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Ekokritická analýza vybraných děl současné české prózy
Ekokritika je relativně nový, nicméně významný a bouřlivě se rozvíjející směr zkoumání uměleckých děl zaměřující se na vztah literatury a životního prostředí. Od svého počátečního soustředění na nebeletristická líčení přírody (tzv. nature writing) ve své druhé generaci rozšířila pozornost ke všem typům reprezentace prostředí v literatuře a v médiích obecně. Daleka toho být čistě hodnotící či dokonce ideologickou metodou, ekokritika zkoumá reprezentace vztahu přírody a kultury, reflektuje propojení environmentální a sociální tematiky a analyzuje inovativní strategie narace usilující o postižení komplexních témat. V této studii se po úvodní charakteristice a přiblížení vývoje ekokritiky zaměříme na sedm současných českých románů tematizujících environmentální témata. Analýzu vybraných aspektů těchto děl — reflexe klimatické změny a environmentální krize, ekologické spravedlnosti a socio-environmentální bídy, reprezentace přírody a zpochybnění hranic mezi kulturou a přírodou — doplníme pokusem o jejich uchopení prostřednictvím konceptu hyperobjektu Timothy Mortona.
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»Ja sam sama svoja književna domovina, neovisna autonomna republika Katja Lange-Müller. Svoj sam jedini stanovnik, svoj predsjednik, svoja nacionalna zastava«, izjavila je u jednom intervjuu nekad istočnonjemačka, a danas njemačka književnica vrlo neobične i za građanski svijet sasvim netipične biografije. Rođena 1951. godine u Istočnom Berlinu Katja Lange-Müller se školovala za grafičku radnicu, a zatim prolazila najrazličitija zanimanja: od slovoslagačice, rekviziterke i tehničke urednice u novinama, pomoćne njegovateljice po neuropsihijatrijskim odjelima raznih berlinskih bolnica u trajanju od pet godina, do jednogodišnjeg rada u tvornici sagova u Ulan Batoru. Od 1979. do 1982. godine studira književnost na Institutu Jochannes R. Becher u Leipzigu i nakon toga radi kao lektorica, a 1984., pet godina prije pada Zida, napušta tadašnju Njemačku Demokratsku Republiku i prelazi u Zapadni Berlin. Otad živi i radi u Berlinu i Beču.
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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.
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Činjenica je da generacijsko-časopisna vizura prevladava i danas u prosudbi suvremenoga hrvatskog pjesništva kako u uvidima u veće cjeline, tako i u ocjeni pojedinačnih pojava. Razlog je tome ponajviše taj što izdavanje novog časopisa bilježi buđenje nove književne inicijative i vezivanje kreativnih osobnosti uz nju. Sa stajališta kasnijih kritičkih uvida postaje razvidno da časopis, koji redovito daje ime naraštaju te određuje dominantni književni koncept, teško može pokriti sinkroniju događanja i sudionika pokrenutih u razdoblju od desetak godina, bez obzira na njihovu naraštajnu kompatibilnost. Zato sam u svojoj »Razdiobi« bio skloniji definirati neko razdoblje imenom dekade, npr. »pjesnici šezdesetih godina«, umjesto »razlogovci« jer mi se činilo već tada da logos »Razloga« ne pokriva više skup poetičkih razlika koje su se za to vrijeme pojavile.
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Ljudmila Stefanovna Petruševska (1938.), ruska prozna i dramska spisateljica, književni je rad započela kratkom prozom u šezdesetim godinama. U idućim se desetljećima okrenula dramskom umjetničkom izričaju, i to kao predstavnica tzv. novog vala ruske dramaturgije koji »oživljava tradiciju kritičkoga realizma sjedinjujući ga s tradicijama ludističke književnosti« (Skoropanova, Russkaja postmodernistskaja literatura, Moskva, 1999: 411) i pridružujući mu apsurdnost izraza. Komedija Tri djevojčice s homičem (Tri devuški s golubym - 1980), intertekstualna igra s Cehovljevim Trima sestrama, poetički je fiksiraju u skupinu ruskih postmodernista. Premda popularnost stječe većinom dramskim djelima (ističemo dramu-šalu Kvartira Kolumbiny -Kolombinin stan, 1981), krajem 80-ih godina 20. stoljeća opus nadopunjuje većinom proznim oblicima. Među ostalim priznanjima Petruševska je za roman Vrijeme noć (Vremja noč, 1992.) dobila Bookerovu nagradu.
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Postoji nekoliko političkih Shakespearea, od kojih su dvojica zasigurno dobro poznata proučavateljima književnosti. Od njih dvojice, najbliži nam je kanoniziram Shakespeare, proizvod tradicije čitanja, čije se ime poistovjećuje s kulturom samom, ali čije se drame često koriste za održavanje razlike između književnosti i popularne kulture. Moderna institucija književnosti obično se služi tim Shakespeareom u svrhu organiziranja kulture u skladu s tematikom postprosvjetiteljskog hum anizm a koji u njegovim likovima pronalazi univerzalne psihološke istine i najviše ga voli zbog toga što je pisao poeziju koja transcendira povijest. Drugim riječima, posve je jasno da je taj ahistorijski Shakespeare konstrukt koji zagovara politiku kulture u tradiciji Arnolda i Eliota. Drugi politički Shakespeare, blizak angloameričkom književnom establišmentu, renesansni je dramatičar.
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Od samih svojih književnih početaka Slobodan Šnajder izazivao je u hrvatskoj kulturnoj javnosti kontroverzne odjeke, doživljavao je priznanja, ali još češće osporavanja. Protivnicima Šnajder nije ostajao dužan; polemičnost je svojstvo ne samo njegove esejistike i publicistike već i dramskog opusa. Šnajder je angažirani intelektualac, formiran u kulturnom obzoru evropske ljevice. Rođen 1948., on se pojavljuje na valu šezdesetosmaške studentske pobune iz čijeg duha izrasta zasigurno najprovokativniji i najzanimljiviji hrvatski kazališni časopis Prolog, kojemu je mladi Šnajder bio jedan od utemeljitelja, a potom i dugogodišnji urednik.
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Autorice koje ovdje objavljujemo, rođene su, žive ili su se školovale u Velikoj Britaniji i SAD-u. Prefiks »suvremene« odnosi se na čitav period dvadesetog stoljeća. Naime, potrebno je istaknuti da su neke pjesnikinje počele pisati početkom prošlog stoljeća, a svoje su prve zbirke objavile tek sredinom ili krajem istog kao npr. Kathleen Raine ili Jean Earle. Zanimljivo je napomenuti da nisu rijetke antologije u kojima su zastupljene isključivo pjesnikinje npr. zbornik Sixty women poets, urednice Linde France. Razlog za to leži u činjenici što su u tzv. mješovitim antologijama pjesnikinje jo š uvijek rijetko zastupljene. Tako, primjerice, u zborniku The New Poetry iz 1993. godine koji su uredili Michale Hulse, David Kennedy i David Morley, od 55 autora, zastupljeno je samo je 17 žena. U ovoj interpretaciji, grudi su sinegdoha za tijelo, tijelo koje je dugo bilo ignorirano. U filozofskoj tradiciji kartezijanski subjekt-svijest oštro je bio ograđen od subjektatijela. Tek u drugoj polovici dvadesetog stoljeća, rehabilitira se pitanje tjelesnosti i tijelo se počinje tumačiti kao mjesto društvene, političke, kulturne i zemljopisne inskripcije. Grace Nichols, pjesnikinja rođena u Gvineji, opisuje tijelo žene navodeći znakove koji sugeriraju da ona pripada Drugoj, ne-zapadnoj kulturi npr. mali jezici vatre koji su upisani u njeno tijelo, nošenje skarabeja, nubijski smeđa put. Tijelo je i mjesto spolne razlike. O tome govori pjesma Leland Bardwell »Muževi« u kojoj autorica propituje pitanje roda, ali i tzv. žensku zavist zbog falusa. Grudi su važne jer, pišući o njima, mogu se tematizirati djevojaštvo, majčinstvo, seksualnost, ali i bolest. Marilyn Yalom napisala je izvrsnu knjigu pod nazivom Historija grudi u kojo j piše o grudima od perioda paleolitičkih božica do uloge grudi u ženskim pokretima u prošlom stoljeću. Piše o erotizaciji, komercijalizaciji i politizaciji grudi, te o psihoanalitičkom i medicinskom aspektu tog dijela ženskog tijela.
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The subject of the research was E. Guro’s novelThe Poor Knight and T. Malick’s film Knight of the Cups. The analysis, inspired N. Bierdiayev’s reflections on the “ethics of values” and the concept of “new knighthood”, indicates the dialogical relations between distant texts of culture. The comparative analysis reveals the following: 1. Guro introduces a new type of literary hero that has a palimpsest character; 2. updates the axiological sense of the knight; 3. the continuity of the knight’s ethos is brought out by the analogy to Malick’s film – their “common places” are: the initiation scheme, the Master / teacherarchetype, and the concept of a knight’s mission.
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The aim of the text is a hermeneutic analysis of two Austrian dramas: the one-act play by Herbert Berger from the year 1970 and Peter Turrini's play from the year 2018. Both works are examples of a contemporary variation of the genre "Volksstück" with a hybrid tradition in German-language literature and theater dating back to the 18th century. The comparative analysis of both works focuses on the mechanisms of actions and the role of the characters' moral instinct, while the diagnoses of important social and political problems made by playwright writers may be the key to a better understanding by the reader.
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Mihai Eminescu's poetry stands out through balance and symmetry, through acoustic effects, through structure and unravelling of the ideas through rhythmical options and poetic images. It is difficult to separate all these threads when he puts to use all these means of expression in a refined and finely woven work. Where does the repetition end and where does the variations of these start? What is the limit between the prosodic rhythm and the rhythm of the poetic narrative? In Eminescu’s work all the elements of the form and content combine in perfect harmony and they are dosed with measure and mastery. Although the harmony of poetry isn’t to be found in rhythm and effects, the feeling of infinity, of the ineffable and of the greatness of music is achieved through these “prosaic” means: rhythm, melody, harmony, structure.
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The present paper examines the principles of the language policy designed in the Kingdom of Prussia at the junction of the 18th-19th centuries. This research aims to identify the main factors affecting the introduction of the Lithuanian language as the official regional language in the Kingdom of Prussia and to evaluate the parameters applied to such language planning. The main research objects in this study are the prefaces to Christian Gottlieb Mielcke’s dictionary Littauisch-deutsches und Deutsch-littauisches Wörter-Buch (1800) and the archival material of the end of the 18th century, which provide information on the preconditions, directions, goals, and objectives of the language policy of the time. The politics favorable to the Lithuanian language was preconditioned by the political changes in the 18th century. After the third partition of the Commonwealth of the Two Nations (1795) and with the annexation of Užnemunė to Prussia, the range of the Lithuanian language use expanded, and the ideas of regional particularism strengthened. Christoph Friedrich Heilsberg, the author of the third preface to Mielcke’s dictionary, a counsellor in the Königsberg Chamber of War and Domains, and an inspector of East Prussian schools, was well aware of the Lithuanian attitudes to the influence of language on identity, motives for language learning, legislation, and the potential of schools and churches. On the grounds of this versatile expertise, he undertook language status planning. With regards to Mielcke’s observation about civil servants who need to learn Lithuanian and the Lithuanian approach to language, Heilsberg took a practical position on language planning. He suggested expanding the Lithuanian language use in the public sphere rather than considering the idea of German as a common state language. At Heilsberg’s initiative, the Lithuanian language had to be used in such important areas as education, church, law, business, and administration. Heilsberg sought to ensure that it did not lose its cultural or administrative functions. Such plans presuppose the status of Lithuanian as an official regional language, equivalent to linguistic autonomy, where the language of a national minority has political autonomy and coexists with the official language of the state. Heilsberg initiated not only the development but also the implementation of language policy. He developed the directions and measures of corpus planning: to help non-Lithuanians to learn Lithuanian, he encouraged Mielcke to prepare a Lithuanian-German and German-Lithuanian dictionary and supervised the publication of a Lithuanian grammar and a collection of sermons. This highlights the priorities of his education policy, which aimed to develop the language skills of teachers and priests, and to create conditions for civil servants working in the province to learn the Lithuanian language. Three statements of Heilsberg as a high-ranking state official were important for increasing the prestige of the Lithuanian language: 1) language is a guarantor of identity; 2) provincial languages must be learned by civil servants and not vice versa; and 3) language must be nurtured. The author of the fourth preface to Mielcke’s dictionary, the German philosopher Immanuel Kant, raised the criterion of language purity. Considering that only pure language is important for the maintenance of the nation’s distinctiveness, for science, and especially history, he emphasized the need to preserve the purity of language and proposed two ways to achieve this: to use pure language in schools and churches, and to expand the domains of its use. This is the earliest attempt in the history of Prussian Lithuanian culture to give the Lithuanian language the status of an official regional language. Such policy ensured its functioning in all spheres of public life, its use in the education system, and created conditions for maintaining identity.
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Lithuania’s national language policy has been a frequently discussed topic in the broad Lithuanian society over the recent years. Due to this, it has been made known that Lithuania’s national language policy is an issue that is currently significant to various members of the speech community. Understanding how a speech community views and accepts their country’s national language policy is crucial in developing that policy well and having the community embrace it. The aim of the research presented in this article was to assess Lithuanian students’ attitudes towards the country’s current national language policy and the standard Lithuanian language. A qualitative questionnaire, which 125 respondents participated in, was conducted to reach this aim. The analysis of the students’ language attitudes revealed that they tended to view the standard language as highly prestigious and to associate the use of this language variant with socially admirable cognitive qualities (especially with formal education though preconceptions about the personality qualities of such speakers were differentiated, either negative or positive. The students tended to associate the use of non-standard written language forms (colloquially called ‘language mistakes’) with socially unadmirable cognitive qualities (especially a lack of formal education) though they also tended to normalise it and not express strong negative attitudes towards such persons. The students tended to express neutral attitudes towards the current national Lithuanian language standardisation; however, they also named more negative aspects of the current national standardisation practices than positive ones, mainly centered around a perceived dissonance between standard forms and language forms widely used by the speech community, stagnation of national language standardisation processes, as well as excessive or unfunctional translation of foreign terms. The students’ attitudes towards national language standardisation were found to be positively related to their aesthetic attitudes towards the standard language. Positive attitudes regarding the matter were also more prevalent in female research participants and philology students (especially in students of Lithuanian philology). However, the students that had had experience in professional text editing tended to express more negative attitudes. The research presented in this article may be useful in the efforts to improve Lithuania’s national language policy, as well as in the development of further research on the Lithuanian speech community members’ language attitudes.
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The launch of the film Scarred Hearts, inspired by the work of Max Blecher, brings together Radu Jude (director), Alexandru Dabija (actor) who, together with Octavian Saiu, talk about the mechanism behind the creation of this feature. On this occasion, aspects of the relationship between literature, theatre and cinema and the challenges of building a vintage film are depicted.
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This non-exhaustive analysis aims to capture the evolution of the concept of theatricality in order to delimit the functionality of this feature applicable to any literary form. Beyond being a function specific exclusively to stage mounting, the theatricality of a literary text refers to the contact between the reader and the text, placing the elements of the theatrical performance (directorial vision, scenography, actors’ work, etc.) in a virtual area. Through the inherent qualities of the literary work, the readers can design their scenic mechanism that mimics the spectacular layout, without physically assisting a representation of this kind. Thus, we propose to delimit two theatrical coordinates (explicit and implicit) that could help us to better understand the specific mechanism of creating the mental or concrete performance.
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Over the centuries, theatre has brought forward characters that the audience fell in love with and have survived the ending of the play. The need to follow them after once the original story is over is not self-explanatory, so the subject is worthy of attention. In this article, I am focusing on three main directions: defining this particular technique, then analyzing its reasons and mechanisms within the current context of an apparently oversaturated market. Finally, there is a brief discussion of the possible future of the sequel, starting with the premise that cultural archetypes make great subjects in theatre and literature to be recurrent.
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The article discusses examples of understanding post-colonial identity in modern Ukrainian prose, as well as models for interpreting this phenomenon. In Ukrainian literature, this phenomenon is described in stories about returning or moving to another place. Moving across the border, learning about new space, and memorizing forgotten language plots are important components of such prose. They provide an opportunity to reveal a character's hybrid identity and bring back memories of real-life events. These aspects are embodied in the work of Serhiy Zhadan, Victoria Amelina, Volodymyr Rafeenko. In their prose, the colonial past is destroyed by overcoming an ambivalent hybrid identity, drawing up a new identity map and returning to the native language.
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The article discusses examples of understanding post-colonial identity in modern Ukrainian prose, as well as models for interpreting this phenomenon. In Ukrainian literature, this phenomenon is described in stories about returning or moving to another place. Moving across the border, learning about new space, and memorizing forgotten language plots are important components of such prose. They provide an opportunity to reveal a character's hybrid identity and bring back memories of real-life events. These aspects are embodied in the work of Serhiy Zhadan, Victoria Amelina, Volodymyr Rafeenko. In their prose, the colonial past is destroyed by overcoming an ambivalent hybrid identity, drawing up a new identity map and returning to the native language.
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Crime represents a trigger that automatically entailed a new series of murders, which were either continued indefinitely, or followed by a suicide. The followers of the slain were obliged to avenge the dead, triggering the emergence of a range of families of dead and their avengers. When a few generations in conflict meet and both sides are equally entitled to seek justice, tragedy appears. The Oracle of Delphi is the most popular merchant of destinies. It has the ability to look into the future, the personal future of a person, but also into the collective future of a people. The Oracle of Delphi might appear to us as an expression of mystical beliefs, full of Orphism, magic and mystery, in fact they were usually callings and duties of the national spirit, or expressed the interests of the ruling classes. The oracle preached the future through the verbalization of facts that occurred, entailing their awakening, and becoming unavoidable. Orpheus’s failure is due to a single act of defying a prohibition, never to look back, which was the equivalent of bringing the dead into the future. By breaking the rule imposed by Persephone, Orpheus turns his head toward the past, crossing not only a space with his look, but a past where death dwells.
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