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The article is the analysis the first among the author’s books of lyrics in Russian poetry. The deduction about the appropriateness and deep conformity to natural laws of the Russian transition to syllabotonic versification (against Gasparov’s competent opinion) is based on the prosodic analysis of Trediakovsky’s bilingual (Russian & French) syllabic texts.
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Review on a collective work edited by E. Komorowska and A. Krzanowska : Świat Słowian w języku i kulturze VII: Kulturoznawstwo. Historia , Szczecin 2006, 239 s.
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Since 1932, when she made her monastic profession, Elizaveta Skobtsova not only devoted herself wholly to the rediscovery of the theoretical principles of the idea of monasticism in Russia, but also followed the Christ’s notion of sainthood which best examples she could find in saintly literature, simplicity and the subtle beauty of the ascetic life as well as the early Christian hermits. According to Skobtsova, not the types of monks or nuns who concentrate all their energies on their own salvation, but those whose deeds transform different areas of human culture, are able to personify the God’s idea of saintly individual.
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The author is writing about the evolution of the forest creation in Leonov’s works: Buryga, A Case of Yakov Pigunok, A Turning-point at Petushikha and The Badgers. In the presented world of these works the forest is the sacral, magic and fuga mundi space. The author is taking under her consideration the problem of colour and its symbolic sense. In her opinion the early works of Leonov are very connected with the XIX–XX century Russian paitings.
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An article presents a subject of ball in literature. There is undertaken an effort to analyze two balls: Walpurgis Night from Faustus by Johan Wolfgang Goethe and Grand Devil’s Ball from The Master and Margarita by Mikhail Bulgakov. Author of the article shortly discusses genesis of the two balls, the sources of inspiration and symbolic significance. There is also stressed that both writers, Bulgakov and Goethe, by their work, wanted to settle accounts with cruelty: Goethe with cruelty of Middle Ages, Bulgakov with cruelty of Russia, from past time to Stalin’s Soviet Russia. Moreover, to illustrate the subject, author quoted unique fragments of Faustus, which were not included in the final version of the book.
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The wartime poetry cycle “Secret Sighs” reveals an intensive dialogue between, on the one hand, Debelyanov’s poems and, on the other, those of the French poets. A poet’s or a painter’s work of art cannot reveal the whole of its meaning on its own. In order to be comprehended and appreciated it has to be considered with regard to the ways in which it relates to other works of art. The aim of comparative analysis is to find new meanings carried by Debelyanov’s texts the understanding of which is enhanced by the poetry of Baudelaire, Rimbaud, Jammes and Verlaine.
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The present text is an excerpt from the third and fourth lectures of the route and addresses only partially the issues evolved therein. The profound relationship between poetic language and music is scrutinised and the specific role of Symbolism in achieving maximum synthesis between the two is depicted by examples from Debelyanov´s work. Shown are also explicit forms of the convergence sought, such as the use of musical terms and genres in the language of the lyrical work. The reverse approach – poetry as hypotext and motivation for the creation of musical works – is outlined as part of the development of the cultural context. Dora Gabe´s “Dedication” (“Посвещение”) and T. Trayanov´s “The Secret of the Struma” (“Tайната на Струма“) illustrate the blending of poetry and music into one aesthetic experience.
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The article is an attempt at a gender reading of the motif of undine and melusine in three texts by contemporary Austrian writers: Ingeborg Bachmann („Undine Goes”), Barbara Neuwirth („Nimm diese Rosen, Schöne”) and Barbara Frischmuth („Otter”). In the introduction, the author describes the mythological and literary context in which this motif functions, and then places the analyses of the above mentioned works against this background. Another important issue is the question of the feminist progressiveness of the texts under examination: basing on the assumption that Bachmann’s work is characterised by (pre)feminist thinking, the author places in its context the texts by Neuwirth and Frischmuth, written several decades later.
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The article presents three fairy tales by Bettina von Arnim: „Der Königssohn” [The King’s Son], „Die blinde Königstochter” [The Blind Princess] and „Hans ohne Bart” [Beardless Hans]. These texts are studied from the point of view of their poetics and their rootedness in the romantic worldview. Moreover, on the example of „Der Königssohn” fairy tale, an attempt is made at feminist interpretation, while „Hans ohne Bart” is read using psychoanalytic tools.
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In the presented article the documentary novel of the Prof. Dr., writer Ali Kafkasyali “Kafkas Kochaklary” (Caucasian heroes) is considered. This novel reflects the events of 1917–1934 in the Gazakh region of Azerbaijan and Borchaly district of Georgia, in the regions of Childir, Kars of Turkey, and the motives of loyalty to Turkey by the brave heroes of Gazakh-Borchaly.
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Il taglio del bosco, published in 1950, is usually defined as a novella or as a longstory. Il taglio del bosco is an early work of Carlo Cassola who is one of the most original writers of 20th Century Italian literature and his work is composed mostly of autobiographical elements. The story is based on the simple life of an ordinary forester, Guglielmo, and narrates deeply the loneliness of human kind. Carlo Cassola, focusing on the loneliness of humans by Guglielmo, presents reflections of his own emotional world by twinning his personal life with Guglielmo. The aim of this article is to examine the concept of loneliness in Carlo Cassola and its survey in Il taglio del bosco with the theoretical approach created by Italian intellectual Eugenio Borgna.
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The article is an attempt to answer the question regarding the possible establishment of the future community – the community of people who live “next to one another” instead of “against one another”. Seeking the opportunities to establish “a different mode of human integration”, the author, quoting the phrase from Shakespeare’s The Tempest (“flesh and blood”, Act V, scene 4), suggests the possibility of basing the future community on the experience of closeness. This sense of closeness arises from the experience of corporeal fragility which forces us to perceive the other person not as an enemy, but as a friend (C. Schmitt), as someone made of “flesh and blood”. The analyses of prose by Jerzy Pilch and Jacek Dehnel show that this kind of closeness is most fully revealed in the experience of illness.
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This article discusses the Introduction to poetry of Wislawa Szymborska written by Wojciech Ligęza. Presenting this example of a very penetrating reading, the author of the article focuses on a literary philosophy of Szymborska which is a base of the discussed monograph.
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In this paper we deal with selected motifs (of child, suffering, cicrus, guilt…) in the artistic text of Július Barč-Ivan, which is connected with the context of eastern Slovakia and which was formed by ideology, as well as socio-political situation of the first Czechoslovak Republic. We choose the Barč-Ivan's proses, which thematises the „story‟ of character determined by dark sides of reality and in which the choosen motifs are presented through the artistic means and methods „from the interface‟ of expressionism and existentialism. Barč-Ivan's literary works fulfill not only an aesthetic function, but also other functions, as they benefit from the difficult family or socio-political, or socially conditioned situation.
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In the article, the questions connected with short-term stay in 1932 in Turkmenistan of the black American prose writer and poet Langston Hughes (1902–1967) which by results of the trip has written the book of travel “A Negro Looks at Soviet Central Asia” (Moscow, 1934) are mentioned. This book in the USA left under the name “I wonder as I wander” (New York, 1956). The author of the article carries out a certain analysis of the data containing in the given book.
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Authors focus on interpretation and analysis of Ulitskaya’s novel The Funeral Party. They emphasize the discrepancy between Russian and Slovak reception of the novel, which results from different diversification between artistic representation and reality, or more precisely, different criteria of author’s intention evaluation, selection of the main protagonists and their characteristics, or even expressive shift in translation. They note that the clash of two cultures, two civilisations (no matter how close they might be) can be in our unideologised present converted into some disharmony. However, it is a creative constructive dialogue of two cultures, both of which emerge from it somewhat richer, at least richer for a different view of the same phenomenon. A certain part is dedicated to translation problems as well as the problems of polycode text (connection between verbal text and visual code of the covers of the work).
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Dr. Ivo Pilar donosi nam u svome članku prikaz konteksta nastanka “Zapamćenja”. On se poziva na predgovor profesora Ferde Šišića, u kojemu stoji da “se u augustu 1901. potporom hrv. književnog društva zaputio pok. profesor dubrovačke gimnazije Janko Koharić u bosanski franjevački samostan Kreševo, da ondje zabilježi kazivanje fra Grge Martića.”
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Dobri pastir glasilo Udruženja katoličkih svećenika Bosne Srebrene počeo je izlaziti 1950. godine. Svojom je koncepcijom glasilo udovoljavalo svim zahtjevima modernoga glasila, ali je prvenstveno bila prava svećenička revija, koja je donosila stručne članke iz područja čitave teologije i filozofije, iz područja staleških problema, te brojna rješenja pravno-disciplinskih pitanja.
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Ep Ilijada utjelovljuje najvišu literarnu kvalitetu Homerova pjesništva, a sadržava istodobno i mnoge druge zadivljujuće osobnosti. One počinju pitanjem o osobi pjesnika Homera, koji je živio na kraju 8. stoljeća prije Krista, i odnosi se na vrlo teške i zanimljive dijelove opisa Ilijade. Obuhvaćaju, dakle, davni događaj, koji se dogodio oko 450 godina prije, to znači početkom 12. stoljeća prije našega računanja vremena. Mnogi zagovaraju još jedan stariji nadnevak, dok drugi drže sve to tek običnom izmišljotinom.
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