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Private show pod-razum-eva jedan novi koordinatorni sistem: novu empirijsku mitologiju, pa samim tim i novi tip subjektivnosti, odnosno opsenosti. Govorim o jednoj naivnoj (vrhunac zavođenja je kad se njime ne vlada), čak nihilističkoj poziciji, odnosno poziciji nirvane (na granicama infantilnosti i destrukcije), koja je lišena svakog dospeća, sadržaja, čak i vrednosti, a kao takva, potpuna i samodovoljna, poseduje energiju praznine, promašaja falsifikata.
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Review of: Tamara Šuškić, Private Show («Narodna knjiga», 2005)
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"Poezija još uvek postoji" - Interview with Marija Stepanov, by J. Simuljakrij.
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"Među stvarnostima koje su nam dostupne samo su priroda i kosmos istina" -Interview with Eryk Ostrowski, by Rajčić Biserka.
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"Prava umetnost, nadvremensko delo nastaje van moda "-Interview with Ewa Sonnengerg, by Biserka Rajčić.
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Vislava Šimborska (Wisława Szymborska), poslednja poljska Nobelovka rođena je 1923. godine u Kurnjiku kod Poznanja. Od 1931. živi u Krakovu. Tu je studirala sociologiju i književnost. Bila sekretar redakcije književnih novina Žiće literackje (Književni život). U vreme Solidarnosti jedan od osnivača časopisa Pismo. Pored pisanja i prevođenja poezije s francuskog bavi se svojevrsnom književnom kritikom, odnosno piše o novim knjigama iz najrazličitijih oblasti. Kratke tekstove od jedne do dve stranice, u svom prepoznatljivom ironičnom stilu. Izdaje ih i u knjigama pod zajedničkim naslovom Neobavezna lektira (I–IV).
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Pariz dvadesete godine, Pikaso uleće u kubizam, usput menjajući žene kao četkice; Đagiljev efektno ruinira život Njižinjskom; Salvador Dali dolazi taksijem iz Katalonije u Pariz i onaniše u jednom burdelju; dada trijumfuje u Americi; Dišan je docrtao brkove Đokondi; Džozefi na Beker pokazuje gole grudi, pri tom pevajući Le petit RamPam-Pam; Nadrealisti godinama tonu u blagi somnabulističko-nadrealistički san; „Bon Soir“ je jedan od omiljenih obrta; Man Rej za potrebe umetnosti otkriva KIKI i snima fi lm „L’étoile de mer“ prema oniričko-humorističkoj poemi Robera Desnosa; Džojs se spasava bekstvom iz radikalno katoličke Irske, gde za autore opscenih šala nema mesta, objavljuje svog Ulisa i postaje slavan, dok u njegovoj rodnoj zemlji knjiga dospeva na listu zabranjenih; Gertruda Štajn u Rue des Fleurus 27 vodi duge razgovore s Alisom B. Toklas, koja ispija brendi s ledom ili je za volanom forda uverava da nosi šešir s žutim cvećem; Hemingvej se redovno opija i zamera Francuzima što je kod njih alkohol skuplji nego u Americi;
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Rođen 9. februara 1931. godine u Herlenu (Holandija), u crkvenoj ustanovi za „posrnule“ devojke. Oca nikada nije upoznao. Rano detinjstvo provodi kod babe i dede u Beču, a zatim odlazi kod majke, da bi već 1941. godine, zbog neslaganja sa novim mužem svoje majke, završio u nacionalsocijalističkoj vaspitnoj ustanovi u Zalfeldu, Tiringija. Dve godine kasnije odlazi u Salcburg, u drugi nacistički internat. Po završetku rata vraća se porodici i od tada na njega najveći uticaj vrši njegov deda, pisac Johan Frojmbihler, koji je bio njegov prvi učitelj violine i potrudio se da Tomasa umetnički obrazuje. Pohađao je gimnaziju, odakle je izbačen, zatim trgovačku školu, a učio je pevanje, scenske umetnosti i dramaturgiju u Salcburgu sve dok 1949. godine nije oboleo od tuberkuloze.
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"Pitanja i odgovori" - Interview with Thomas Bernhard, by Christa Fleischmann.
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The article presents an analysis of parcellation in Mariia Matios’ famous novel. Its aim is to consider parcellation as a characteristic feature of the writer’s style. Parcellation is considered from special structural-compositional, semantic-meaning and intentional-pragmatic perspectives. The author employs communicative and pragmatic approaches to study this phenomenon. The use of parcellation figures contributes to increasing the information saturation of an artistic text, while also emphasising the expressiveness of the statement. The aim of this article is to present a communicative and pragmatic approach to the study of this phenomenon. The research confirms that parcellated constructions in the artistic works of contemporary Ukrainian novelists have both a communicative and a pragmatic orientation. The main function of the figures in a literary text studied here is that of logical selection, which is often combined with auxiliary functions: clarification, concretisation, actualisation of thoughts, expression of modal meanings.
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The article presents a general description of colors in the novella Klymko by the famous Ukrainian writer Hryhir Tyutyunnyk and the symbolic content of their semantics. The idea of the article arose from the lack of any research into the features of lexemes used to denote colors in the writer’s works. The article conducts a quantitative and qualitative analysis of colors in Hryhir Tyu- tyunnyk’s novella Klymko. The author also tries to characterize the colors from the point of view of parts of speech. In particular, it is established that colors are represented by different parts of speech: adjectives, verbs and verb forms, adverbs and nouns. Adjectives are the most common among color names, while verbs and verb forms are used less often. There are also isolated cases of adverbs and nouns being used to describe some colors. Special attention is paid to the semantic features of complex color lexemes and the stylistic use of colors in Klymko. It is established that colors help to convey the writer’s worldview, and express the thoughts, views and feelings of the characters of the work. The article is based on linguistic and cultural studies.
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Kharkov literature of the mid-20th century, after the capital was moved to Kiev, remained little known to the general public for a long time; this trend continues to this day. However, the tradition of the Red Renaissance was proudly continued by a whole constellation of extremely talented artists - Vasyl Mysyk, Ihor Muratov, Vasyl Borowy, Ivan Vyrhan, Robert Tretyakov. The article analyzes one of the poems by Ihor Muratov (In a Dream), an outstanding poet, prose writer and playwright of the 20th century. The researchers propose a micro-analysis of this poem, during which the subtexts were discovered and the hidden meanings contained in its content were deciphered. The lyrical composition reverses the typical dream of escape: what would normally be a vision of freedom becomes a nightmare of enslavement. The dream is presented as an analogy of the child's stay in the mother's womb. In the process of interpreting the poem, the similarity of the semantic structure of this text to the self-intersections of Klein's bottle, as well as other unexpected contexts and allusions, is revealed. It was found that the poem In a Dream in particular and Muratov's work in general is an unusual phenomenon in Ukrainian literature of the Soviet period and requires further research.
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- Der Dichter V.A. Polak verstorben; - The Exhibitions of the State Jewish Museum in 1990; - Artistes Juifs de l'Ukraine (Jewish artists from Ukraine)
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The article is devoted to the life and work of the German-Jewish poetess Gertrud Groag born in Moravia and in 1942 imprisoned in the Terezin concentration camp-ghetto. Before the war she composed lyric poems and her collection of poems analysed by the author of the paper, “Lieder einer Krankenschwester“, was written directly in Terezin. The article includes some examples of her Terezin poems.
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The paper deals with some examples of Hebrew liturgical poetry (selihoth, qinoth) containing information about the history of Jews in the Czech lands. The introduction characterizes elegies — selihoth as a literary genre. The next part of the paper analyses selihoth by Efraim Luntschitz concerning the invasion of the Passau troops into Bohemia and Prague in the year 1611. Then there are characterized selihoth by Yom Tov Lipman Heller concerning events preceding the Thirty Years’ War (the Prague defenestration of 1618 and the battle of the White Mountain in 1620). The end of the paper discusses six elegies, whose origin is closely connected with the Moravian campaign of the Swedes in the years 1642—1643 (Shimshon ben Abraham Bacharach, Moses ben Yishai Birgel and an unknown author from Kroměřiž).
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Our purpose is to show how much the contemporary novel can carry war stories in the form of a family investigation, but also a historical one. To do this, and without wanting to upset our readers, we have chosen Cloé Korman’s The Almost Sisters, which behind a backdrop that dates back to the Second World War, revisits the horrors that the Jewish children of France experienced between 1942 and 1944. Evoking the most despicable infamy of the 20th century committed by the Vichy government, the deportation to Auschwitz of 11,400 children, Korman proposes to return to the story of these little ones orphaned by the deportation of their parents. In this sense, it presents the story of six little girls who are tossed from one institution to another, from one camp to another. Three of them survive, and the other three take the road to Auschwitz in convoy 77.
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In this study, we attempt to identify the sources of the heritage highlighted in the album collection for children Malika and Karim of the Moroccan Edition Yanbow al Kitab and how it examines the question of identity through heritage. We will see how the textual and paratextual elements (illustrations, colours, framing, etc.) contribute to conveying the Moroccan heritage culture and what linguistic and stylistic processes are implemented to facilitate understanding and memorization.
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