“Ne daj se, Bosno” (ratni stihovi Amira Mašića)

Author(s): / Language(s): Bosnian Issue: 53/2022

Popularna izreka veli da u ratovima muze zašute. Nigdje ta izreka, čini se, nije osporena kao u ratu od 1992. do 1995. godine, vođenom na ovim našim prostorima – ratu koji je, bez imalo pretjerivanja, bio egzistencijalna prijetnja kako za Bosnu i Hercegovinu kao državu i samu ideju, tako i za sve one koji su je doživljavali jedinom domovinom. Suočeni sa tom prijetnjom, ali i općim sumrakom ratnih stradanja i razaranja, svi oni koji su iskazivali i najmanji afinitet prema umjetnosti i kreativnosti, osjećali su potrebu da se odupru, da djeluju, perom, kistom ili sluhom, da svojim angažmanom, talentom i entuzijazmom daju vlastiti doprinos odbrani. Među njima bili su i pjesnici, oni već afirmirani, ali i oni koji su tek otkrivali svoj pjesnički dar.

“QUESTA SIEPE”. SULL’INFINITO DI LEOPARDI TRA TRADUZIONE E INTERPRETAZIONE

Author(s): Otilia-Ștefania Damian / Language(s): Italian Issue: 3/2022

“Questa siepe”. On Leopardi’s Infinity between Translation and Interpretation. This study aims to analyse the translation of Giacomo Leopardi’s Infinito in Romanian made by Eta Boeriu (1923-1984) and of some other modern translations of this poem in Romanian. The author demonstrates that the translation of Eta Boeriu is still the most refined one, so we will compare it especially with the variants of Lascăr Sebastian and Vasile Romanciuc. Using the concepts of Eugen Coșeriu’s translation theory (Coșeriu 2009), especially his references to meaning, designation and sense (Coșeriu 1991, 220-21), Damian focuses on the term “siepe” (“hedge”), on its role in creating the sense of limit and the infinity in the poetry and on its linguistic and cognitive synonyms in the different Romanian translations.

“The War Generation”. Two Lyrical Approaches: Geo Dumitrescu and Ion Caraion

Author(s): Iulian Boldea / Language(s): English Issue: 16/2014

Geo Dumitrescu's poetic approach has its starting point in an attitude of revolt, of inadhesion to a counterfeit, unnatural reality; poet with an undeniable "penchant" for the real, Geo Dumitrescu assumes the prerogatives of sarcasm and irony out of an acute sense of inadequacy of literary expression to the data of the concrete. Acutely feeling the poetic word as an alienated and alienating way of communicating, improper to an authentic aesthetic dialogue, the author uses a "democratization" of poetic language, restricting the scale of consecrated vocables and relativizing the amplitude of themes with a consolidated, but otherwise constraining prestige. Poet belonging to the so-called "war generation" Ion Caraion established himself primarily through the originality of his lyrical universe, through his striking imaginary horizon transcribed in unconcessive, steep verse, of a negativist force rarely seen in our poetry. The insurgent spirit, the rebellious attitude are prevalent in Caraion’s poems, a poet for whom denial is a form of resonance with his aesthetic and ethical choices.

“Time Has Caught on Fire:” Eco-Anxiety and Anger in Selected Australian Poetry

Author(s): Anna Kowalcze-Pawlik / Language(s): English Issue: 2/2020

This essay discusses fire as a significant factor shaping Australian social and cultural life. It focuses first on the climate-change induced emotions such as eco-anxiety and anger that can be tied with the Australian landscape, and then moves on to a discussion of the presence and function of fire in selected contemporary Australian poetry. The reflection on the poetics of trauma in the second part of the essay is accompanied by a discussion of solastalgia connected with land dispossession as an experience of the First Nations expressed in the Aboriginal literature in English.

„A vers tudatmódosító szer, csak nem leszünk másnaposak tőle”

Author(s): Katalin Lakatos-Fleisz / Language(s): Hungarian Issue: 843/2022

An Interview With László Noémi.

„CZUCIE I UCZUCIE CZŁOWIEKA”. UWAGI O ASSUNCIE NORWIDA W ŚWIETLE MŁODOPOLSKIEJ RECEPCJI

Author(s): Hanna Ratuszna / Language(s): Polish Issue: 40/2022

Assunta is a digressive poem showing Norwid’s views on art, philosophy and religion. According to the aesthetic assumptions of Romanticism, art has its source in internal experience, religious experience, and is of a metaphysical nature. Modernist interpretations of Norwid’s works, to which the article was devoted, reveal its metaphysical aspects. Determining the direction and significance of influences becomes an extremely important task. The author of Assunta was perceived at the end of the nineteenth century as a patron of modernism, his name was mentioned together with that of Baudelaire, comments about him appeared in the context of discussions on modern literature, theater and the art of acting. Norwid’s work was in line with the „paradigm of sight-centricism”, the poet did not avoid optical metaphors, he used the poetics of chiaroscuro and space framing, which in Assunt’s poem gained a vertical character. The motives of improvement and growth played an important role in the piece. Reflecting on their meaning allowed to establish the rank of the metapoetic remarks contained in Assunta. The works of Norwid, recalled in the era of modernism, have received many interpretations, including critical ones, based on „troublesome” concealments. Zenon Przesmycki believed that this work was not fully understood, although attempts were made to include it in the aesthetics of modernism. However, it was recognized that it was the missing link in the development of Polish symbolist poetry (it is also worth emphasizing its links with „colorists” – as the Impressionists were called). In Assunta, referring to the Divine Comedy by Dante and Shakespeare’s Hamlet, the contemplative path of knowledge is shown. „Looking to heaven” is therefore a cognitive act in which reason coexists with faith.

„Fidelitatea” şi „infidelităţile” unor rusişti. Receptarea Annei Ahmatova

Author(s): Marinela Doina Dorobanţu / Language(s): Romanian Issue: 1/2009

Diverse articles, reviews and translations of Anna Ahmatova’s work were published in Romania during the latest decades. “Nationalizing” a great writer of a foreign language represents a happy event for any literature, as important as the original masterpiece. In this edition, I pointed out each and every publication of the Ahmatovian lines in Romanian, although they haven’t reached the value of the original so far. Translating is a hard process that requires practice, knowledge, skills and the most important a ”contextualized intuition”, that refers to the capacity of a translator to find the most appropriate terms so that the text is as clear and comprehensive as possible for the reader.

„Ha ott a föld alattad, verhetetlen vagy”

Author(s): Attila Zsolt Papp / Language(s): Hungarian Issue: 842/2022

An interview with Király Lászlóval.

„Hojność śladu”. O Śniegu Leśmiana

Author(s): Andrzej Zawadzki / Language(s): Polish Issue: 1/2007

Przywołany tu fragment powieści Nabokova nawiązuje do topiki śladu stopy, występującej już, jak wspominałem o tym w innym miejscu, w literaturze antycznej (Ofiarnice Ajschylosa), i znanej też Platonowi, który odwoływał się do niej w Teajtecie, rozważając problem śladu pamięciowego i jego związków z możliwością wytworzenia w pamięci obrazu, przedstawienia (eikon) tego, co w przeszłości zobaczone czy doświadczone, i tym samym odtworzenia, ponownego przywołania jakiejś pierwotnej bezpośrednio danej obecności.

„Ich werde eingetaucht / in vás“? Peter Waterhouses Prosperos Land als Dynamisierung von T.S. Eliots The Waste Land

Author(s): Dinah Schöneich / Language(s): German Issue: 2/2020

The assumption of the existence of well discernible national languages is at odds with the dynamic nature of language. It is part of the so-called “monolingual paradigm” and therefore implies inextricably linking people to their mother tongue, which is in turn tied to one respective ethnicity, culture and nation. However, languages are not always clearly discernible from one another and do not always appear in fixed, static forms. Instead, language is subject to dynamic changes, which are at the same time subject to political interests and language policies. The poems presented in this article exemplify how modern and contemporary poetry can use the conjuncture of multilingualism and ambiguity to create a sense of language dynamics themselves. Their poetics simultaneously question and make use of the assumption of static multilingualism. They unfold political problems from it and awaken in their readers a desire for proactive reading and (language) change. T. S. Eliot’s The Waste Land already problematizes the coexistence of the European languages as a challenge for understanding, suggesting that languages as well as their speakers might be untranslatably shut-off from each other. However, the poem also creates surprising synergistic effects from its multilingualism and ambiguity. This way, it invites its readers to connect and cross over (language) borders in an adaptive and poetic manner, stressing the importance and capability of poetry and learning for intercultural understanding. Prosperos Land by Peter Waterhouse perpetuates and even surpasses this movement. As the ambivalent bilingual, intertextual and ambiguous title suggests, the poem challenges the possibility of linguistic as well as national demarcation from the start. Moving away from strict language borders and rules, the poem highlights the transformative magic of an almost childish exploration of language itself.

ЄВГЕН МАЛАНЮК I ПРАГА

Author(s): Tamaš Vašut / Language(s): Ukrainian Issue: 1/2005

Scientific life: ЄВГЕН МАЛАНЮК I ПРАГА (Tamaš Vašut)

Језик Његошевог ,,Горског Вијенца“– највећа љепота спјева (према вредновању књижевног критичара Павла Поповића)

Author(s): Miodrag Jovanović / Language(s): Serbian Issue: 1/2020

The linguistic research that Popović carried out at the end of the 19th century will further be expanded in our through the inclusion of new information, which has been compiled over a period of 120 years of work on Njegoš’ language (and more improved methodology) – furthermore, it was interesting to reanalyze the awe that Popović had for Njegoš’ work and to actualize his views on the language (diction) of Mountain Wreath. Furthermore, our intention was to study, in more detail, Popović’s main attitude that all the characters of Mountain Wreath were from among the ranks of common people, and that they therefore must also use the language of the common folk. That is why in this paper we wanted to answer the following questions: the extent to which the language of this poem matches the dialectical base to which Njegoš belonged, and just how much the poet distanced himself from it, selecting characters in accordance with Vuk’s norms, or whether he, following his linguistic instinct, by distancing himself from the rules of both his own speech and Vuk’s model, created his own poetic expression.

ЈЕСАМ ЛИ ВАМ УОПШТЕ ПРИЧАО О ТЕРЕНИМА КОЈЕ САМ ВОЛЕО?

Author(s): Ross Gay / Language(s): Serbian Issue: 530/2021

ЈУТАРЊА ЗВЕЗДА

Author(s): Rita Dove / Language(s): Serbian Issue: 522/2020

Poetry written by Rita Dove - ЈУТАРЊА ЗВЕЗДА; МОЈА МАЈКА ПОСТАЈЕ РАДНА СНАГА; ЈЕДНОМ САМ НАМЕРНО ПОСЕКЛА ПРСТ; ПЕЊАЊЕ; ИЗЛАЗ;

Ќе се збрчкаш, егзотично овошје ќе станеш

Author(s): Daniel Bănulescu / Language(s): Macedonian Issue: 30/2003

Њемачка књижевност у босанскохерцеговачким књижевним часописима Нада (1895–1903) и Зора (1896–1901)

Author(s): Ljiljana S. Aćimović / Language(s): Serbian Issue: 19/2019

This paper explores and analyses the extent to which German literature is represented in the literary journals of Nada and Zora published in Bosnia and Herzegovina. The reason the author decided on these two journals was the fact that both of them were published at the turn of the century: Nada was published in Sarajevo in the period of 1895-1903, while Zora was published in Mostar from 1896 to 1901. Given the fact that the reasons for starting each of them were diametrically opposed, the analysis of the representation of German literature in both is a very interesting issue, with the reception of these texts explored on a separate basis. This encompasses the translation of lyric and prose texts, as well as notes, reviews, essays, critical accounts, and pieces of information on German literature. In the final section of the paper, the author, by means of the comparative method, draws a parallel between the two journals, along with providing judgement on the role and significance of the German literary texts reviewed within them.

ЋУТАЊЕ

Author(s): Filip Šijan / Language(s): Serbian Issue: 528/2021

ЏУНГЛА

Author(s): Dinko Kreho / Language(s): Serbian Issue: 528/2021

Язык поэзии и поэтический дискурс (к вопросу о взаимоотношении понятий)

Author(s): Siqi Wang / Language(s): Russian Issue: 4-5/2021

The article examines the essential and logical-hierarchical relationships of such concepts as poetic discourse, poetic language, and the language of poetry. The relevance of the research is determined by fact that the understanding and interpretation of poetic discourse within the framework of the scientific theory is in a state of development, the methodology of literary criticism and linguistics is evolving, and many concepts are still confused. Opinions expressed by the researchers who have studied the essence of poetic language and language of poetry, as well as support the concept of poetic discourse, are analyzed. The main results of the study include the definition of concepts of ethical discourse, poetic language, and the language of poetry in close logical and epistemological relationship with each other. Based on the obtained results, the following conclusions are made. Firstly, the phenomenal essence of poetic language is described. Secondly, the mechanism of poetic discourse development is viewed as a result of two refractions (author’s and reader’s) of the language of poetry. At the same time, the language of poetry is presented as a locus (modus) of a worldview or a linguistic worldview. Thirdly, poetic discourse is considered as part of artistic discourse, which is not only emotional and aesthetic, but also cognitive and aesthetic content. The above-given conclusions are important for the theory of linguistics and literary criticism, because they contain the rationale for the statement that poetic discourse is a level of understanding and interpretation of the language of poetry as a mode of the linguistic reality. At the same time, poetic language is a skillfully applied technological side of a special kind of creative, heuristic activity.

Языковое оформление образов природы в поэтических текстах В. С. Соловьёва

Author(s): Simona Koryčánková / Language(s): Russian Publication Year: 0

The author of the article analyzes the images of nature in the poetic works of Vladimir Soloviev, depicting the internal state of the poet, his feelings and emotions. Language means with the semantics of natural phenomena allow readers to imagine the poet´s ideas, his philosophy and mystical conception of the world. Displaying the colour scale, light and dark tones, sounds, and emotions is a typical feature of the poems where the poetic images and symbols concretize idiostyle of the writer.