ANTE RUKAVINA, VELEBITSKIM STAZAMA
Review of: ANTE RUKAVINA, VELEBITSKIM STAZAMA, PLANINARSKI SAVEZ HRVATSKE, ZAGREB, 1979.
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Review of: ANTE RUKAVINA, VELEBITSKIM STAZAMA, PLANINARSKI SAVEZ HRVATSKE, ZAGREB, 1979.
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The Epilogue of Georges Perec’s ”Things”: An Ending or A Starting Point? As the narrative’s ending point, the epilogue usually reveals the completion of the narrated story. In his first novel, ”Things”, Georges Perec adds to the epilogue (which has indeed an ending function) a quote by Karl Marx that does not seem related to the plot whatsoever. Given Perec’s habit of transposing in the literary domain theoretical notions coming from other domains, I propose an analysis of the theoretical dimension of this quote in order to see how it transforms the epilogue into a theory on writing instead of merely being the narrative’s ending point.
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This paper offers insight into the method and reasons for the revision of the Portuguese text of Domenico Cavalca’s 14th-century work Specchio di Croce, specific to the ALC 89 manuscript, one of the two known manuscripts of the Portuguese tradition. The revision of this manuscript distinguishes itself in its bold, subsequent second-hand corrective interventions. Given their quantity and quality of these interventions, they stand as a crucial element to define the textual affinity between both Portuguese manuscripts. To better understand the importance of the revision, it is first needed to know how the reviewer performed it, how he intervened in the text, what different methods he used and if there was a pattern to his actions. Going forward and beyond the methods employed, this paper explores some of the reasons for the revision, namely the unique multilingualism of the text, as suggested by Martin (1956), Cornagliotti and Piccat (1991) and Cambraia and Santos (2019), but also the coherence and affinity with other traditions and the completion of the text. Ultimately, this paper will explore this intermediate status of both the revision and the ALC 89 manuscript itself and how they stand as evidence of the mobile nature of the text.
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The present study focuses on the importance of the Spanish translations of Dante Alighieri’s work, on its receptivity and impact, but especially on the influence of ”The Divine Comedy” on Spanish authors during the Pre-Renaissance period. We will consider how Italian contributed to the modification of Spanish versification, focusing mainly on the poet named Marquis of Santillana, don Iñigo López de Mendoza, one of the first authors who tried to assimilate the vibrant cultural spirit of the work of Dante, who was considered to be a precursor of Humanism.
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The theme I approached in the present paper comprises a brief evocation of significant moments in history, through which women proved their capacity to be equal with men in all fields of social activity. I limited the grounds of this research to two countries: France and Romania, as there is an important connection between them, in the sense of the impact French culture had on the development of Romanian spirituality. From an immense canvas of instances, I chose a few figures who have accomplished, through their will and aspirations, the sum of wishes of the ones who did not have the possibility to express them in a concrete manner. Their victory was not accidental; it was predictable because the male prejudices they were fighting had no rational grounds. At times, it was precisely the absurdity of a support which was more difficult to prove, and it can be stated that women managed to do that not only through words but also through their deeds. The period I analysed was until WWII which brought about major changes in the world. From that moment on, women began to obtain most of the rights requested throughout time and feminism acquired new facets. At the same time, the mass media through which women exposed their problems became more complex and they can represent the object of another type of analysis.
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The two verbs in the title which are at the base of our reflection have enabled us to analyze the impact of the existential experience, which is death, in poetic writing. In the first part, we go beyond this intimate orientation to show that religious and cultural beliefs helped the poet to arouse his desire so as to resuscitate the loved ones. This has given us the opportunity to make use of the intertextual practices that underpin our argument. In the second part, we examine the stylistic dualism in the poet’s waltz between purism and rebellion. He obtains a linguistic hybridization symbolizing the subversive impetus on which the work is built.
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The category of audiovisuality of literature raises the question of the circulation of literature written under the influence of the media. It seems that literature resulting from hybridisation which introduces audiovisual solutions such as thematising audiovisuality, using audiovisual schemes and techniques in the construction of literary works, incorporating audiovisual code into the text, shaping the language of literary expression to resemble audiovisual language and creating genres and styles of literary expression related to audiovisuality is represented by popular now “prose of the centre”. At the same time, the constantly developing e-literature, which searches for its own language and which is closer to new-media phenomena than to audiovisuality, seems to be an expression of new elitism, close to the assumptions of modernist art. Intra-compositional audiovisuality, which does not violate the classical ontology of the text, favors the development of “the literature of the centre” whereas audiovisuality that introduces changes in the very structure of the text has more to do with to formal experiments, being part of the avant-garde nature of activities and bringing the reader closer to highly artistic phenomena, significantly narrowing the field of recipients.
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The article is synthetic in character and attempts to outline of multi-faceted, elaborate, but unevenly structured relationships between literature and jewellery art products. Referring to examples of projects from different eras, the author aims to emphasise the importance of these relationships for the development of the two media, and to highlight the significance of examining this field, which has been rather marginalised by researchers so far. Not only does she analyse this issue by using Werner Wolf’s concept of medium and intermediality in the broad sense of the term, which is open to traditional arts, but also examines categories connected with intermediality, including extracompositional intermediality, intracompositional intermediality, and their subcategories. The author does not underestimate the usefulness of the ontological intermediality category; therefore, the conclusion of the paper includes reflection on jewellery-oriented metaphors.
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The article attempts to compare how the poetics of paradox is realised in the philosophical and theological writings of Simone Weil and in the musical language of the Finnish composer Kaija Saariaho in her oratorio La Passion de Simone, dedicated to Weil’s biography and work. The etymology of paradox is a guide for the comparative analysis, from its meaning in opposition to doxa understood as a set of generally accepted beliefs to the reading of paradox as being ‛close to’ (para) ‛glory’ (doxa). Both semantic ranges permeate the fabric of Weil’s texts, both at the level of a language full of contradictions and at the level of the considered idea of kenosis, which is the greatest theological paradox, based on the clash between Christ’s divine nature and depriving him of glory at the time of his Crucifixion. Saariaho’s musical language exploits Weilian contradictions, juxtaposing contrasting masses of sound. It also transforms musical time into an impression of musical space and, paradoxically, imitates silence with sounds.
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The aim of this study is to present the artistic affinities of Celina Michałowska, a painter and a member of the Congregation of the Sisters of the Immaculate Conception of the Blessed Virgin Mary as well as daughter and only student of Piotr Michałowski, the most outstanding representative of the Romantic trend in Polish painting of the 19th century. The multitude of fields of art practised by Michałowska and the various alliances between them make it possible to place this research area in the field of specific correspondence between different arts. The work also discusses the unique network of artistic relations that bound Michałowska not only with other artists from the congregation but also with the members of her distinguished and educated family who were involved in painting, music, writing, which had a considerable influence on the artistic momentum in the life and work of Celina Michałowska.
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The article aims to analyse changes in the functioning of the song titled Hej, Krywaniu (Hey, Kriváň) and their relation to trends in pop culture. Tracing the cross-media shifts has contributed to and complemented the multidimensional research on Kriváň, which earlier failed to take into account the performative framing of new meanings and has not included audiovisual arts in its field of interest. The paper is an attempt to build a bridge between traditional studies of Tatra literature and the modern optics of the performative turn, as well as a new understanding of intertextuality and intermediality. The analysis focuses on the poem Hej, Krywaniu from the volume of Kazimierz Tetmajer’s short stories titled Na Skalnem Podhalu, a folk song, the song Krywaniu, Krywaniu by Skaldowie band, a fragment of the film Operacja Samum and Gooral’s performance at the Woodstock Festival Poland in 2013 and his music video for the latest reinterpretation of the song.
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The text is part of a doctoral dissertation which is being written on the subject of auditory perspective in the works of Miron Bialoszewski. On the example of selected poems from the series titled Kabaret Kici Koci, the author attempts to answer the question of how the issue of the poet’s voice interpretation of his works (the recordings were made for home use and are available in the Audio Department of the Adam Mickiewicz Museum of Literature in Warsaw) affects the reception of recorded poems. Not without significance for the interpretation is also the fact of the author’s performance of poems not chosen by Białoszewski for the volumes titled Rozkurz czy „OHO” i inne wiersze (were only included in 2017 in a collection titled Świat można jeść w każdym miejscu) or Piosenka placu do tańca, which was never written down by the author. The work refers to the concept of “loud” or “spoken” poetry, realised through voice, which – in Białoszewski’s opinion – was the only way to achieve its “full being”.
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The article focuses on a niche (in the context of reception) aspect of Ewa Lipska’s work, namely the formation of the genre of the song on the basis of the literary output of the author associated mainly with high art, which includes poetry. The introduction (quotation and analysis of relevant theoretical texts) introduces the reader into the world of filiation between a poem and a song. The main part of the paper contains interpretations of selected works by Ewa Lipska which were used as song lyrics by such artists as Grzegorz Turnau or Anna Szałapak. In this article the author attempts to destabilise the notion of “sung poetry”, weakening also the stereotypes (connected with arbitrary assigning it only to intellectual poetry) growing around Ewa Lipska’s works. In the article, the author attempts to destabilise the notion of “sung poetry”, weakening also some stereotypes (connected with the arbitrary attribution only to intellectual poetry) around Ewa Lipska’s work.
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The article compares the poetry of Roman Honet and the paintings of Zdzisław Beksiński. Departing from the general similarities between the artists, consisting in the presence of the aesthetics of the grotesque, fantasy, oneirism and surrealism, the author outlines some more specific similarities. Both artists, for instance, can be situated in the field of fantasy art, in which an important role is played by the incorporation into the image of miraculous and fantastic elements, a coherent imaginarium and creative techniques distorting the representation. Both Honet and Beksiński are reluctant to explain the significance of their works, giving the recipient the freedom to make associations or emphasising the intuitive nature of the creative process. Using representations of anthropomorphic hybrids, both artists point to the complex status of non-human entities, and hence also to the human being, in which the animal and the social are combined.
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The Great War is a watershed moment in the history of British literature and culture; the pre-WWI period denotes the time of late-Victorian and Edwardian stability whereas the second decade of the twentieth century means instability and uncertainty reaching far beyond the limits of the world of art. The tumult becomes discernible in numerous areas, and in the first place, in a sudden re-awakening of interest in (pseudo)pastoral literature. The article examines two novels by D.H. Lawrence, The Rainbow (1915) and Women in Love (1920), in terms of their endorsement of the pastoral mode. The major question is to what extent the war-time reality influenced the imagery and the application of the well-known pastoral topoi in the literary works under examination.
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The article is an attempt to trace the tricks used to draw an image of a male hero in selected novels by Anna Ficner-Ogonowska (Alibi na szczęście, Krok do szczęścia, Zgoda na szczęście, Szczęście w cichą noc), which can be regarded as a representative example of contemporary Polish popular literature intended for a female audience. The elements of masculinity depicted in the novels are shown primarily in relation to the basic features of the Cinderella syndrome, which can be observed in the main character, as well as in relation to the stereotypical simplifications about gender, strategies for satisfying needs and ways of fulfilling life roles by women and men.
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This text discusses problems connected with the expansion of digital literature. Nowadays, transitions in the literary field may be perceived from many points of view. In this article, priority is given to the comparative perspective focusing on the relationship between technological development and community life and rules of communication which are now subject to accelerated transformation.
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(Literature, culture, identity. Proceedings in honor of Prof. Jovan Delic. S. Šeatović, А. Jerkov, P. Petrović, editor (s). Belgrade: IKUM, 2020)
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Jerusalem (1804–1820), an epic poem of four thousand lines, known to exist in six copies, is by common consent William Blake’s masterpiece, a magnificent complex of epic poetry and illuminated painting (water-colours). This verbal-visual poem contains the fullest account of the personal mythology developed by the British poet, painter and mystic. A Romanian translation has long been due, and we offer it here, together with a critical apparatus (introductory study: Some aspects of William Blake’s cosmogony; and Notes, clarifying both the literary, philosophical, historical, religious-spiritual and scientific context as well as matters of translation) that is necessary in order to make sense of the poetic labyrinth that Blake created here. That no translator has ventured so far to attempt a translation into Romanian is understandable, since the text itself constitutes something of a “linguistic inferno.” This aspect of extreme linguistic difficulty is true also for the other two poems making up Blake’s Prophetic Books, namely Vala, or The Four Zoas (1796–1807) and Milton (1804–1808). We offered already a translation of Vala and of Milton in 2006, at around the bicentennial of their being written (a first version of the translation into Romanian of Vala we published in 1998). We repeat this here and now (although our translation was ready by 2012), with this critical bilingual edition of Jerusalem, published in 2021, so at the time of the bicentennial of Blake’s having finished writing his undisputed masterpiece.
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