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Once established, literary canons are often supposed to transcend history and set a timeless standard for genuine literature. They exercise a hegemonic, or some might even say petrifying and suppressive power over creative literary production and reception. However, the hegemonic canonicity that compartmentalizes the universe of literature as good and bad, high and low literature is conditioned by some blind spots. In the very definition of canonicity and the description of canons they occur as a number of paradoxes that constitute the very dynamics of canons, making them relevant for the study of literature in a dynamical, cultural perspective.[...]
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If the importance of genuine thinkers is determined by the loftiness and freedom of their thought and by the inner tone of their ideas rather than by the number and size of the books they have written, then a place of indisputable honour among them must belong to the late professor at Moscow University, Pamfil Danylovych Iurkevych. His intellectual independence and breadth of views were united in remarkable fashion with a sincere recognition of historical tradition, and a profound heartfelt sympathy with life’s essential interests was combined with a subtle perspicacity of critical thought. The philosophical works he left are neither numerous nor voluminous. Like many gifted Russians, he did not consider it necessary or possible to give full outward expression to all his intellectual substance or to turn it inside out for display. He did not wish to translate himself into a book or to transform all his spiritual essence into public property. From what he left, however, it is sufficiently clear that we are dealing with a strong and independent mind. Before turning to a survey of his works, I shall give some biographical information about him.
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This article is a review of three biographies of Zygmunt Bauman published between 2019 and 2021. Its aim is to juxtapose the concepts of three different perspectives on the life of Poland’s most famous sociologist, and to place them in the context of the Polish debate on his legacy. The article makes also an attempt to interpret Zygmunt Bauman in the light of the so-called „Leap into Modernity”, a concept created by Adam Leszczyński. As an attempt to interpret the reality of peripheral countries, which between 1943 and 1980 made efforts to catch up with the developed West, it becomes a framework for interpreting Zygmunt Bauman’s biography. This is due to his involvement in the creation of the structures of the Polish People’s Republic in the post-war era, which is the subject of Leszczyński’s book. This review also attempts to analyze the Polish discourse around the subject of the real-socialist past.
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În decor, câteva ramuri susținute de fire nevăzute. Printre ele o umbrelă. Pe scenă apare un actor: Marian Râlea. „Numele meu este Sașa Savelev. Sunt în clasa a doua și locuiesc cu bunica și bunicul...” Personajul își amintește, povestea începe, spectacolul prinde viață, publicul începe să o trăiască. Este Îngropați-mă pe după plintă, dramatizarea romanului omonim de Pavel Savaev și una dintre noutățile Teatrului Bulandra.
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Ce texte devait être écrit à deux voix et quatre mains complices sur un même clavier. Les circonstances ont voulu qu’une moitié de cette participation corporelle et psychique s’est trouvée en incapacité d’apporter sa pleine part dans les délais requis pour sa contribution. Nous avons souhaité faire de cet obstacle transitoire une force et un symbole du thème de cet article qui l’inscrive dans une singularité redéfinie. Pensé et conçu ensemble, il a dû se satisfaire d’un hémicorps partagé pour s’accomplir.
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Bosnia-Herzegovina was conquered by Austria-Hungary in 1878. Together with the new rulers new Austrian expressions arrived in the Balkans. The Bosnians usually took these in by listening and integrated them into their own vocabulary. This constituted an amazing achievement of adaptation and integration. Today, the Bosnian language has become something of a museum for Austrian words. The constant exchange between Central and Western Europe and the Southeast is also evident in the kitchen. Similar to communicating channels they influence each other. To illustrate, the Šopska salad is advertised as an old Balkan speciality. But it’s actually a 1970s invention that came from the West. It was only from the 1930s onwards that Bulgaria organized the import of seeds. Although the Šopska salad was stylized in Bulgaria as the “healthy food of the forefathers”, it is a bourgeois and urban dish.
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Dok razrađujem koncept eseja o savremenim medijima književne kritike, ubrzo počinjem razmišljati ima li ironije u ovoj pisanoj riječi koju koristim, te kako bi ono što imam na umu bilo artikulirano BookTube ili BookTok videom. Književna kritika u formi pisanog teksta toliko je dugo prisutna da se taj medij smatra intuitivnim, neutralnim.
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Ove se godine slavi 65. godišnjica izlaska prvog broja časopisa Izraz čiji je, kako se to obično kaže, duhovni nasljednik Novi Izraz. Svaka naknadna, pa i ova aspektualna refleksija o časopisu, koju uglavnom potiče ovakva prigoda, nužno zahtijeva podsjećanje na njegove idejne i estetske zasade.
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Mislim da je Marguerite Duras (1914–1996) jedan od najznačajnijih francuskih pisaca poslije Marcela Prousta. Jedna od najvećih živih umjetnica riječi u svijetu, ona je po transformatizmu odnosa između zbiljnog, imaginarnog i simboličkog već autor 21. stoljeća. S ovom tvrdnjom se doduše neće svi složiti, u prvom redu ne svi Francuzi.
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In this article I give a brief synopsis of Croatian prose literature of the second half of the twentieth century, and the diachronic development of the novel, short story and fable in particular. Attention is given to contemporary Croatian short prose. Though recognising their importance as constant and dynamic influences, I refrain from making specific, detailed references to Croatian history and issues of a linguistic nature. For an overview of nineteenth and twentieth century Croatian history, see Mislav Jezic’s article which appeared in the 1997 edition of the Croatian Studies Review. Relevant details about Croatian linguistic policy can be found in articles written by Josip Mate sic and Luka Budak, both of which appeared in the same edition of the Croatian Studies Review. Other authors that offer an insight into Croatia’s linguistic and historical reality, and the way they condition contemporary literature, include Banac (1990), Mogus (1995), Kacic (1997) and Peric (1998). More complete studies can be found in the literary journal Most {The Bridge), Vaupotic (1968) and Donat (1970 and 1996). Bogert (1991) offers a good survey of the literature of Krleza’s time, while Eekman (1978) writes on South Slavonic literatures in general. Though a systematic history of Croatian literature has yet to be written in English or translated into English, sources from non-Croatian authors can be found in Skvorc (1997 and 1998).
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Sunčana Škrinjarić was born in Zagreb in 193 L There she completed her primary and secondary education, and graduated from the Teachers’ College. Though she produced her first book in 1946, a collection of self-published poems entitled Suncanice (Sunflowers), it was only in the 1960s that she made her mark as a writer of children’s stories. She also worked for the Children’s Educational Program on Radio Zagreb, and worked on the 1968 Zagreb Puppet Theatre production of the puppet-play Bajka o maslacku (The Tale of the Dandelion). In the 1970s there appeared a series of books: Kaktus bajke (Cactus Tales: stories, 1970), Ljeto u modrom kaputu (Summer in a Blue Coat: stories, 1972), Dva smijeha (Two Smiles: stories, 1973), Zmaj od stakla (The Glass Dragon: stories, 1975), Svastara (,Scribble-Book: stories, poems and plays, 1977), Pisac i vrijeme (The Writer and Time: stories, 1978) and Noc s vodenjakom (A Night With ait Aquarian: stories, 1978). These titles clearly denote an orientation towards a younger audience, either by way of genre (tales) or through other associated meanings (for example, a glass dragon suggests a toy, and a child jots down various matters of ‘life and death’ in a scribble-book).
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To judge a writer from a ‘minute’ - and oh, so provincial - country like Croatia (our national anthem praises only the looks of the country, mentioning nothing about its brains) means also that everyone, conventionally, expects you to introduce both the artist and the native ground as Arcadian, exotic, perfect, de luxe and faultless. But, interestingly, such a utopia is boring. As is, ultimately, every lie.
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Later this year a book will be released on “Croatian Pioneers of Victoria” that caters for both the Croatian and Australian audiences. The book is a result of seven years of extensive research carried out throughout Australia, Croatia, Austria, USA, New Zeland and Italy. It shows that Croatian pioneers and their descendants made important contributions to the development of Victoria.
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Nikšićka okupljanja metodičara stranih jezika književnosti i srpskog kao stranog postala su redovna. Krajem 2000. godine na Filozofskom fakultetu Univerziteta Crne Gore, na inicijativu tadašnjeg dekana, poštovanog prof. dr Miladina Vukovića, održan je prvi susret metodičara nastave stranih jezika i srpskog kao stranog sa temom Savremene tendencije u nastavi stranog jezika. Brojni su razlozi zbog kojih se Filozofski fakultet u Nikšiću može smatrati opravdanim domaćinom ovakvog skupa. Prije svega što je ovaj Fakultet nastao na tradiciji Više pedagoške škole u Cetinju i u Nikšiću i Nastavničkog fakulteta na kome su utemeljene osnove filozofskih i filoloških studija.
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Про системність календаря дівочих ворожінь свідчить існування у ньому 3 паралельних видів обрядів: 1) оказіональні, які відбувалися у зв’язку з певною подією чи проблемою в особистому житті; 2) календарні дівочі ворожіння; 3) складні обряди з більш глибокою магічною основою, які виконувалися у разі недосягнення мети у двох попередніх видах ворожінь. Крім того, за складом учасників вони також поділяються на колективні та індивідуальні.
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Originally from Podgoria Aradului (Sâmbăteni, commune Păuliș - Arad), Doina Comloșan (October 1, 1941 - June 10, 2008) attended the prestigious "Ghiba Birta" high school in Arad and then the Faculty of Philology at the University of Cluj, which he graduated brilliantly in 1964, with the thesis The motif of trees embraced in Romanian folklore. From 1964 to 2006, his activity was linked to the configuration of the Faculty of Philology (and then, from 1990, of Letters) of the University of Timișoara (an institution that changed its name to the West University of Timișoara in 1995).
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Pe stema Rusiei apare imaginea unui vultur bicefal. Această imagine a apărut prima dată în Rusia pe ştampila ţarului Ivan al III-lea, alături de imaginea Sfântului Gheorghe. Se pune întrebarea dacă acest însemn este de provenienţă bizantină sau vesteuropeană.
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