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Essay "Proorock and other Discreet, Hermit Roles" by Marcel Tolcea Essay "De Bello Russico" by Marius Lazurca
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Conference held in the Aula Magna of the Western University of Timișoara, under the theme "At UVT, culture is the capital", on the occasion of the opening of the Year of the Cultural Capital, February 18, 2023.
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Am văzut niște pinguini zburând. Zilele trecute. Agitați, în stoluri, la mare înălțime. Alți câțiva pinguini îi priveau sceptici de pe un sloi de gheață. Am văzut și auzit în ultima vreme un bărbat politic alb declarându-se – de la cel mai înalt nivel și pe toate posturile – ba crescut de portoricani, ba negru, ba evreu practicant, ba grec și profesor universitar, deși n-a aparținut niciodată, într-o viață lungă de mai bine de 80 ani, vreuneia din aceste categorii. Am văzut, la fel, în ultimii ani, o lideră politică albă pretinzând că are origine cherokee, că e o indigenă – în contradicție cu chiar rezultatul testului ADN făcut –, calitate pentru care obținuse de multe ori întâietatea, pe motive de etnicitate, în ocuparea de posturi academice și înalte funcții senatoriale.
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This study investigates cultural transfer in Central Europe in the sixteenth and seventeenth centuries. It focuses on three different fields ( parody Protestant religious song, Christmas drama ) and explores the directions and mechanisms of cultural exchange and the role of mediators in the dissemination of selected literary phenomena. The observation of cultural transfers confirms to some extent the traditional idea of the journey of cultural work from the West to the East. However, the individual transfers are significantly influenced by specific cultural contexts. The social, ethnic and religious situation strongly connected cultural life in the Czech lands with the literary models available in the north-east and southern regions of Germany, while Polish cultural traffic, with a few exceptions, is rather distant from these areas, though. The conditions in Silesia were specific, because a significant share of the population was German and a strong multi-confessional situation prevailed there.
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The author presents the development of the relationship between Zygmunt Krasiński and Cyprian Norwid, with commenting and focusing on the former writer’s point of view, expressed in letters to a number of addressees. The author points to the reasons for Krasiński’s disappointment after his attempts to position himself as Norwid’s literary mentor and spiritual guide. Krasiński exerted pressure on his younger friend to change his style, accusing him of too much ambiguity and "darkness of words", which made it difficult to understand the ideas behind the poet's ambitious works. Norwid rejected this criticism and defended the right to individualise his style and language, assuming that literature must force the reader to make an individual effort and actively interpret a work of art. The author claims that the dispute revealed fundamental differences in the approach to the rules of creation: while Krasiński referred to the idea of a poet-bard and poet-guide, popular among the first generation of Romantics, Norwid went beyond the Romantic standard.
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The article reveals the possibilities of the biography method as a valuable interpretive tool within the humanities. It discusses the life of a Polish writer Andrzej Bobkowski and his relationships with an artistic couple Anna and Franciszek Seifert. The paper discusses the aesthetic message of murals made by the Seiferts for the "Robur" company and their associations with Bobkowski’s views expressed in his works. Topics include Bobkowski’s and the Seiferts’ relation to the Silesia region, the artistic duo's role as mentors to the young writer, and their impact on his life.
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On the occasion of the 125th anniversary of the birth of Antun Branko Šimić (1898 - 1925), small under the stars, but so big in the constellation, poet of the Croatian regions at the beginning of the twentieth century, who marked the entire century with his turn in poetry, including ours in to whom we read him as if he were our contemporary, it is a good moment to remember how to graft ourselves into the future of his artistic reflection. With his views on language in art, we can freely say, the future of the true art of words began, which, here, has reached us in the twenty-first century. Therefore, I wonder, unburdened of all prejudices, inherited poetic pathos and technical poetry, can we today read Šimić as his contemporaries perceived him? Motivated by a radical turn in his spirit and soul, in the role of expressing a core truth, he introduces the freedom and brevity of the poem, I would say the sharpness of the verse, the syllable, the stanza, in order to finally expose the pure experience, the core of perception. By reading poetry today, the reader can absorb the experience from the moment it happened. That is, when the poet adopted it in his inner, emotional, psychological and intellectual way as a unique act. That future of poetic expression, which began with a radical change at the beginning of the last century, we are still living today.
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In literary criticism, I was taken aback before I gave my consent to it. I mean, not consent to be seen as a literary critic, but consent to be one at all. The principle of closeness and the principle of demand caused me - initially without explicit knowledge of what I was doing and with a semi-conscious internal resistance to it - to start doing what was enough to eventually be recognized and named as a literary critic. When young people who were close to me started asking me to write or speak a few sentences about their newly published literary works, I, as an already educated and determined philosopher, had a natural feeling of resistance-repulsion towards it as some low, unworthy action of a philosopher, deciding somewhere in myself that I will not allow myself to be reduced to a level where, out of consideration for others and their actions, my direct and reckless utterance of the truth will be disturbed. However, gradually and sporadically agreeing to it, I was directed to fulfill what was required, relying not only on my philosophical educational background, but, even more, on my philosophical nature. As the circle of those interested and close to me expanded, my participation in public literary life came down to meeting their requests - and thus a unique form of philosophical literary criticism was created to the point that I was veiled as a secondary poet in the eyes of others.
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This essayistic presentation above all aims to point out a writer who may be unknown to literature, and at the same time one of the important Croatian reportage journalists, globetrotters, who left behind deep roots of travel writing, reading of very high criteria, sought after by readers, always in a good mood. As an employee of the largest Croatian media companies (among others, he also wrote for National Geographic), traveling around the country and the world, he left us a rich, almost pharaonic treasury of records, not from his own, but from the lives of others, most often a small, ordinary man, a peasant whom he encountered on the way, a herdsman in front of his flock, a fisherman in front of a storm, a shopkeeper and a bum. A man of the people or a man of the common people, of his homeland, the author of the anthology "Small places of my heart", he will translate that experience inspired into works that delight not only with their stylistic excellence, but also with the originality of linguistic performance as we knew and had the opportunity to learn from older writers of Dalmatian roots. , or even better, in the beauty and weight of hardened Zagora. We add another powerful name to their legacy in Croatian literature.
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In the 45th volume of »Acta Linguistica Lituanica*, the review of A. Judzen¢s Naujy darby discusses the 2000 the published book Martynos Mazvydas raStai ir jy Saltiniai (see p. 211-213). Unfortunately, that review is full of mistakes and misunderstandings. So that the credulous reader is not misled by the strange reasoning of Judzencius, it is necessary to explain at least something.
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Essay by Réka Fazakas discussing the poetry of Samu Bánfalvi.
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