Dječja književnost - Marisstella Octek
Children's literature by Marisstella Octek: Božji Anđeo; Odrastanje prema hrabrostima; Čije je dvorište?; Riječ hvala; Čizmice uoči blagdana Svetoga Nikole; Ježić čuvar šume;
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Children's literature by Marisstella Octek: Božji Anđeo; Odrastanje prema hrabrostima; Čije je dvorište?; Riječ hvala; Čizmice uoči blagdana Svetoga Nikole; Ježić čuvar šume;
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The present article deals with the post of literature and literary theory in contemporary society. It focuses on the phenomenon of crisis in literature as a part of the crisis of the very society, as well as on the situation of contemporary Slovak literary theory. The topic of the article is the specifics of poetry and poetic language and reflections on the apparent incomprehensibility of poetic texts. It analyzes the peculiarity of literary fiction, such as unfinishness, silence, it means non-textual areas of literary works whose quality has an impact on the overall value of the work. In addition, it explores the thesis about ambiguity of the communication potential of apparently “non-communicative“ poetry, concentrating especially on the production of Slovak experimental poet Peter Macsovszky. The aim of this examination is to reconsider and argumentatively support the possibilities of Slovak poetry in this context.
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Prosta činjenica da je u 21. stoljeću pred gotovo svaku riječ moguće dopisati prefiks post- kako bi se ostavio utisak neke profinjene učenosti i rijetko viđene pameti (post-moderno, posthistorijsko, post-humano, i u posljednje vrijeme, a na moju iskrenu nevjericu,post-savremeno), jedan je od razlog zbog kojih nam je više nego ikada potrebno prevrednovati pojam epigonije, kojim se dugo vremena služila disciplina povijesti umjetnosti, kako na razini srednjoškolskih udžbenika tako i u velikim enciklopedijskim pregledima epoha, da bi opisala i kategorizirala stvaralaštvo onih, što u nedostatku autentičnog stila ili nadahnuća, posežu oponašati klasičnu originalnost jednog Michelangela ili Rafaela.
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Braća Grimm, nažalost, nisu imali priliku upoznati Predraga Lucića. Ali kao da su baš za njega sačuvali dosta blesavu i ne manje poučnu bajku Sretni Ivo. Sadržaj: Ivo zaradi grumen zlata. Pa ga cijelog da za konja. Koga kasnije zamijeni za kravu. Za koju uzme svinju. Umjesto koje primi gusku. Koju na koncu dade za gusle. Na kojima, biće, od tad sretno svira gospodinu austrijskom kancelaru u dvorcu Schönbrunn. I baš ga briga. Pardon. Kod braće Grimm Sretni Ivo drugačije završava. Uprkos tome zavrzlama ostaje ista. Mogu li prevareni biti sretno nasamareni?Je li Ivo pozitivan ili negativan lik? Da. Predrag Lucić bi mu sigurno na kraju priče poklonio gusle i od njega napravio dvorsku ludu.
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Reviews of: 1. Exit West, Moshin Hamid 2. The Refugees, Viet Than Nguyen 3. Home Fire, Kamila Shamsie 4. Unaccompanied, Javier Zamora 5. Thousand Star Hotel, Bao Phi 6. Joy of Missing Out, Ana Božičević 7. We Were Eight Years in Power, Ta-Nehisi Coates 8. The Future is History: How Totalitarianism Reclaimed Russia, Masha Gessen
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Umačem pero u tintu jeseni i kažem: Osjećam da se polako gasim... Boginja jeseni koja vene, žetve, srpa i dozrijevanja, dočekat će ovaj zimski san bez mene. Polako se gasi dansko ljeto, nagovještava to boja neba. Topi se ljepota vedrine, sjaja, pregorjela je od strasti. Magla osvaja, ne vidi se ništa.Jedini tračak svjetla i nade dopire odnekuda iz plavih očiju koje trepte kao krila kolibrija. Mokrina kaplje iz svega. Probija se kroz šavove nabreklih oblaka, curi niz drveće, kapa sa ogoljelih grana, slijeva se kroz preplanule krošnje požutjela lišća, sipa i pršti iz zraka, puže i valja se kao magla.
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Manifestacija Slovo Gorčina koja se od 1971. godine održava svake godine u Stocu i na nekropoli stećaka Radimlja, od svoje prve zamisli, neposredno poslije smrti pjesnika Maka Dizdara, rođenog u Stocu, imala je jedan stalni i maksimalno kohezioni element: afirmaciju sveukupne bosanskohercegovačke kulturne baštine, svega onoga, kako je to već na prvim susretima rečeno, što je čovjek stvorio na ovom tlu.
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Rođena sam u Dubrovniku, lipnja, 1932. Brat Davor pretekao me za dvije godine. Otac Mario, podrijetlom Senjanin, a došljak iz Amerike–Filipina–Austrije–Njemačke, zvanja liječničkoga s trostrukom specijalizacijom, bio je u to vrijeme direktor dubrovačke bolnice. Majka mi je iz porodice Lopašić–Karlovsky, zagrebačko–vukovarske i starohrvatsko–njemačke.
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The paper examines a special place that the characters of Ophelia and Narcissus, so closely connected with the motif of water, occupy in the poetic imaginarium of George Rodenbach. What we deal with here is an unhealthy obsession within which two characters of literature and mythology, unhappily in love, are presented as two alter egos of the poet himself. An endless sequence of images associating water with death reveals the fascination and trepidation of the symbolist, who uses the Opheliac depths and Narcissus’s water mirror as a reflection of different states of his soul.
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1. Iz ciklusa noću svijetle brodovi, by: Nico Bleutge 2. "linoleum", "prašina", "feniks", "kad sam vidjela da kod mene ležiš", "popodnevni čas", by: Nadja Küchenmeister 3. "Jedno drugo nijedno & oboje", "Izumiteljski duh", "Breaking (the)", "Drugdje", "Wiepersdorf", "Novobogataški vrtlog", "Skoro uzalud skorije", "Nulta sjenka", "Ništa nije važnije", by: Judith Nika Pfeiffer
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Nous nous proposons de mettre en évidence la manière dont le patrimoine imatériel circonscris à une commune de Mărginimea Sibiului, Gura Râului département de Sibiu a été promu et diffusé par collection de vers et de chansons folkloriques, sélection et harmonisation classiques réalisées par Nicole Hanzu, ( 1889-1976 ) élève de Timotei Popovici à l`Ecole Normale de Sibiu devenu instituteur à Gura Râului. Cette musique locale a été interpretée par la chorale de la commune dirigée pendant longtemps par Hanzu et mếme par une fanfare éphémère qu`il a également créée et dont le souvenir persiste dans la mémoire de la communauté après plus de 80 ans.L`activité de Nicolae Hanzu a été continuée par sa fille, Florica Ştefănescu qui a dirigé la chorale pendantpresque quatre decennies. Durant ce temps, cette chorale a remporté des prix prestigieux à des concours et festivals départamentaux ou nationaux.Le problème qui se pose actuellement est comment cette chorale pourrait ếtre revitalisée d`abord à travers ce repertoire de grande et incontestable authenticité et dont les pièces sont dignes de la grande musique chorale roumaine.
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This paper explores the dystopian Irish society represented in Seamus Heaney’s poetry. In his poetry, Heaney seeks a reconciliation with Ireland’s past. Heaney refers to the political and cultural realities of Ireland in his poems; he indicates that the Irish society is a dystopia when he represents the occupation of Ireland, especially by the British, and how to live with its inevitable effects. The oppression and misery that the Irish people lived through are represented particularly in, “Antaeus”, “Hercules and Antaeus”, “At a Potato Digging”, “North”, and “The Ministry of Fear”. The Great Famine, a dystopian event in the Irish historical heritage, is referred to in a critique of the British authorities’ failure to help the starved Irish people. “At a Potato Digging” is overshadowed by historical memories. However, in the poems, “Antaeus”, and “Hercules and Antaeus” Heaney employs Greek myth as a metaphor to refer to the tenacity to the Irish land where we find the Irish ability to be revivified through the soil in spite of the dystopic Ireland since the Irish Catholics have turned into farmers who work for English and Scottish Protestants. The poem, “North” deals with the Irish dystopia represented by the violence of the English-Irish Troubles on the one hand, and the Viking occupation on the other. In the last poem of this chapter, “The Ministry of Fear”, Heaney refers to the days that he spent at school, with his friend Seamus Deane, as dystopian environment because they suffered from class distinction. In this paper, some of Heaney’s dystopian poems are employed to point out the violence imposed upon Ireland throughout centuries to deliver a message to the whole world to renounce violence.
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Hafiz Salih Gašević is the author of a popular Mawlid in Bosnian language. He also composed a qasida with no title, the copy of which is kept in the Museum of Herzegovina in Mostar. For the first time, this paper presents an integral text of Gašević’s aljamiado qasida in Latin lettering. In addition, we have analyzed the qasida at different levels: orthographic, historical, linguistic, contentive. Gašić’s qasida belongs to the second period of the development of Arebica characterized by the time in which the author lived and worked. The qasida offers a new information to be included in Gašević’s biography: the name of his teacher in Nikšić. Gašević wrote the qasida following an accustomed oriental-Islamic form used in almost all qasidas of similar genre. Toward its end, Gašević clearly emphasizes that the qasida was written in Bosnian language. As far as at least benevolent researchers are concerned, this fact concludes a century-long discussion on the literary language of his Mawlid. The content of the qasida is descriptive and imperative, with mainly eschatological topics.
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Svojom prvom zbirkom pjesama Vrtovi zemlje humske, pjesnik Nikola Martić skrenuo je na se pozornost svekolike ondašnje kritike i to prvenstveno zbog toga što je svojom zbirkom značio otklon od tadašnje pjesničke produkcije, naime, pjesnik je progovorio jednom osobnom i osobenom pjesničkom retorikom koju bismo mogli nazvati profetskom, a koja je u sebi, umjesto “iskustva ovoga svijeta”, nosila poruku o onomu možebitnom, ponovo zadobivenom svijetu/raju kad će se pojaviti onaj sretni trenutak u kojemu će riječ i fizička stvarnost biti komplementarni. Programski, nimalo lagodno i obvezujuće zavještanje za autora i čitatelja. Iz osobnih razgovora s pjesnikom ostale su mi, među ostalima, i ove njegove tri “maksime” kojih sam se pridržavao, a i danas ih se pridržavam (nešto slično poput onih pisama koja je Rilke pisao mladome pjesniku) kad je riječ o pjesničkomu zanatu i pisanju.
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Koje zapravo taj Hamsun? Veliki pisac? Gad? Ili i jedno i drugo, dakle “gad koji je pisao dobro", kako kaže jedan lik u romanu Polubrat Larsa Saabyea Christensena. Kad sam ujesen 1993., kao izbjeglica, kao u transu lutao Kristijanijom. tim "čudesnim gradom koji niko nije napustio prije nego li je njime bio obilježen", i u kojem je on znao gladovati, umišljao sam da tu jesam zbog njega. Da se tako nekako moj krug i zatvara.
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The title of this paper is primarily meant to show the relationship between works by Edgar Lee Masters and Thornton Wilder, though the juxtaposition of the two family names may invite other interpretations that the author does not fully neglect. Spoon River Anthology (1915, before World War I) and Our Town (1938, before World War II) seem to be providing oblique commentaries—“a cemetery on the hill”—or “the city upon a hill” metaphor/myth/legend/allegory… of America proposed by John Winthrop in his 1630 famous sermon on board the Arbella. The substance of the paper is based upon the two worlds in the epigraph, the world of the living and the world of the dead, joined together by memory. history, mythology, and poetry in the messages sent by the dead in the two works, meant to provide imaginative bridges that the living (including the two authors) have always tried to build and (almost) never succeeded; the similarities between the two universes (Midwest and New England) are less important than the complex visions of Masters’ and Wilder’s remembered voices.
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Although Eminescu has not developed a philosophical system of his own as Lucian Blaga did, we assume that his philosophical vision has left its mark on all his poetry. If his creation means love and love is metamorphosed through creation, then the philosophy of love with Eminescu concerns the sense of existence, love being the highest form of human existence and a sine qua non condition of happiness. Not only does love have metaphysical connotations as a principle of existence and life, but it also acquires a profound moral sense, as a salvation solution in front of life suffering, in other words as a universal solution meant to give an answer to the great philosophical, existential, social, economic questions and themes of the epoch.
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In the novellas Les trois grâces and Youth without Youth..., Mircea Eliade transposes into the epic scheme an original vision on immortality and youth; the author starts from the idea that, in illo tempore, the man was pure, unconstrained by the vicissitudes of life, eternally young, but once having been banished from heaven, the attributes of immortality have disappeared and so has the human being's ability to have an eternal life. The theme of political police, present in all aspects of everyday life, appears in order to depict the brutal intrusion of the Security, even in the case of discoveries that could change the fate of mankind. Although apparently there is no way to escape, the author seems to believe the solution might be found in the magical power of poetry. The activity of the political police in 1938, depicted in the novella Youth without Youth... is edifying in terms of the terror experienced in that period by Mircea Eliade, who was hiding from the authorities in the hope that he wouldn’t be arrested. In fact, there are many similarities between Dominic's story and the author's biography. Mircea Eliade lives a youth that is not youth, dedicated exclusively to study; the Indian experience might be considered the equivalent of the lightning that would change Dominic's destiny and the celebrity the latter has gained through his published work is similar to that of Mircea Eliade after the publication of the novel Bengal Nights.
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