HOUNSLOW IN LOVE WITH CENTRAL LONDON OR HOW A FEW DESI RUDEBOYS HAVE BECOME ENAMOURED OF THE METROPOLIS

Author(s): Anna Maria Tomczak / Language(s): English Issue: 1/2015

London has attracted assiduous attention from the world of belles-lettres for centuries. Poets and novelists praised its beauty or bemoaned its evil ways. Like any large city, the UK’s capital may be approached and portrayed in terms of antithesis: a site of opportunity and promise or, conversely, a Babylonian-like scene of violence, decline and depravity. In a myriad of narratives, London arises as a living organism, a metonym for power and threat, a hub of human relations and a space of transformation; an encounter zone whose palpable manifestation may shock, enchant or surprise. Published in 2006, Londonstani is the only work of fiction of Gautam Malkani, a British Indian journalist and the editor of business pages of The Financial Times. The novel is a story of a search for identity and teenage bonding mechanisms, of adolescent visions of adult masculinity and of parental control, of the lure of conspicuous consumption and of a desperate wish to find one’s rightful place in a group, to be like others and gain respect as a loyal member of a team. The heightened importance given to Hounslow as a local area and a well-defined space occupied by a community accounts for the ambivalent position that London holds in Malkani’s novel. Technically, both the city centre and Hounslow belong to London, but the characters’ attempts to be equally at ease in their little locality and in the West End reveal their lack of belonging to the flashy urban scene.

Experimental Language Deconstructing Patriarchal Discourse in Ntozake Shange‘s for colored girls who have considered suicide/when the rainbow is enuf

Author(s): Silvia Mara Tellini / Language(s): English Issue: 25/2015

By sharing the experiences of women and the black community of her time, represented as a journey towards womanhood on stage, Afro-American playwright Ntozake Shange deconstructs the patriarchal structure of language, by pushing the boundaries of genres as she assembles prose, poetry and stage performance in a “choreopoem” capable of empowering and liberating the trajectories of the represented black women. The present study explores the semiotic and linguistic deconstructions of the patriarchal ideology in for colored girls who have considered suicide/when the rainbow is enuf, aiming at a discussion of the author‘s experimentalism with language outside instituted discursive paradigms regarding women. Considering that the concept of the liberation of the individual is strongly historicized in the play, the characters of the seven ladies are focalized as being tightly related to the feminist movement in North America in the seventies. Furthermore, the implications of ideological impositions and limited roles for women in society are analyzed.

Немирство, умиротворение и смирение в детската поезия на Дора

Author(s): Ognyana Georgieva-Teneva / Language(s): Bulgarian Issue: 2/2019

From the comprehensive works of Dora Gabe for children, the study abstracts a poetic paradigm: mischievousness – appeasement – humbleness. This is not an obvious, unconditional analytical approach but is one of the possible approaches which has chosen to focus on the images of the child’s soul. The study aims to defend the thesis that in the poetic mind of Dora Gabe the child has an optimistic view of life and that the child is constructive because he/she knows the pleasure of freedom.

30-ųjų karta be moterų, arba Apie moters tapatybės vaizdinį Nikitos Chruščiovo laikotarpio spaudoje ir poezijoje

Author(s): Jurgita Žana Raškevičiūtė / Language(s): Lithuanian Issue: 1/2018

This article analyzes the perception of women’s identity as it was created in the press in the period of Nikita Khrushchev’s rule (in the magazine Tarybinė moteris, “The Soviet Woman”) as well as in the poetry written by both men and women of the so-called 1930s generation. By taking a closer look at discourses across different levels, connections, conflicts, tensions, denials and contradictions were revealed, uncovering the complicated and tense relationship between the ideological, masculine and feminine paradigms that offer different identities. This serves to demonstrate how men and women have tried to accommodate their traditionally inherited, personal relationships with ideological perceptions. After describing the engineering of a woman’s image in the magazine and analyzing the images in male and female poetry, it became clear that this version of Soviet feminism was more regularly and consistently realized by men in their work, who had described the process of creating the Soviet world (the emergence of collective farms and the role of women in this process, ideological connection between the woman and the new order etc.). It was revealed that women were much more likely to be portrayed as negative characters in respect to the system than men, their worldview being based on values inherited from the interwar Lithuania, determining their obscurantism and secretive life. The emancipation of women in men’s discourse is almost without exception based on directly transposed Soviet postulates. A more personal perspective and relationship with a woman emerges as a traditionally inherited patriarchal paradigm of the woman-as-a-mother identity, which is disassociated from the Mother Heroine image by a personal and intimate articulation of the relationship. The images of the emancipation of Soviet women that appear in male poetry are taken up as postulates of the new system, but these images are never incorporated in the articulation of their worldview, always remaining as part of the new society’s architectonics. In the work of J. Degutytė, the only more prominent female poet of the period in question, two directions in the conception of women’s identity are observed: the official one, which shows the adopted image of hyperreality as being at the core of the new woman’s identity, an assumed woman’ self-image as being responsible for social sensitivity, and the stance of the party-appreciating mother. When the self-image of a woman is not thematized but rather manifests itself as the self-awareness of the speaking female subject, the female “I” appears as the acting subject that transforms the female attributes (emotionality, sensitivity etc.), traditionally perceived as restrictive, into opening up opportunities for action and possessing an existential perspective. The most intense exposure of the female subject to the world is portrayed as an act of creativity, whereas the creative aspirations of women in the poetry of men of the same time are associated exclusively with childbirth.

Приключи ли дискусията за Веда Словена? „Ведическите“ песни между Костурско, Меглен и Неврокоп

Author(s): Miglena Hristozova / Language(s): Bulgarian Issue: 17/2019

This article raises some provocative questions on the long and very emotional scientific discussion about Veda Slovena, a folk song collection edited by the Bosnian ethnographer Stefan Verkovich in the second half of the 19th century. For more than 140 years, scientists haven’t succeeded to prove the (un)authenticity of the corpus, but have rather created a heated scientific myth leading far away from the ethnological background of the collected songs. However, there are still many sources, which haven’t been taken into consideration: for example diverse interpretations of foreign scien¬tists or even archive data such as the autobiography of the song collector Ivan Gologanov. In this context, the article presents some unpopular sources and puts an accent on a new hypothesis which suggests a wider ethnological back¬ground and spread of the songs due to the migration of Bulgarian groups from Albania (Kastoria) and the region of Western Macedonia (Almopia, Greece: bg. Meglen) to the West Rhodopes (the area of Nevrokop, former name of Gotse Delchev) observed in the 18th and 19th century. Further¬more, it reviews currently collected data which make an interesting link between the processes of migration and some controversially discussed elements of the text corpus such as the name of the leading character Orfen/Orfan (suggested as a folk version of the Thracian king Orpheus).

Софийският международен литературен фестивал – декември 2021

Author(s): Daria Karapetkova / Language(s): Bulgarian Issue: 1/2022

The text offers a review of the 9th edition of the Sofia International Literary Festival which took place in December 2021, trying to discover the conceptual threads that determine its structure and contents. It describes the meetings and the conversations with the participants at the festival, as well as the subjects of the discussions which were aimed to analyse some significant phenomena from the present days and also the perspectives they develop for all of us.

650 години от основаването на Търновската книжовна школа (ХІІІ – ХІV в.)

Author(s): Radoslava Stankova / Language(s): Bulgarian Issue: 43/2021

In memoriam Лиляна Грашева

Author(s): Irina Kuzidova-Karadzhinova / Language(s): Bulgarian Issue: 43/2021

Явор Милтенов. Слова от колекцията Златоструй с неизвестен гръцки източник

Author(s): Vasya Velinova / Language(s): Bulgarian Issue: 43/2021

Речник на новите думи в българския език (от първите две десетилетия на ХХI)

Author(s): Mariana Vitanova / Language(s): Bulgarian Issue: 43/2021

РАСКРСНИЦЕ СУСРЕТАЊА И СЕЋАЊА: ПАРИЗ–БЕОГРАД–БЕРЛИН

Author(s): Katarina V. Melić,Milena R. Nešić Pavković / Language(s): Serbian Issue: 75/2021

Роль перевода в становлении поэтики раннего украинского модернизма начала ХХ в.

Author(s): Hałyna Lesnaya / Language(s): Russian Issue: 1/2021

The development of modernism in the history of Ukrainian literature at the beginning of the 20th century was accompanied by a discussion in which the younger generation of writers opposed the conservative attitudes of the elders. The variety of artistic trends of that time led to the complexity of defining many aspects of the formation of modernism, including the question of the chronological framework of Ukrainian modernism as a phenomenon, as well as the origins of the ideological shift in Ukrainian culture of the late 19th and early 20th centuries. The task of mastering the new content of contemporary “foreign” literature was set by the literary groups “Moloda Muza” and “Ukrayins’ka hata”, who turned the development of the poetics of modernism into their aesthetic credo. It is important to determine what role literary translation, that Ukrainian writers in the early 20th century attached great importance, played in this process.

O ПРОНАЂЕНОМ И ИЗГУБЉЕНОМ СЕЋАЊУ И ИДЕНТИТЕТУ У РОМАНУ „АУСТЕРЛИЦ“ ВИНФРИДА ГЕОРГА ЗЕБАЛДА

Author(s): Emilija P. Mančić / Language(s): Serbian Issue: 75/2021

Der Zusammenhang von Erinnerung und Identität ist ein zentrales Thema in den zeitgenössischen literatur- und kulturwissenschaftlichen Diskussionen. In An- lehnung an theoretische und methodische Ansätze, die vor allem Astrid Erll, Marion Gymnich und Ansgar Nünning im deutschsprachigen Raum vertreten, ist das Ziel dieser Arbeit, am Beispiel von W. G. Sebalds Roman Austerlitz (2001) die Möglichkeit der Literatur aufzuzeigen, die unterschiedlichen (Erinnerungs-) Medien zusammenführt. Literatur generiert Erinnerungsräume die auf komplexe Weise lesbar werden und plädiert somit für eine vielseitige Erinnerungspraxis. Dabei wird die Unzulänglichkeit der Möglichkeiten einer Nacherinnerung im Roman eine zentrale Rolle zukommen. Die Untersuchung verweist auf verschiedene Verfahrensweise des Textes, in dem kein Medium für sich allein steht und in dem Formen der Zeugenschaft thematisch und problematisch werden. Auf dieser Weise werden die begrenzten Möglichkeiten der narrativen Übertragung der traumatischen Vergangenheit aufgezeigt

СТИЛИСТИЧКА АНАЛИЗА КОМПОЗИЦИЈЕ, ЛЕКСИКЕ И ТУЂЕГ ГОВОРА У ПЕСМИ „ЖЕНИДБА БЕГА ЉУБОВИЋА“ ХАЏИ РАДОВАНА БЕЋИРОВИЋА ТРЕБЈЕШКОГ

Author(s): Arsenije M. Sretković / Language(s): Serbian Issue: 76/2021

This paper discusses the stylistic features of the epic poem The Marriage of Beg Ljubović by Radovan Bećirović. The analysis includes composition, vocabulary and direct speech. The aim of the paper is to shed light on the peculiarities of composi- tion, to record lexical layers and to determine the used models of transmitting direct speech. The ultimate goal is to determine the stylistic features that differentiate the poem The Marriage of Beg Ljubović from other epic poems as well as from other poems from Radovan Bećirović’s opus. The composition of the poem is quite complex, the vocabulary is layered, and the direct speech proves to be a successful stylistic means by which dramatization is achieved. The analytical-descriptive method was used in the paper. Unlike traditional epic poems, the poem The Marriage of Beg Ljubović contains descriptions of psychological states, descriptions of landscapes and descriptions of heroes. Description often replaces narration. On the lexical level, the appearance of neologisms is noticed as a differential feature. Using the forms of direct and indirect speech, the discourses of the heroes are introduced into the poem. Several variations of direct speech have been noted: true, unintroduced and free.

ФИГУРА МАЈКЕ У РОМАНУ „УЖАС ПРАЗНИНЕ“ ПЕТЕРА ХАНДКЕА

Author(s): Nataša M. Cicvarić / Language(s): Serbian Issue: 76/2021

Peter Handke is a multi-award winning Austrian author, one of the most famous authors in German language; the writer who has a great influence on contemporary world literature. In this work the attention is on the novel A Sorrow Beyond Dreams (1972), that is the mother’s figure as a central charachter in the novel. The aim of this paper is also the analysis of traumatic experience in mother’s life in the novel A Sorrow Beyond Dreams. Thematic concepts were observed and realized through the mother’s figure and some histrorical and socio-political circumstances that led to the mother’s suicide are highlighted. In that context the cyclic structure of the novel is noticed. That structure is framed by birth and death motives. The main coclusions are concered with the cause of the mother’s suicide which was interpreted in two ways: as a resignation or an attempt of resistance. Repression of emotions that is repressively imposed is portraid on mother’s body, so the body is interpreted as the text itself which severs us to understand her trauma. These traumas were connected with the consequences of the Second World War and interpreted in the context of Freud’s psychoanalysis.

ЛИТЕРАТУРА КАО ОДРАЗ КУЛТУРЕ МИСЛИ У РЕНЕСАНСИ И ДАНАС

Author(s): Nataša D. Marjanović / Language(s): Serbian Issue: 76/2021

Contemporary trends, lifestyle, directions of thinking and acting in different areas of interest of people, are reflections of today’s literature. Therefore, literature as it is today, through its narrative, provides a true picture of social opportunities in a direct, concise and hyperrealistic way. Given the broader picture of society with all available means in terms of access to information, movement, global opportunities, thаn a complete profile of modern man can be made both as an individual and as a member of the planetary community of human society. The Renaissance period was marked by the advent of the printing press, and today it is an internet platform for accessing various topics and data, as is literature in its traditional form. By drawing a parallel between these two periods, we will look at the basic features of thought that influenced the culture of one as well as the culture of the other or modern period through the analytical-descriptive method.

БЪЛГАРСКИ И УКРАИНСКИ ПОЕТИЧЕСКИ АВАНГАРДИ: СЪПОСТАВИТЕЛНИ ПРОЧИТИ

Author(s): Maya Gorcheva / Language(s): Bulgarian Issue: 2/2020

The research is focused on two bilingual anthologies published in 2018: Anthology of Bugarian avant-gard Poetry (ed. М. Nedelchev, E. Traykova, M. Ivanova-Guirguinova) and Ukrainian Avant-Garde Poetry (ed. O. Kotcarev, О. Slivinski, J. Stahivska). The goal of the research is to outline the principles of selection and arrangement of texts in both anthologies. Both collections are based on already established schemes of literary history, however the list of main authors and texts is expanded and even refuted as for the Bulgarian anthology.

In Search of Collective Identity. The Formation of National Consciousness in Julian Ursyn Niemcewicz’s Travels Abroad

Author(s): Olga Szadkowska-Mańkowska / Language(s): English Issue: 12/2021

This article illustrates the significance of Italian journeys in the context of the 18th century travel literature, underlining the uniqueness of insights found in the “Diaries” of Julian Ursyn Niemcewicz. Over the course of history Italy has been an important destination of many travels. In the 18th century in particular. Using a historical and literary approach, the article showcases how group identity has been utilized in the personal diaries of Niemcewicz and simultaneously explores the question of the influence of an individual on future generations travelling to Italy.

КЪМ ВЪПРОСА ЗА ТОПОГРАФИЯТА НА БЪЛГАРСКАТА ВЪЗРОЖДЕНСКА КНИЖНИНА (КНИГИТЕ НА ИВАН Н. МОМЧИЛОВ И НА НИКОЛА МИХАЙЛОВСКИ, ИЗДАДЕНИ СЪС СПОМОЩЕСТВОВАНИЯ)

Author(s): Ivo Bratanov / Language(s): Bulgarian Issue: 19/2021

The report contains data of book distribution in terms of products and sponsors. It covers four Bulgarian Revival writer’ works – three of them written by Ivan Momchilov and one by Nikola Mikhaylovsky. The books contain lists with the names of the sponsors and their hometowns.

Политическая экстраваганца как драматический жанр (на материале пьес Бернарда Шоу)

Author(s): Mark G. Sokolyansky / Language(s): Russian Issue: 4/2021

The paper deals with the semantic and structural specificity of political extravaganza as a genre of dramaturgy. The history of this literary and dramatic kind and also its scantily explored genetic connection with the dramatic pamphlet, which arose in the 18th-century English theatre, are briefly retraced. Its artistic peculiarity is investigated by using material from several plays of Bernard Shaw, which were written from the 1920s–1930s (The Apple Cart, Too True to be Good, Geneva, On the Rocks). The genre definition was used by the playwright for the first time as a subtitle to the play The Apple Cart, the first performance of it took place in Warsaw in 1929; the extravaganza was staged by Arnold Szyfman at the “Teatr Polski”. Special attention is paid in the article to such features of political extravaganza, as paradox, the grotesque and eccentricity, which become apparent at some levels of dramatic text: in the linguo-stylistic originality of the tirades and dialogues, as well as in the extensive stage directions and sometimes in the titles, in the characters of personages, in construction of the plots and in the composition of the plays. Of primary interest is also the eccentric treatment of the artistic time in the plays based on the historical personalities or episodes, and in the introduction of fantastical elements to the dramatic action. The essential role of the concentrated eccentricity in the sharpening and the emphasized topicalization of political satire is also discussed in the paper.