a source of color since their very appearance in Europe in the Middle Ages. In Transylvania, perhaps even more than in Western Europe, Romanies turn up with some frequency — never as characters who happen incidentally also to be Gypsies, but because they are Gypsies, and because they serve a specific purpose. This purpose has, broadly speaking, three manifestations: the Gypsy as liar and thief either of property or (especially) of non-Romani children; the Gypsy as witch or caster of spells; and the Gypsy as romantic figure. In order to understand why the Romani should find him or herself in this mainly unflattering role, it is necessary first of all to understand what a Gypsy really is, and what historical circumstances have led to the emergence of so deeply-rooted a fictional image. Gypsies are often thought of as fantasy beings: journalist Randolph Conner writes of “witches, devils, ghosts, monsters, fairies, gypsies and other supernatural characters” celebrating Hallowe’en; the Cooper Manufactur¬ing Co. of New York includes a Romani with the witches and monsters which make up its line of Halloween costumes sold each year. Among those who know that Gypsies are actual people, there is the wide¬spread idea that they are a social, or a behavioral population like hip¬pies or tramps, rather than an ethnic group. There are many references in the literature to individuals becoming Gypsies by joining such a group or adopting a stylized way of life. Gypsies, or more properly Romanies or Rom, share a common origin in India. Evidence for this is abundant, whether linguistic, historical, cultural, or anthropomorphic. Leaving India at the time of (and probably because of) the Indo-Persian wars, the original population found itself in the Byzantine Empire by the eleventh century, and by the fourteenth century had been pushed up into southeastern Europe on the crest of the encroaching Turkish move West. The Transylvania in which those early Romanies found themselves was a land in turmoil. The Muslims were preventing access to the eastern trade routes and to the Holy Land; the economy and Christendom were both threatened, and the Crusades had drastically depleted the manpower. Romanies, being dark-skinned, unfamiliar to the Europeans in language and dress, and coming from the east, were thought to be Muslims themselves. Even today, they are called “Tatars” or “Heidens” or “Turks” in some parts of Transylvania, and the very word “Gypsy” derives from “Egyptian,” a medieval label vaguely applied at that time to any exotic eastern peoples.

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„The Snow Must Go On” – przestrzenie chłodu wPodróży zimowej Elfriede Jelinek

„The Snow Must Go On” – przestrzenie chłodu wPodróży zimowej Elfriede Jelinek

Author(s): Monika Szczepaniak / Language(s): Polish / Issue: 05/2014

The present article focuses on analysis of literary constructions of space in one of the latest plays by Elfriede Jelinek Winter’s Journey against the background of the aesthetics of cold, which seems to be specific to the writings of the Nobel Prize laureate. The phenomenology of weather conditions as well as the category of space provide a framework for reflection on atmosphere, which is created by new media and technologies as well as on communication of love in the context of the contemporary emotional culture.

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„The Text Was Considered Miraculous”. Magic Words in Pasternak’s „Doctor Zhivago”

„The Text Was Considered Miraculous”. Magic Words in Pasternak’s „Doctor Zhivago”

Author(s): Rebeca Jane Stanton / Language(s): English / Issue: 04/2013

In Doctor Zhivago, Pasternak brings scientific and political discourses into dialogue with magical ones. In an emblematic episode, two soldiers from opposing sides each wear a protective amulet containing the „miraculous” text of the 90th Psalm. One dies; one survives. While this discrepancy is easily traced to scientific and socioeconomic causes, the episode is designed to foreground the least rational explanation: that done right, magic actually works. Embodying Pasternak’s interest in the interrelationships among science, politics, poetry, and magic, the textual amulet is especially significant because it represents a magical power that is reserved for words. This article finds that Pasternak’s novel contains numerous examples of such efficacious „magical” texts – from the Gospels to peasant songs, from political slogans to Zhivago’s poems – and argues that reading Doctor Zhivago by the light of these „magic words” yields insights into the aesthetics and design of the novel.

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