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The paper gives an overview of Estonian war songs. Together with Keisrilaul, the Estonian translation of “Russian anthem”, they form the beginning of Estonian patriotic poetry. The tradition of Estonian war songs reaches back to the early 19th century, when ReinholdJohann Winkler published “War Songs of Estonian Land Forces”(1807), inspired by the Franco-Russian war. The tradition developed as it was influenced by the other wars involving Russia in the19th century. The choices of topics and thematic structures of war songs further advanced in the period of the Russo-Turkish war, in the second half of the 1870s. At that time, the patriotic ambitions of Estonians were advanced in cooperation with the Empire of Russia;on the other hand, the humility and national sense of inferiority of Estonians were propagated by the Greater Russian ideology and ambitions. During World War I, narrative war songs, containing influences of Estonian trochaic tetrameter folk songs and traditional ballads, developed. In a number of verses of that time, epic,dramatic and lyric elements merged, increasing sensual intensity.Despite the parallels with Greater Russia surviving in themes, the concept of Estonia played a central role in song books, verse books and special almanacs published during World War I.
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Ovo je pjesma „Mustafa Krilaš daje izjavu o službi kod grofa Lava Nikolajeviča Tolstoja“ koju je napisao Abdulah Sidran. Mustafa Krilaš je rođen u selu Gunjani kod Kreševa. Prema opširnom razgovoru s njim je Mak Dizdar objavio dugu reportažu u tri nastavka u listu „Jugoslovenska pošta“ u Sarajevu 1940. godine. U njoj je navedeno da je Krilaš služio u grofa Lava Nikolajeviča Tolstoja tri godine i osam mjeseci.
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Translation of poetry relies on some strategies that envisage the text as a unit of translation. Consequently, the translator will adapt his/her methods according to the type of text, focusing also on the target culture. Metaphors, as stylistic devices of poetry, are culturally bounded to a certain way of viewing the world; that is, the translator must take into account first the culture involved in the translation process and then the linguistic and formal aspects.
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The article analyses from a comparative point of view the topic of travel and the motif of crossing a river by a ford or over a bridge in the works of various authors from the Balkans. The bridge as an image, as a symbol of common Balkan adherence in general, and the building of a bridge as a motif are viewed as genetically connected with the issue of accepting the Other; they are also connected with the most enduring variety of Balkan myths the most exploited ones of which in our folklore and our literatures are the myths about the immuring of people in bridges and about people inseparable after death. Three Balkan literary works are being compared The Bridge over Drina by Ivo Andich, The Bridge with the Three Arcs by Ismail Kadare and The Stone Bridge over Rositsa by Angel Karaliychev. The paper looks into the emancipated presence of Bulgarian literature in the context of the general Balkan literature.
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This article intends to examine the symbolic significance of the imagery and the form of the Anglo-Irish poet Louis MacNeice’s poetry of the 1930s in terms of certain characteristic aspects of his representation of his sense of personal and social crisis within the context of a turbulent historical period that covers the years leading up to the Second World War. The article argues that the terms of this representation are inseparable from Louis MacNeice’s concern with, and conception of, the nature of the art of poetry and his role as a poet. Hence, this study will investigate selected poems from the poet’s work during the 1930s in the light of his critical essays that explore and comment on his own as well as others’ work, at a time when the function of poetry in relation to historical and social dilemmas had become an issue of debate in literary circles.
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The article presents some common features in the work of three contemporary poets in Poland and Lithuania. The concept of historical memory forms the theoretical basis of the discussion. The focus is on the artistic interpretation of the images of the past and their mediating role in the retransmission of its messages. The interest in the poetry of the European Tatars is a relatively new research problem, and for the Bulgarian reader this poetry is still unknown and not translated to date.
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This work deals with the folkloristic activity, little known so far, developed by Norbert Fisch, a Romanian research worker of German origin from Timişoara. Compiled between 1974 and 1982, when the folklorist undertook about 50 documentary expeditions in the Western Mountains area, his collection contains over 200 popular legends and stories of etiological, mythological and above all, historical character. They are accompanied by 72 illustrations, mostly black and white, but also colour, drawn by the folklorist himself. Along with other publications of this kind, this collection proves the great folkloric richness of the Western Mountains area, which was severely contested by some Romanian folklorists of the past.
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Literary texts signed by the members of Brasov Literary School.
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Tomislav Marinković was born in 1949 in the village of Lipolist near Šabac. His first book of poetry, Dvojnik (A Double), was published in 1983. It was followed by Izvesno vreme (A Certain Time, 1985), Stihovi (Verses, 1991), Sumnja u ogledalo (Doubting the Mirror, 1996), Škola trajanja (A School of Endurance, 2003), Svet na koži (The World on the Skin, 2007), Običan život (An Ordinary Life, 2011), Putovanja kroz blizine (Journies through Proximities, selected poems, 2013), Nevidljiva mesta (Invisible Places, 2015), Izdvojene tišine (Separate Silences, selected poems, 2016). He prepared for publication An Author in the Garden, the most beautiful stories and poems about plants and friendship (2016). He received several major literary awards such as Branko Miljković Award, Miroslav Antić Award, Vasko Popa Award, as well as Zaplanjski Orfej Award for the best poem and Dis Award for 2016, for his complete works. His poems have been translated into Russian, Japanese, Spanish, Portuguese, Macedonian, English and Slovenian language. He is a member of the Serbian Literary Society.
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Ružica Cvetković-Pfajfer was born on October 8th, 1963 in Krčmar (near Valjevo) in Serbia. She had published the following books of poetry: Neminovnost (1990) – First prize of Valjevo Literary Youth in 1989; Utroba puna stakla (2000); Nevino blizu rečima (2002); Nostalgija u prolazu (2016). She has been living in Germany since 1990.
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Born in Moscow in 1968, raised in Larnaka, Cyprus. Holder of an MA in Journalism (Lomonosov University, Moscow). He works as a journalist in Nicosia. His debut work, Ένια (Enia: Ateleia, Nicosia, 1996) was awarded the State Prize for young writers. His second, Ονειροτριβείον (DreamMill: Gavrielides, Athens, 2001) received the State Prize for poetry. It was followed by: Εγχειρίδιο Καλλιεργητή (Grower’s Manual: Govosti, Athens, 2004); Το Απραγματοποίητο (The Undone: Gavrielides, Athens, 2010) and Δρόμος μεταξύ Ουρανού και Γης (Road between Heaven and Earth: Farfoulas, Athens, 2013). In June 2010, a short selection of Christodoulides’ poems were published in Berlin, Germany. In December 2011, more than 150 poems spanning the past fifteen years of Christodoulides’ work were translated into Bulgarian by Vasilka Petrova Hadjipapa (Plamik: Sofia, 2011) and put together in a single volume titled after his collection Ονειροτριβείον [Dream-Mill]. His latest book of poetry, Πληγείσες Περιοχές-Γυμνές Ιστορίες (Affected Areas-Raw Tales: Melani, Athens, 2016) has been translated into French by Michel Volkovitch as Zones sinistrées (published by ‘Le miel des anges’). His work has been translated into English, Spanish, Portuguese, Lithuanian, Latvian, Turkish etc. and appeared in Cypriot, Greek and international literary reviews. His poetry will be a part of the new Treći Trg’s project named Greek Literature from Cyprus in Serbian.
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Robert Simonišek (1977) is a poet, writer and art historian and currently lives in Celje, Slovenia. He studied philosophy and art history, he also received a doctoral degree from the latter. His poetry debut was published in 2003 under the title Drowned Catalogue (Potopljeni katalog), his second collection, namely Autoportrait Without a Map (Avtoportret brez zemljevida) followed five years later. His so far latest collection are Migrations (Selitve, 2013). Simonišek‘s texts are translated into different languages, his work has been included in several domestic and foreign anthologies. He collected and translated into Slovene poems by Desmond Egan and a novel by William Trevor. The author gained domestic critical acclaim with his psychologically crafted novel The Room Under The Castle (Soba ispod zamka, 2013), which was nominated for the Slovene novel of the year. His relationship to poetry, art and the world was articulated in the essay collection The Crash of Spaces (Trk prostorov, 2015), which in 2016 received a prize for the best Slovene essayist work of the year.
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Yolanda Castaño (1977, Santiago de Compostela, Spain), BA in Spanish Language and Literature and with Media Studies. Apart from being a poet, editor and a very active culture manager, Yolanda Castaño has been a columnist and has worked in Galician TV during many years (Galician Audiovisual Academy Award as ‘Best TV Communicator 2005’). She has published 6 poetry books in Galician and Spanish (Depth of Field and The second tongue are her last titles), several chapbooks in Galician, Spanish, Chinese and Macedonian, and a pair of compilations. A finalist of the National Poetry Prize, she has won poetry awards amongst which the National Critics Award, the Espiral Maior Poetry Award, the Fundación Novacaixagalicia, the Ojo Crítico (best poetry book by a young author in Spain) and the Author of the Year Galician Booksellers’ Award stand out. She is a relevant cultural activist, regularly organizing monthly poetry reading series, festivals, literary and translation workshops, all of them hosting local to international poets (Galician Critics’ Award Best Cultural Manifestation 2014). She was the General Secretary of the Galician Language Writers Association and she has made her contribution to many written media, books, anthologies, conferences and many readings or multimedia poetry performances inside and outside Galicia, including many international poetry festivals and meetings, mostly around all Europe and America but also in Tunisia, India, China and Japan. She has coordinated collective books, art and poetry exhibitions; she has published works as an editor, as well as five poetry books for children and four of translations (from contemporary authors like Nikola Madzirov or Marko Pogačar, among others, into Spanish and Galician). She has been involved in many different experiences of blending poetry with music, performance, dance, architecture, visual and audiovisual arts, and even cookery, being awarded for that too. Part of her work has been translated into twenty five different languages. She held three international fellowships as a writer-in-residence, at the IWTCR in Rhodes (Greece) and in Villa Waldberta (Munich - Germany) in 2011, at the HIP-Beijing (China) in 2014 and at the Castle of Hawthornden (Scotland) in 2016.
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Patrik Kovalski was born in Doboj, Bosnia and Herzegowina and now he lives and works on the relation Novi Sad – Veliko Gradište, Serbia. He is the author of the book of short stories Sugarfree (2005) and two poetry collections Žuč mikrokozma (The Gall of Microcosm, 2010) and Zlatna groznica (Goldenrush, 2016). The second book was awarded and published by Treći Trg and Belgrade Poetry and Book Festival. He publishes poetry and prose in magazines, group collections and in anthologies of contemporary Serbian poetry.
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Aurélia Lassaque (b. 1983) is bilingual poet in French and Occitan. Interested in the interaction between various forms of art, she often cooperates with visual artists, directors, dancers and particularly musicians. She has performed all over the world, e.g. in Europe, Latin America, North Africa, Scandinavian countries, Indonesia and India. She is an active advocate of linguistic diversity, acts as literary advisor for the “Paroles Indigo” festival in Arles and the “Premio Ostana Scritture in Lingua Madre” (Italy). Aurélia Lassaque’s poetry collection Pour que chantent les salamandres (Editions Bruno Doucey, 2013) has been published in Hebrew, Dutch, Norwegian and English.
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Malgorzata Lebda (1985) was born in a small village Nowy Sącz in southern Poland. She is a poet, photographer and academic teacher in Krakow. Furthermore she runs the mountain ultramarathons and climbs. She is the author of four collections of poems: Open on page 77 (2006), Traces (2009), The Forest Border (WBPiCAK, Poznan 2013) and Backwoods (WBPiCAK, Poznań 2016). She lives in Krakow.
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This paper analyses the poetry of Khalil Hawi, one of the most prominent contemporary poets of the Arab world. The Arab culture reform is considered the central idea of Hawi’s poetry. This idea is depicted through the poetic reactivation of the Tammuzian myth, the resemantization of Sindbad’s travels, intertextuality with the poetry of T. S. Eliott, and, ultimately through the bridge symbol as the most important motif through which Hawi speaks of (im)possibilities of transcultural openness and absolute freedom.
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