Tri ogleda o hrvatskim pjesnicima
Essays written by Branko Maleš: I. ZVONKO PENOVIĆ, II. SIMO MRAOVIĆ, III. ZORICA RADAKOVIĆ
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Essays written by Branko Maleš: I. ZVONKO PENOVIĆ, II. SIMO MRAOVIĆ, III. ZORICA RADAKOVIĆ
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Ottó Tolnai nije nepoznat onome krugu hrvatskih čitatelja koji se još sjećaju iz onih, i ne tako davnih, jugoslavenskih vremena mađarske komponente u tom prostoru, tj. književnosti vojvođanskih Mađara. Otto Tolnai je možda najznačajniji predstavnik te male književnosti, danas već visoko cijenjen i u mađarskom književnom kontekstu, i jedan je od najznačajnijih suvremenih mađarskih književnika. Tolnai - osim jugoslavenskih datosti - imao je i svoje osobne, bliže veze sa Zagrebom, gdje je služio vojsku i započeo studij. Iako do fakultetske diplome nije stigao, godine provedene u Zagrebu, ovdašnja duhovna klima šezdesetih, Ervin Sinko i Krleža su ostavili traga ne samo na njemu, nego i, djelomice i njegovim posredstvom, u književnim kretanjima vojvođanskih Mađara. (A književna djela vojvođanskih Mađara i Tolnaijev legendarni časopis Uj Symposion, kao zabranjeno voće, bili su na visokoj cijeni i u tadašnjoj Mađarskoj. Zanimljiva bi tema bila za komparatiste opisati ulogu -vrijednosti, ali i nedostatke - te »međuknjiževnosti« u posredovanju između književnosti Južnih Slavena i Mađara.) Tako je prirodno i to da je Jadran postao jednim od glavnih motiva pjesništva Ottoa Tolnaija.
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Postmodernist Väinö Kirstinä tijekom šezdesetih godina prošloga stoljeća postao je poznat kao eksperimentalist, teoretičar, predavač, istaknuti prevoditelj. Među autorima koje je preveo nalaze se Baudelaire, Appolinaire, Breton, Malraux, Dagerman, Ekelof. Izvršio je velik utjecaj na nekoliko generacija finskih pjesnika.
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Mustafa Stitou rođen je 1974. godine u Maroku, ali se ubrzo s obitelji preselio u Leystad, u Nizozemskoj. Od 1995. godine živi i radi u Amsterdamu. Njegova je prva zbirka pjesma, Moje forme (1994), bila nominirana za nagradu C. Buddingh, najznačajniju nizozemsku nagradu za prvu zbirku poezije.
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U svom prekratkom životu Borislav Vujčić je toliko toga uradio. Za njim je ostao zasigurno najveći književni opus među piscima njegova, kvorumaškoga književnog naraštaja: sedam romana, četiri zbirke novela, tri zbirke poezije, dvadesetak dramskih tekstova od kojih je samo manji dio tiskan u dvjema dramskim zbirkama. Vujičić je bio i scenarist, urednik časopisa, kazališni organizator koji je svoju silnu energiju i kreativnost uložio u Histrione i teatar Ulysses. Bez njegove prisutnosti kazališni život u Hrvatskoj posljednja dva desetljeća bio bi znatno siromašniji.
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Alain Robbe-Grillet u svom tekstu »O nekoliko zastarjelih pojmova« preispituje ulogu junaka u modernom romanu. »Junak - svatko zna što ta riječ znači. Nije to veliki proizvoljni, anonimni bezoblični »On«, puki subjekt izražene radnje. Junak mora imati ime, on mora imati rođake, naslijeđene osobine, te mora obavljati nekakav posao, imati nekakvo zanimanje. Ako posjeduje imovinu tim bolje. Naposljetku mora posjedovati karakter, lice koje taj karakter odražava, mora imati prošlost, koja je oblikovala oboje.« Taj ironičan prikaz »junaka«, Robbe-Grillet završava tako da navodi Beckettove likove kao primjer bezobličnih likova koji ne posjeduju gore spomenute osobine. »Beckett mijenja ime i lik svoga junaka u toku jednog te istog izvješća« (Scheffel, 1993.). A. J. Leventhal također uočava da su Beckettovi likovi nalik homunkulima i da postoji samo jedno Ja koje se sakriva iza fikcija u kojima traži sebe. (1965: 37-92)
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Poljski pjesnik, prozaik, dramatičar, esejist, prevoditelj s mađarskoga. Rođen 9. listopada 1921. godine u Radomsku (Poljska). Diplomirao povijest umjetnosti na Jagiellonskom sveučilištu u Krakowu. Dobitnik nekoliko doktorata honoris causa na sveučilištima u Poljskoj i inozemstvu. Uz Czeslawa Milosza i Slawomira Mrožka Tadeusz Rozewicz je najprevođeniji poljski suvremeni pisac u svijetu. Preveden je na oko 40 jezika, među inima na arapski, češki, engleski, estonski, finski, francuski, grčki, hebrejski, njemački, ruski, slovački, talijanski..., na hrvatski jezik sustavnije tek u posljednje vrijeme. Jedva je imao trideset godina kada ga je književna kritika proglasila poljskim klasikom.
More...(uz Izabrane pjesme Marka Grčića »Nebeska vučica«, MH, 2001.)
Prevodilac i esejist, znalac kršćanske kanonike i erudit, redaktor i novinar, Marko Grčić tek je uskom krugu specijalista znan i kao pjesnik premda započinje pjevati rano: sredinom pedesetih godina prošloga stoljeća, najprije prilozima u časopisima. Godine 1967. u razlogovskom krugu objavljuje zbirku koja je podarila naslov i ovom (autoredigiranom?) izboru pjesmama objavljenom u Matičinim Posebnim izdanjima u prvoj godini novoga stoljeća i opremljenoj učenim pogovorom Nikice Petraka. Neki su pjesnički tekstovi datirani, no o većini naslućujemo naknadno, prema jezičnom i motivskom izboru, da su pripadali različitim izdanjima (zbirkama: Provincia deserta, ’70., Behemont, ’78. i Sinjska alka, ’95.).
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Marko Grčić voli sebe nazivati novinarom (drugi bi njegovi kolege sebe radije nazivali publicistom, a što Marko po svom pisanju i djelovanju jest); Marko je i prevoditelj, i to vrstan prevoditelj s mnoštva jezika: s engleskog, španjolskog, talijanskog, ruskog, francuskog, latinskog, ali ne manje važni su i njegovi prijevodi sa staroslavenskog.
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The article is dedicated to one of the most talented and the most controversial modern Ukrainian writers Oles Ulianenko. However, his literary works did not receive the appropriate professional interpretation because the literary scholars and critics applied either the erroneous or unproductive professional methodology for many objective and subjective reasons. As a result, the writer’s works remain unread or read in an arguable way. Taking one of the most contentious novels of O. Ulianenko’s “Seraphim” as an example for analysis, the aim of this article is to suggest an alternative variant of theoretical and literary analysis based on the corporal-mimetic method to interpret fiction works. Due to the chosen approach, it is possible to draw the conclusion that the image of Seraphim is the image which only seemingly claims the status of the femme fatale; actually, the content of this image is а constant overcoming social, property, status, space, gender, corporal, sexual and other rules and norms. It says about overcoming in order to overcome, about complete overcoming which can be stopped only by death which, being unmotivated, is another variant of phenomenal, namely feminine transgression.
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While the post-colonial approach (Fernández Carbajal, 2016; López-Ropero, 2016) has dominated research on Zadie Smith’s postmodern work, NW (2013), there has been little to no stylistic analysis of the novel. The article aims to fill in this theoretical gap by examining the different modes of point of view, indicating how they are linguistically encoded. Using Leech and Short’s model of narratological aspects of viewpoint (2007), the stylistic features of the third-person narrator and the reflectors are revealed. The analysis seeks to demonstrate that the narrative style varies with each shift of perspective and that the voice of the narrator and the characters’ points of view are linguistically intertwined. The research points out the stylistic metamorphosis of the narrator who moves from mimetic storytelling to metafiction, alternating between the covert narrator who foregrounds the characters’ point of view and the overt one who constantly pinpoints the linguistic identity of the novel. The fusion of form and content becomes the storyline of this novel, where the differences between viewpoints of the narrating voices reflect the differences between their lives.
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Throughout the 20th century, Russian children’s literature in Latvia was a unique phenomenon. Against the background of the general trends of Soviet children’s literature, Latvian children’s literature (in both Latvian and Russian) developed in a space that was less constrained in respect of ideological censorship. 21st century children’s literature in Latvia is developing both taking into account the previous history and current trends. The article is devoted to the specific features of children’s literature in Russian, taking into account the general status of the Russian language as a foreign language and general trends in the socio-cultural space of Latvia. The study considers two main issues. First, it is a sociological analysis of the situation: an assortment of children’s books, the specifics of the school programme, awareness of contemporary Latvian and Russian children’s literature. On the other hand, the corpus of texts of contemporary children’s literature is studied, and an overview of the oeuvre of contemporary Latvian authors is presented. The material for literary analysis was the book by Vladimir Novikov, “The Mischief of the Obedient Martins”. In the course of the analysis, the specifics of the traditional children’s story, the cultural and historical context of the cross-border identity of the author and his potential readers, the specifics of the contemporary narrative, the identification of the concept “one’s own – other’s” were revealed.
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The article discusses the “Diary” (1944–1946) by Henrikas Nagys (1920–1996), а diaspora poet, translator, literary critic, a member of a movement of zemininkai-lankininkai and Doctor of Humanities, as one of the objects of ego-documentary heritage, kept in the Maironis Museum of Lithuanian Literature. It records the period of one post-war year, which became a decisive turning point for his generation. Applying the descriptive and interpretive methods of analysis of the archival material, the philosophical, existential and personal aspects that have formed in the writer‘s mind are revealed; the historical, social and cultural context is assessed, revealing the value criteria of the generation. Via texts, the scenario of Henrik Nagys’ personality becomes clearer. The diary text in scientific discourse is revealed for the first time.
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Culture-bound references receive considerable attention from translation scholars, as they are regarded as one of the most difficult challenges that translators face. However, most studies examine the transmission of culture-bound references to the target audience in literary texts, while research that would examine the translation of culture-bound references in audiovisual discourse involving additional constraints is somewhat limited. Dubbing is considered to be one of the most challenging modes of audiovisual translation, mainly due to the synchronization applied to it. This paper presents a model for the analysis of the translation of culture-bound references dedicated specifically to dubbing. The authors of the paper discuss the complexity of the concept of culture-bound references, their categorization and the taxonomies of their translation procedures. The article discusses the specifics of dubbing, the typology of synchronies applied in dubbing and restrictions posed by it on the translation of culture-bound references.
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Oblikujući specifičnu tipologiju gledanja (Starn; 2002) prostora i sebe u njemu, autorice su suvremene ženske autobiografske proze tijekom devedesetih ženskim pogledom uspostavile amplitudu samopromatranja od površinskog prikazivanja sociokulturnog konteksta u kojemu se trenutno nalaze, preko odmjerenog propitivanja odnosa ideje roda i prostora u kojemu se pojavljuju različiti identiteti, do istraživačkog pogleda usmjerenog razotkrivanju privatnog kao područja obitelji i intimnoga kao područja osobnoga. Takvi pronicavi ženski pogledi kroz autobiografske tekstove uspjeli su prepoznati problematiku šireg socijalnog, političkog i kulturološkog prostora.
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Pet dana uoči obljetnice Matoševe smrti, 12. III. 1985., u tjedniku Danas pojavio se naslov AGM po drugi put među Hrvatima, s podnaslovom Dolazim i uvodom: »ja nisam onaj koji tek želi biti AGM–om. Ja sam AGM naprosto«, svaki put ilustriran karikaturom Branimira Petrovića iz Kopriva 1910. Budući da je intertekstualnost bila jedna od najnošenijih moda toga doba, jamačno pojava tobožnjega Matoševa feljtona čitateljstvo, već sviknuto na postmoderne dosjetke, nije iznenadila. Upućeniji čitatelj mogao se sjetiti mnoštva sličnih primjera iz relativno nedavne prošlosti, koji se poigravaju s mistifikacijom protagonista nacionalnoga književnoga kanona.
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The aim of the research presented in this article aims to determine the impact of polylingualism on the effectiveness of political rhetoric in Lithuania. The study focuses on elements borrowed from other languages and used by Lithuanian politicians in their Facebook posts. In addition, the motivation behind such use is explored, aiming to establish whether polylingualism is part of a conscious effort of political communication in order to build a positive image. Within the scope of this research are Facebook posts containing cases of polylingualism, specifically, English-language inserts. The authors of these posts are prominent politicians who are native Lithuanian speakers engaged in active communication on social media. Collected during the period of 2018–2021, the research material was examined using the method of rhetorical discourse analysis, resulting in the identification of characteristic instruments of persuasion, i.e. the tools which help enhance the effectiveness of certain discourse. The researchers aimed to determine the general patterns and dominant tendencies of mixed speech within the political discourse on social media. The research reveals the use of polylingualism as a stylistic tool imitating informal speaking and creating contextual discourse.
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Dystopia, while deconstructing utopian ideas, generates a special type of identity as the consequence of a deviation from anthropocentric principles, crises of national and cultural worldviews, and manifestations of social shifting in a posthumanist world. The article focuses on four symptomatic dystopian texts – George Orwell’s “Nineteen Forty-Eight”, Ray Bradbury’s “Fahrenheit 451”, Ahmed K. Towfik’s “Utopia”, and Salman Rushdie’s “Quichotte” – to explicate the dichotomous nature of the opposition of identity vs society in posthumanist transformations. Those conditions are considered a cause of the mutation of dystopian identity that troubles its anthropological bases and modes of existence. To reconstruct the posthumanist context and its influence on the dystopian identities in the selected novels, this study has exploited a mixture of the following methods: intertextual, cultural, and genre ones; phenomenological approach; hermeneutic interpretation; conceptualisation, etc. The novelty of the study emanates from the very attempt to interpret the writers’ names of the AGEs represented in the books as a background of storytelling and a lens through which the posthumanist space is transformed from a dystopian perspective.
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The study presents an experiment aimed at discovering similarities and differences in how American and Ukrainian participants perceived contemporary free verse. Three poems were examined from the perspectives of intertextual/infratextual/intratextual context dimensions. The presence of intertextual characteristics – reflecting social reality and metaphoric content – was recognized by the majority in both groups of participants, yet across the groups, there were differences in the degree of value placed on each characteristic. Differences in views on the infratextual contexts reflect the variability of functions performed by the initial/intermediate/closing parts of the poems. As regards intratextual context dimension, there were significant similarities in the participants’ views on the imagery, in the constructed text-worlds, emotional responses, interpretations, and encountered difficulties. The analysis of the intratextual contexts of the poems indicates that some texts may drive readers’ interpretations, thus reducing the role of culture in their reception.
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The use of literary translations as an ideological weapon in the Cold War era has received considerable attention from translation scholars. However, the same tendency in today’s world remains underestimated, and research tends to be limited to political and media discourse. This paper examines the use of literary translations in the contemporary RF for contesting Ukrainian nationhood, fueling anti-Ukrainian sentiment and providing public support for the Russian military aggression against Ukraine. The research combines analysis of translated texts with examining factors that influence (non)translation and reception of works highlighting Russian-Ukrainian relations. The study focuses on translations of works by Taras Shevchenko, Nikolay Gogol and Oksana Zabuzhko and the Russian public debate concerning the role of literary translations in the Russian-Ukrainian conflict.
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