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Credo si possa esser d'accordo sul fatto che i totalitarismi restano tali finché riescono a mantenere il loro appiglio, o meglio forse dire "artiglio", appunto, totale sulle società che controllano.
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The book contains analysis of the way of presenting issues essential for the life of the Orthodox Church in the 19th-century Russia in Nikolai Leskov’s journalistic works. Writer’s literary output is discussed in its historical and social context, against the background of contemporary press discussions. It reveals a bond between his spiritual quest, the emerging modern religiosity and changes taking place in the Church. It also allows to highlight similarities and differences between Leskov and his contemporaries and to trace the evolution of the writer’s views.
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This essay addresses issues of periodization, with a specific focus on the importance (or overvaluation) of the reconstruction of the Polish State and its effects and consequences on contemporary Polish culture and literature: in fact, 1918 was perceived as a turning point and as an ideal boundary between an old and a new era. At the same time, different opinions about the “limits of modernity” in Polish culture and literature were discussed, emphasizing the longue durée of such cultural macrophenomena as the “romantic paradigm” or “Sarmatian” mentality and their significant impacts on the processes of continuity and discontinuity of culture. Searching for a merely literary explanation for the periodization of this first troubled period of the “short century”, the author stresses the importance of two texts by Julian Tuwim, Spring (1918) and You All, Go Kiss My Ass (1938), which feature all the euphoria of the beginning and the drama of the end of the period. The article also offers an initial attempt at an Italian translation of the Tuwimian Poem in which the author politely but firmly implores the vast hosts of his brethren to kiss his ass.
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7 Nisan 1933’de, Almanya’da, Hitler hükümetinin ırkçı yasalarından ilki olan ve Nazi yöneticilere rejim düşmanlarından, özellikle de Yahudilerden kurtulma fırsatı sunan, “devlet memurluğu mesleğinin ihyasına dair yasa” kabul ediliyordu. Ari ırktan olmadıkları için üniversitelerdeki kürsülerinden kovulan çok sayıda bilim adamının Nazi Almanya’sını terk etmek zorunda kaldığı bu 1933 yılında, hemen hemen aynı tarihlerde, kuruluşunun henüz onuncu yılındaki genç Türkiye Cumhuriyeti de bizzat Atatürk’ün öncülüğünde, kökten bir üniversite reformu gerçekleştirme çabasındaydı. Her iki ülkenin tarihindeki bu ilginç kesişme, Nazilerin kovduğu birçok akademisyenin mesleklerine Türk üniversitelerinde devam edebilmelerini sağladı.
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This article analyses a Church Slavonic translation of the stichera by Christopher of Mitylene which is preserved in a form adapted for liturgical use in two East Slavonic manuscripts, one of the early fi fteenth century, MS 15231 in the archive of the regional history museum in Jaroslavl′, the other of the later sixteenth century, MS 90 in the library of St John’s College, Oxford. On the basis of its liturgical, calendrical and linguistic peculiarities it is argued that the version in the Jaroslavl′ and Oxford manuscripts is distinct from and possibly earlier than the translation hitherto known from South Slavonic sources.
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0 Zdravko Zima A čiji sam to ja Uobičajena je pretpostavka, ili predrasuda, da pisac svoju karijeru počinje stihovima da bi se kasnije, u »ozbiljnijim« godinama, priklonio i drugim žanrovima. Kako se Tahir Mujičić nikada nije uozbiljio, barem ne na način koji propisuju pedagoški gnjavatori, tako je i njegov put bio drukčiji, o čemu dovoljno svjedoči njegova biografija i njegova bibliografija.
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The present article analyses the conversation of the cenacle Viața românească by exploring three directions of research. In the first place, the study concentrates on the conversation as a phenomenon of loss, focussing on the voice of the writers and oral speech as signs of extreme fragility. On the one hand, the reflection on the absence of the spoken word articulates an imaginary of evanescence that functions as a collective representation of the community. On the other hand, it reconsiders the relation between the oral and the written word by favouring the conversation against the literary work. In the second place, the article investigates the forms of the conversation specific to the cenacle as they appear in the memoirs of some members. Representing the cenacle as a democratic society where each member has equal rights, the memoirs of the cenacle depict, at the same time, some regulations that limit the speech such as the anti-rhetoric, the delicacy, and the admiration. Finally, the last issue to be approached is the content of the conversation. On the one hand, the cenacle represents itself as an elevated group that discusses the issues of literature, investing in the “profitable” conversation (Glinoer, Laisney) at the expense of the agreeable interaction. On the other hand, the cenacle values the forms of entertainment as a way of detachment from writing, the study focussing, in the last part, on the functions of laughter inside the literary community.
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As a field and course, “Turkic World Literatures” covers Turkish literatures outside Turkey. However, in practice, it is seen to encompass new (contemporary-modern) literature field outside Turkey. This field is taught in Turkish higher education in different courses such as “Contemporary Turkic World Literatures”, “Turkic World Literatures”, “Comparative Turkic World Literatures” and “Azerbaijan/ Turkmenistan, etc. Literature Examples”. Nevertheless, there are some differences in practice and content when it comes to research in the field in general, and teaching in particular. This study discusses a few issues regarding Turkic World Literatures research and teaching and makes suggestions in conclusion. Within the framework of Turkic World Literatures course and research, “determination of the field’s scope”, “inter-field comparison” and “textual adaptation of contemporary literary theories and knowledge” are discussed.
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The aim of this study is to discuss the rhetorical strategies and literary sources in Epode 2, Ad fontem Sonam. In patrio fundo, dum Roma rediisset by Maciej Kazimierz Sarbiewski (Casimir). It opens the possibility of an intertextual reading of the text (Catullus 31, Horace III 13, Ovid Metamorphoses III (407-417). My thesis is that the text, like the Horatian ode, demands a metapoetic reading. The “source Sona” and its waters, wherever located in fact, stand for an allegory of poetic inspiration, to be identified, again as in Horace, with both the poet and his poetry, but probably also with God’s grace. Thus the image of the poet’s motherland takes on a symbolic dimension and may be understood as an expression of the poetic identity of his own, a hallmark of the poet and of his individuality. In this way the poem becomes a kind of prayer and a performative act of speech.
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Matija Antun Relković (1732–1798) was a Croatian writer in the period of Enlightenment. This issue of Dusty Covers presents all the woodcuts and vignettes from Relković’s book which are reprinted in their respective textual contexts. The book Esopove fabule za slavonsku u skullu hodechju dicu sastavljene [Aesop’s Fables, Composed for Slavonic School-going Children] was published in Osijek, six years after Relković’s death. It covers 144 octavo pages which contain one hundred fables, the cover illustration, 22 woodcuts, and ten vignettes.
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Potrebbe sembrare che negli ultimi anni l'attenzione degli studi verso i linguaggi totalitari sia decisamente scemata, o perfino svanita. Ma non è così.
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Nel 1966 un giovane polonista, classe 1943, originario di Tarnów e diplomato al liceo di Twardogóra in Slesia, si laureava all’Università di Breslavia, sotto la direzione del prof. Czesław Hernas, e subito entrava a far parte, in qualità di assistente, della Cattedra (presto diventata Istituto) di Polonistica dell’Ateneo breslaviense. Così è cominciato il lungo e ricco cursus studiorum di Andrzej Litwornia. Lungo, e allo stesso tempo troppo breve, troncato prematuramente il 16 marzo 2006.
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“Our age is the age of anthologies” – Władysław Tatarkiewicz’s thesis, articulated as early as at the turn of the 1980s, continues to be relevant. The anthology seems to be one of the forms of a unit of silva of paramount importance for modern culture – which is indeed condemned to a sort of selection of writing which floods the bookshelves of bookstores. In the volume which we present to the reader we examine above all the modern literary anthologies (of the 20th and the 21st centuries), although we do not fail to take into account the historical context which enables us to perceive and to understand the changes which take place. The articles collected in the book present the form in question in terms of its theoretical, historical-literary and legal aspects; they take into account the extremely important environment-related situation – the social and the geographical situation of the anthology, its association with a certain symbolic community in the country and in emigration; they also present two factors which determine the form of the selection – the subject and the figure of the anthologist. The poetics of anthologistic forms is also considered in a broader context: as a phenomenon which is directly associated with the culture of quotation, as one of the more interesting and heretofore unexplored manifestations of intertextuality.
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Pavel Brycz is among authors writing books for both adults and children. The subject of Miroslav Chocholatý’s chapter Antropomorfizace jako prostředek komunikace (Pohádky Pavla Brycze) [Anthropomorphization as a means of communication (Fairy tales by Pavel Brycz)] is the fairy tales Kouzelný svět Gabriely [The wonder world of Gabriela] (2006) that were originally broadcast as a radio series, the book Dětský zvěřinec [The children’s menagerie] (2008) on the basis of which Brycz wrote a script for a TV series of bedtime stories, and the latest publication Bílá paní na hlídání [The white lady as a baby-sitter] (2010).
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Nalazeći povod u obeležavanju stogodišnjice rođenja Gijoma Apolinera (Rim, 1880-Pariz, 1918), Galerija moderne umetnosti u Rimu je krajem prošle i početkom ove godine organizovala izložbu Apollinaire e l’avanguardia, na kojoj su bila prikazana dela Pikasa, Braka, Ležea, Grisa, Deloneja, Marisa, Derena, Gleza, Mecenžea, Arhipenka, Erbena, Pikabije, Dišana, Bočonija, Bale, Karaa, Seveririija, Sofičija, Rosula i drugih, dakle, pretežno protagonista kubizma i futurizma, dva pokreta s kojima je Apoliner bio prisno vezan kao kritičar.
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Nedavno je Lazar Čurčić privukao ponovo pažnju na narodnu pesmu Nahod Momir, veoma iscrpnom i dokumentovanom studijom.
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Nakon brojnih godina, pa i desetljeća, valja nešto reći načelno o poetici Sonje Manojlović, i to na primjeru posljednje zbirke Gledajući odgovore (2018.), koja donosi neku poetičku novinu. Moderni hermetizam strategija je zadnjih zbirki, a spoj je to (još davnih i početnih) egzistencijalističkih naslaga, osobne enigmatičnosti same autorice iz područja ljudske (često nespretne i neuspješne) komunikacije, te dobrodošao lirizam bajkovitog tipa, kao i povremena nadrealistička rješenja u stihu.
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The experimental Czech fairy tale includes some books by the artist, theatre author, musician and writer, Petr Nikl. Despite the fact that in the recent years the literary quality of his texts has not increased he still remains an important figure in the area of the modern original fairy tale. Similarly, the fairy tales by the painter, graphic, conceptual artist and writer, František Skála, are aimed at readers and fans of his multi-media works as a whole. In comparison with Nikl he fascinates readers with his ability to find and emphasize aesthetic qualities in ordinary and banal connections, stories and artifacts while originally dealing with the natural environment at the formal (artistic) as well as the story-telling (literary) level. Both the writers are dealt with by Martin Reissner in the chapter Autorské pohádkové knihy Petra Nikla a Františka Skály [Original fairy talebooks by Petr Nikl and František Skála].
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In Gadda’s That Awful Mess on the Via Merulana, there is an essential aspiration for order, for a geometrical symmetry that is to contain a natural reality, whether historical or social. However, the reality has shifted in the process of irreversible degeneration from this sublime model of orderliness and the world has exploded in the labyrinth of chaos where individual entities no longer reflect their ideal forms. They have been deformed as a result of an inner monstrous degeneration, and that is the baroque found in them, as defined by the author. It is as if the novel at one point explodes into an infinite series of digressions that keep multiplying in various directions and make one forget about the main plotline thus making the structure of the novel open, leaving an impression that it could continue like that indefinitely It seems they are reduced to the impure matter that simply evokes disgust. The most prominent features of this novel comprise a vision of the world of chaos and labyrinths dividing the form of the novel and the way the reality is demystified by means of language.. This stems from the author’s stance on the Italian reality after World War One, reigned by newcomers, the ambition for gaining wealth, the power of the ruling, hypocrisy, lies, egocentric exhibitionism, and bad taste. It is evident that the author is striving to, by means of using the 17th century model of realism, create a solid traditional novel which would clearly depict traditional ambience, its characters and their state of mind. However, at one point the novel explodes into an infinite series of digressions which brings to stage a reality of chaos.
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