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La modernité déclenche deux types de réactions contradictoires: nostalgie d’un monde révolu, peur d’une évolution technique qui mènerait vers l’apocalypse ou bien au contraire accueil enthousiaste de l’innovation, effort pour se mettre au rythme du progrès, et inventer des formes artistiques qui lui répondent et l’exaltent.
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Monograph of Prof. Tsvetana Georgieva, DSc “The Literary Secession: the Bulgarian Belle Époque” is a serious study on the aesthetics of modernism – the practice of the Secession/Decorativism style artistic use in Bulgarian literature. Motifs, images, concepts, ideologies, etc. are studied and presented typological for the Secession/Decorativism, which underlines the importance of the book of a respectful serious work on the development of for the Secession/Decorativism in Bulgaria.
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Referring to the terminology proposed by Jacques Derrida, H. Porter Abbott and Jeanne Perreault, the article presents autography as a trans-genre and trans-media category, encompassing all textual manifestations of the author’s self. In addition to referential texts (autobiographies, self- portraits, memoirs, essays), it includes fictional ones (novels, dramas, poems); apart from sepa- rate, individual works – groups of them, which together refer to the author or make up his/her image; apart from the text as a whole – its individual elements; apart from the works of literature – film, theatrical and visual self-presentations. Their common feature is directing the audience’s attention not to the work itself, but to the person of the author. Modern autographies express the desire to give the created reality a sign of authenticity, represent an attempt to transform medi- ated communication through art into a lively discourse, and postulate a return from the product to the autograph – to something which bears the trace of a human hand.
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The article analyzes Małgorzata Lebda’s autoethnographic writing practice within the framework of posthumanist theory and new materialist feminism. The author examined the issue of creat- ing and experiencing community relations between non-human subjects using the example of Lebda’s poetry, prose and activist practice. It is based, among others, on the concepts of: river heritage, companion species, kinship, assumptions of transrelational ethnography, ethics of care and responsibility towards weak subjects. In particular, the strategy of constructing water narra- tives was interpreted as an example of a remedy for crisis experiences.
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The following article briefly presents a narrative practice of biofiction, focusing predominantly on popular biofiction and its specific subtype, literary biofiction, which fictionalises a well-known writer. Once a general definition of biofiction is established, the article offers an examination of the role of referential elements, which are identified as biographemes – understood here as bio- graphical memes – especially literary biographemes, which play a specific role in popular literary bioficitons. The features enumerated in this paper situate biofiction as a post-authentic practice, typical for the contemporary remix culture. In the final section, Poe biofictions are discussed to examine the emblematisation of the biofictional character and metafictionality of biofiction.
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This article refers to Bakhtin’s concept of primary and secondary speech genres. Theobservations concern the genre of CONFESSION (Polish: wyznanie) – analyzed against the back-ground of several related Polish communication structures. An accurate comparison of the genre ofCONFESSION, functioning in colloquial speech, with the presumptive one appearing in a poemreveals that the original genre pattern undergoes various modifications in the new discursivesituation. Its illocutionary determinants and perlocution are slightly different in the literary contextand it also has a more universal character. Its content is sometimes enriched thanks to variousintertextual references.The above conclusions result from the analysis of Leopold Staff’s poem Podwaliny (‘Foundations’)interpreted as a confession that poignantly shows the condition of a man who survived a warcataclysm. The poem evokes images known from the Gospel parable of good and bad constructionmodifying them in a significant way.
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We examine the notion of surveillance in Plautus’s plays, when watching over someone (lat. obseruatio, in the general sense) takes the form of close watch, spying and voyeurism, and by doing so, linking it with transgression. Thus, the actual transgressor is often spied on, rather than being the spying character.
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This article examines the linguistic representation of strong emotions within Roman comedy using the character of the adulescens. The detailed linguistic analysis of scenes of the three young men Calidorus (Pseudolus), Diniarchus (Truculentus), and Lysiteles (Trinummus) focuses on lexicon, syntax, morphology, prosody, and imagery. The analysis suggests that a specific combination of these features is used to represent emotions such as miseria, ira or desperatio within the text. A final look at Terence’s Andria and Adelphoe supports the results.
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Kada sam saznao da će meni biti dodeljena ova nagrada, bio sam zaprepašćen, čak zbunjen, i u isto vreme veoma radostan zbog te počasti. I dalje sam počašćen i pomalo zbunjen, ali i uplašen. Plaši me to što danas moram pred vama da govorim. Ako pisanje smatram teškim poslom, obraćanje publici smatram dvostruko težim.
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"Pisanje je deo sudbinskog zapisa" - Interview with Enes Halilovic.
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Images of the sky and celestial bodies – sun, moon, stars – play an important role in the works of the little-explored Ukrainian writer from the 1930s, Vasyl Tkachuk. They are the result of Tkachuk’s combining both folk-poetic elements and original ones in his short stories. Above all, the images of the sky, the sun, the moon, and the stars in his texts are an integral part of the landscape of Hutsulshchyna and Pokuttia, functioning as components of the Hutsul landscape discourse but also as a part of the boundless cosmic space. The writer appears here as a master of drawing the picturesque landscapes of Hutsulshchyna and Pokuttia, where he was born and raised. In addition, the celestial space in Tkachuk’s works is an inseparable element of the lives of the Carpathian highlanders. Its elements accompany the characters in their daily joys and sorrows and thus become an integral part of their existence and beliefs. Finally, images of the sky and celestial bodies are an important factor in forming the plot and thus constitute a key element in the construction of individual writings by this Pokuttian writer. The highly original personified images, anthropomorphized comparisons, and authorial metaphors (which include the analyzed images of the sky, sun, moon, and stars) deserve special attention. Taken as a whole, the individual images of celestial space in Tkachuk’s works are part of the highly original tradition of novelistic discourse aptly described by Tkachuk’s contempo- raries as “poetry in prose” (along with the concepts of “chichka”, “wind’ and “storm” analyzed earlier). In addition, the individualized images of the sky, sun, moon and stars have become an important component of Tkachuk’s conceptual model of the world. They also co-create a philosophy of nature and confirm the writer’s deep respect, attachment, and undying love for Hutsulshchyna, Pokuttia, and his native Ukraine.
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The works of Mykola Khvylovyi – one of the most recognizable writers of the 1920s – has many blank spots, which is why it is still the subject of scientific research in literary studies, political science and history. There is no doubt that the ideas of this Ukrainian writer significantly influenced not only the course of Ukrainian literary discussion but also the shape of contemporary Ukrainian literature. The aim of this article is to attempt to examine the phenomenon known as “khvylovism” and to prove that it is a phenomenon artificially created by the ideologists of the communist party in the 1920s. The author pays particular attention to the fact that “khvylovism” cannot be treated as a system of the writer’s political views but as a concept for the development of independent Ukrainian literature.
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The objective of this paper is to comprehend the environmental impact, specificallythe influence of the psychiatric institution, on a work of art created within the context ofpsychiatric treatment. Additionally, the paper focuses on exploring the artwork’s impact onthe viewer, and examining how we perceive these drawings – whether as neutral observers orthrough a sexualized lens. The intention is to present a collection of artworks produced by a femalepatient during her hospitalization in the 1950s and 1960s at the National Institute of Psychiatryand Neurology in Budapest. For the purposes of this study, the artist has been given thepseudonym “Antonia”, as her identity is only known within the institutional records throughher marital status, identification by her husband’s name, and an approximate age at the timeof admission. Antonia’s drawings depict women engaged in various everyday situations, suchas enjoying an elegant dinner or dancing, and also include portraits of a young, attractive,and sexually appealing individual. When interpreting these drawings, it is impossible to avoidbeing influenced by the perspective from which the figures, seemingly vulnerable and exposedeven in their elegant attire, offer their creator a glimpse into their emotions, anxieties, andfears. The aim of this study is to demonstrate that, even in contemporary times, decades aftertheir creation, when approached from the perspectives of art history, psychology, and sociology,these drawings can only be accessed through the patriarchal lens that initially categorizedthem as part of the museum canon and included them in the collection during their respectiveera. Departing from this foundational standpoint proves to be a challenging endeavor.
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The study examines the connection between text and illustration in contemporary children’s poetry books. In most cases, illustrations employ some form of visual enhancement or stylization. Even when they faithfully follow the themes of the texts, they establish their own visual language. Stylization thus emerges as a crucial creative element, uniquely belonging to the medium of the image. Stylization reveals that image and text can never fully coincide, even if the image depicts the same subject matter as the text. The question then becomes to what extent the illustrations align with the spirit of the text or diverge from it. To what extent do they consider the reader as a co-creator, and how much do they engage with the possibility of symbolic decoding? Children’s poetry books, compared to prose, offer greater freedom, symbolism, rely on the sensuality of sound, and enable broader, more metaphorical connections with images. A separate area of examination is the realm of children’s drawings and adult illustrations imitating children’s drawings, encompassing aspects such as the technique, color palette, and typographical solutions employed in the images.
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The immense success of Montesquieu’s Persian Letters (1721) paradoxically overshadowed all his subsequent fictional productions. Such was the fate of his True Story, an orientalising tale that was not published until the end of the nineteenth century, long after his death. The present study aims to show the originality of this work by Montesquieu, in which the author draws on both Lucian’s ancient True Story from the second century and borrows the theme of reincarnation from Thomas-Simon Guelette’s Marvelous Adventures of the Mandarin Fun-Hoam (1723). The aim is also to discover the debt it undoubtedly owes to the picaresque novel, which was very fashionable at the time, and to prove to what extent it prefigures the philosophical tale e practiced by Voltaire. Montesquieu’s True Story is a highly original and innovative literary work, which fully deserves to emerge, at last, from the shadow of the Persian Letters.
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As part of a larger effort to explore the multiform relations between philosophy and literature—a research fi eld that attracts growing attention—we focus on the philosophical aspects of literature. Our project tackles the subject of literature’s potential to generate knowledge. In our paper we intend to dwell on self-referential literature. This intriguing dimension of literary expression is associated with works in which selfreflective moves can be traced, that is, texts in which literary writing refers to and reflects on literature itself. The self-reflection of self-referential literature assumes many shapes, affecting in various ways the constitution of both content and form. Thus, our aim becomes twofold. First, we look into variants of literary self-reflection, while pondering the philosophical implications of each of those. Here, we are going to draw on examples from the writings of Stéphane Mallarmé, Paul Valéry, Maurice Blanchot and Clarice Lispector. Second, we propose to consider the necessary conditions and the prospects for obtaining some kind of knowledge by means of self-referential literature. In so doing, we examine alternative conceptions and kinds of knowledge which could be taken into account.
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The article is dedicated to the book Donikąd (To Nowhere. Journey to the Edge of Russia, 2019) by Polish philosopher, philologist, and traveler Michał Milczarek. The author of the article pays attention to the narrator’s image, the motif of a road, and the term “nowhere”. The author argues that the writer’s perception is rooted in the child’s phantasmatization (phantasm) and philosophical concepts of existentialism, most importantly Martin Heidegger’s ideas of “the hiddenness of being” and nothingness.
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This article is devoted to zoonarratology as a variant of postclassical narratology. It discusses issues that require rethinking in the context of the transdisciplinary animal turn. The fundamental epistemological assumptions of narratology are openly anthro- pocentric. Narration is conceptualized as a mental and linguistic category dependent on the way in which the human mind functions. Variety of disciplines pose questions about the possibility of communicating with an animal as an autonomous and separate subject, whose cognition is primarily born through interaction. Thus, it requires a new approach to such important narrative categories as character, empathy, identification, and the narrative perspective. In this article, the author shows the role of the second- person perspective as a narrative tool for thematizing the reflection on anthropocen- trism of the narrative.
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