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1
DIMOVA, Irena. "Childhood memory as “Natural memory” in poems by the Slovak author Ján Stacho". Problems of slavonic studies 70 (2021): 181–89. http://dx.doi.org/10.30970/sls.2021.70.3746.
Testo completoAbstract (sommario):
Background: Ján Stacho is an eminent Slovak author (1936–1995) who first has published in 1959. Two years later he became member of the so-called Trnava group, made up of him, Ján Ondruš, Jozef Mihalkovič and Ľubomír Feldek. The group’s poet-ics and aesthetics can be found in their manifestos – “There will be a talk about chil-dren's poetry”, “There will be a talk about translation” and “There will be a talk about poetry”, the last of which is lost. Ján Ondruš’s debut book “Wedding Journey“ was first published in 1961. His poems and one of the group’s literary manifestos are the subject of the present study. Purpose: The article examines the idea of childhood memory as “natural memory”. The concept is found in the poetry of Ján Ondruš, who is part of the Slovak poetry Trnava group. His poems serve the purpose of the article – to look at the realizations of the concretists’ theoretical views in the poems of the author mentioned above. Results: The article outlines the concept of memory, which we find in the aesthetic platform of the Slovak Trnava group, specifically in their manifesto “There will be a talk about children's literature.” In this text, the authors plead for writing poetry that is not “sucked from the finger” but is “squeezed” from memory. We deduce the “uses” of memory from the texts of one of the Trnava groups’ representatives, Ján Stacho. The subject of our research is his debut poetry collection from 1961, “Wedding Journey.” In his poems, we connect memory – as childhood and natural – with the metaphor of “salt-ing the senses” and the naive, unencumbered “sensing” the world to grasp the latter. We also include an intertextual reference to the text "Memory" of another poet from the Trnava group Ján Ondruš, which representatives refer to as one of their program’s works. Key words: childhood memory, natural memory, senses, Slovak literature, Trnava group. Bílik, R., 2000. Ľubomír Feldek. Bratislava: Kalligram. (In Slovak) Bokníková, A., 2006. Trnava Group – Concretists. Bratislava: Kalligram. (In Slovak) Feldek, Ľ., 2007. The Doomed Group of Trnava. Bratislava: Columbus. (In Slovak) Gilman, R., 2005. The Drama Is Coming Now: The Theater Criticism of Richard Gilman. New Haven and London: Yale University Press. (In English) Hajko, D., 1998. Ján Stacho: Essay on the Poet Who Wanted to Read the Ciphers of Being. Bratislava: National Literary Centre. (In Slovak) Jelínek, A., 1961. Vítězslav Nezval. Praha: Czechoslovak Writers. (In Czech) Kupec, I., 1955. In Defense of Poetry. Cultural Life, 44 (10), pp.4–6. (In Slovak) Maslowski, N. and Šubrt, J., 2015. Collective Memory. Theoretical Questions. Praha: Karolinum. (In Slovak) Matejov, F., 1986. Ján Ondruš’ Poem Memory. V: Literary Views. Proceedings of Young Literary Science. Bratislava: Smena, pp.164–185. Mikula, V., 2013. “Red” Fifties in “Golden” Sixties. V: Waiting for History. Articles on Slovak Literary History. Bratislava: UK, pp.127–147. (In Slovak) Nora, P., 2004. The Global Rise of Memory. V: Y. Znepolsky, red. Pierre Nora. Places of Memory and Constructing the Present. Sofia: House for Science and Society, pp.19–35. (In Bulgarian) Ondruš, J., 1965. The Mad Moon. Bratislava, 1965, 1982. (In Slovak) Ondruš, Ya., 1997. Out of the Mirror. Sofia: Literary front. (In Bulgarian) Prodanov, V., 2006. Memory Speculations. V: Culture and Memory. Varna, pp.58–85. (In Bulgarian) Stacho, J., 1961. Wedding Journey. Bratislava, 1961. (In Slovak) Šimonovič, J., 1962. According to Wedding Journey. Young Creation, 7(8–9), pp.28–29. (In Slovak)
2
Válová, Karolina. "Život a tvorba Františka Listopada ve třech nesvobodných systémech". Kultúrne dejiny 13, Supplement (2022): 82–98. http://dx.doi.org/10.54937/kd.2022.13.supp.82-98.
Testo completoAbstract (sommario):
František Listopad was a Czech poet, novelist, essayist, theatre and television director. In 2021, the Czech Republic together with the entire Portuguese-speaking world commemorated the centenary of his birth. In addition to his extensive work in several languages, he also played a crucial role in a historic revival of Czech-Portuguese cultural relations, for which we are indebted to him. Listopad was a man of three names and several homes. He was born in 1921 in Prague as Jiří Synek. He published his first short stories under this name. During World War II, he was persecuted for his Jewish origins. However, he avoided deportation to a Nazi camp, hid with friends and was active in the resistance as a member of the illegal organization “For Freedom” (Za svobodu). For reasons of secrecy, he changed his name to František Listopad. At the same time he also began to write poetry and literary reviews. After the war, he became a co-founder of the daily Mladá fronta. After initial enthusiasm, he began to criticize the communist regime, mainly for restricting human freedoms. In 1947, he was sent to Paris as an editor of the weekly Parallele 50. After February 1948, he was ordered to come back to Czechoslovakia, but he did not return. In France, he focused mainly on writing essays and working for the emerging local television. In 1958, he moved to Portugal, where he lived until his death in 2017. Here he chose a different name – Jorge Listopad. Listopad considered Salazar’s authoritarian right-wing regime to be very restrictive, but much freer in many ways than Czechoslovakia of the time; for example, it did not prohibit citizens from travelling abroad. In Portugal, in addition to significant literary work, Listopad devoted himself mainly to theatrical productions. He also became a university teacher. He never moved back to his original homeland to stay there permanently, but after the 1989 Velvet Revolution he often travelled there. He presented his plays there and published collections of poems and short stories. In his literary and theatrical works, František Listopad often existentially reflected the life in three unfree systems: the period of Nazi occupation of Czechoslovakia, communism and Salazar’s dictatorship in Portugal.
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Шміхер, Тарас. "Book Review". East European Journal of Psycholinguistics 5, n. 2 (28 dicembre 2018): 118–20. http://dx.doi.org/10.29038/eejpl.2018.5.2.shm.
Testo completoAbstract (sommario):
UKRAINIAN TRANSLATION WORKSHOP IN PRIASHIV
Ukrajinský jazyk a kultúra v umeleckom a odbornom preklade v stredoeurópskom priestore : Zbornik príspevkov z medzinárodného vedeckého seminára, ktorý sa konal dňa 27.9.2017 na Katedre ukrajinistiky Inštitutu ukrajinistiky a stredoeurópskych štúdií Filozofickej fakulty Prešovskej univerzity / Filozofická fakulta Prešovskej univerzity v Prešove ; ed.: Jarmila Kredátusová. Prešov: Filozofická fakulta Prešovskej univerzity v Prešove, 2018. 216 p. (Opera Translatologica; 6/2018).
Ukrainian modern academic traditions in the Western Transcarpathian area of Priashiv (Presov in Slovak) go back to the 19-century intellectual institutions of the Ukrainian Catholic Church of the Byzantine Rite. After WW2, the main centre of Ukrainian education was the Pegagogical College which was later transformed into a separate university. This university helps the local Ukrainians maintain and develop their rich traditions of learning and research. It is no surprise that the very university hosted the International academic workshop “The Ukrainian Language and Culture in the Literary and Sci-Tech Translation of Middle European Space” (27 September 2017). The workshop brought together specialists in Ukrainian Studies from Ukraine, Slovakia, Czechia and Poland. One year later the conference volume was finalized and published.
The first part of the book contains the historical and bibliographical essays which record the history of Ukrainian-Slovak and Ukrainian-Czech literary translation. Jarmila Kredátusová’s task was to present the outline of Slovak-Ukrainian and Ukrainian-Slovak translation which started progressing rather dynamically only after WW2. She presents its history divided into decades and discusses specific features and some statistical data from each period. In the end, she also describes today’s hardships of this translation in Slovakia (relations with readership, translation criticism, professional qualification) which are similar to ones in Ukraine. The history of Ukrainian-Czech translation is longer and richer. The existing extended papers cover the pre-1989 time rather well, that is why Rita Lyons Kindlerová and Iryna Zabiyaka dedicated their articles to the editions and tendencies of the recent decades. Rita Lyons Kindlerová offers the analysis of translated literature from Ukrainian into Czech and pinpoints the turning moment of the year 2001 when Ukrainian literature started reentering Czech society and have promising prospects among readers. Conversely, Iryna Zabiyaka studies the literary presentation of Czechia in Ukraine and considers the most important translations and main tendencies. She also designs a list of Czech authors whose writings are worth translating into Ukrainian. At the same time, she characterizes the pitfalls of Ukraine’s translation market from the viewpoint of these translations. Since we lack translation bibliographies and insightful translation monographs, the above articles contribute to a larger possible publication in future which will reveal more sociological dimensions of Ukrainian-Slovak and Ukrainian-Czech translation.
Papers in the second part focus on literary translation. Liudmyla Siryk outlined similarities in the translation theories of Mykola Zerov and Maksym Rylskyi. Thus, she has proven that Rylskyi’s views were the further progress of Zerov’s ones, and we have to remember it may be a gesture of respect or substitution: Zerov was murdered in 1937, and Rylskyi fulfilled his duty to preserve and develop the fundamental ideas of his friend and colleague. Anna Choma-Suwała explored the facets of literary interpretations and connections between Oleh Olzhych (Kandyba) and Józef Łobodowski. Łobodowski’s translations did not only discover the intellectual poetry by Oleh Olzhych, but they are also a contribution to the Polish-Ukrainian cultural contacts and cooperation. Yuliya Yusyp-Yakymovych addresses to verse translation by investigating the specific features of rendering intonation, rhythm, meter, repetitions, onomatopoeia and aesthetic norms in translation. Adriana Amir’s contribution deals with the Slovak-language translation of Vasyl Shkliar’s historical novel ‘The Black Raven’ (done by Vladimír Čerevka) and tackles the issues of reflecting lexical means for showing the real historical context which border on the shaky axiological limits of political correctness. The main aesthetic form of contemporary writing is the usage of non-standard language which is abundant in modern Ukrainian literature. That is why Veronika Dadajová regarded incorrect figures of the literary sociolect as a topical point of literary translation nowadays. Meanwhile, Viera Žemberová interprets Yuriy Andrukhovych’s literary and aesthetic experience for Slovak readers by analyzing his novel ‘Recreations’ whose Slovak translation was published in Priashiv in 2003.
Sci-tech translation is focused on in the third part containing articles on rendering terms and grammatical problems of interlingual translation. The paper by Mária Čižmárová will serve as a practical tool for Ukrainian-Slovak translators and interpreters who will have to render idioms with the floristic component. Similarly practical are the contributions covering two branches of Ukrainian-Slovak specialized translation: commercial translation (by Lesia Budnikova and Valeriya Chernak) and legal translation (by Jarmila Kredátusová and Valeriya Chernak). The study of loan words is the topic of the paper by Jana Kesselová which offers the complex view of loan processes in today’s Slovak. However, it would be desirable to discuss Ukrainian sources as well. It is rather a rare case when one volume consists of papers discussing both literary translation and sci-tech translation, but in the presented book, this amalgamation is quite natural and shows the multifacetedness of Ukrainian translation in Slovakia.
The informational contents of all the papers are rather high, and they will be useful for practical research by scholars, translators and critics. The good balance of early ‘classical’ and recent publications creates a complete picture both of the coverage of the topic in the chronological dynamics and the presentation of the academic traditions of institutions where the papers were produced.
This conference volume is an important contribution to Ukrainian Translation Studies in the area of Priashiv which has been shaped and developed by the publications in the literary magazine ‘Dukla’ (published since 1953), the proceedings of the Cultural Union of Ukrainian Workers (‘Naukovi zapysky KSUT’ in the 1980s to the early 1990s) and other editions of the Ukrainian Division of the Slovak Pedagogical Publishing House. The book will be useful for really wide readership in academic, literary and professional communities.
4
Reynolds, R. Clay, e R. S. Gwynn. "New Expansive Poetry: Theory, Criticism, History". South Central Review 17, n. 3 (2000): 141. http://dx.doi.org/10.2307/3190100.
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سميسم, علي كاظم. "Political criticism in Al-Jawahiri's poetry". Kufa Journal of Arts 1, n. 30 (23 gennaio 2017): 175–216. http://dx.doi.org/10.36317/kaj/2016/v1.i30.6070.
Testo completoAbstract (sommario):
The Poetry of Al-Jwahiri is a document and a history. Since literature is the essence of history, we can find within it events, culture, thought, struggle of modern Iraq and the Arab region and the attempts of the living peoples in its march towards justice and freedom taking the most sophisticated steps overcoming the romantic tendency during his era. The document of Al-Jwahiri was mixed with an elevated art and a perfect well-formed language. He combined objectivity and aesthetics he also mixed his blood and pains, excitement with his carelessness as well as his hopes and wishes. He recorded history and participated in making history through subjective and objective methods. His poetry was imprinted in the imagination and thoughts of people. It was Al-Jwahiri who called for solving the problems of Iraq which he suffered from till our time. Policy and struggle is what made his poetry a burning type of poetry and elevated his severe criticism and the political attitude is what made Al-Jwahiri an alienated loner wondering the countries of the world.
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Houston, John Porter. "French Romantic Poetry, Literary History, and the Newer Criticism". Romance Quarterly 34, n. 4 (novembre 1987): 389–95. http://dx.doi.org/10.1080/08831157.1987.11000479.
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Odnoral, Valeria. "The New Lyric Studies of the 21th Century: The Aesthetic and the Social in Poetry Criticism". Ideas and Ideals 13, n. 1-2 (19 marzo 2021): 401–13. http://dx.doi.org/10.17212/2075-0862-2021-13.1.2-401-413.
Testo completoAbstract (sommario):
The article considers the problem of correlation of aesthetic form and social content in contemporary poetry through the prism of contemporary poetry criticism, in particular, the New Lyric Studies of 2008 (M. Perloff, Y. Prins, R. Terada, V. Jackson, etc.). A representation of the lyrics as a genre of poetry, in which historically structured subjectivism and identity of author are interrelated with poetic writing, is at the center of the New Lyric Studies. In this context the lyrics is relative and volatile but also is the closest genre to the poetic nature, that allows to merge an autonomous entity of poetry with ‘agendas’ in the poem, which were difficult to connect in either too formal or too contextual critical approaches to the poetry in the 20th century. This became possible in the conditions of New Lyric critics speaking up against a substitution of poetry and literary criticism for historical, anthropological and cultural criticism because of the high popularity of cultural studies in the 1990s and the ensuing incorporation of interdisciplinarity in literary studies. Despite the objective of New Lyric critics to revitalize a theoretical study of poetry in the spirit of academic criticism of the New Criticism, the modifications in the methods for producing, existence and broadcasting of poetry and therefore in poetry of the last 50 years, poetry itself prevented the New Lyric from becoming the regressive movement. Some representatives of the New Lyric Studies subsequently expressed the need to study poetry in terms of new historical poetics and to create different methods capable to analyze the relations between culture and poetic form – between the social and the aesthetic. Having considered advantages and limitations of the New Lyric studies in the context of contemporary poetry discourse, reflecting not only the nature of contemporary criticism, but also perhaps the history of poetry criticism of 20-21th centuries, which is the dynamical coexistence and the mutual succession of different movements, the author draws a conclusion that this movement defines the right vector for the reconciliation of the long-standing struggle of formalism and contextualism in the poetry criticism as well as social and aesthetic components which poetic work includes.
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Zohar Weiman-Kelman. "Touching Time: Poetry, History, and the Erotics of Yiddish". Criticism 59, n. 1 (2017): 99. http://dx.doi.org/10.13110/criticism.59.1.0099.
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Muir, James. "Poetry and Philosophy: Plato’s Spirit and Literary Criticism". European Legacy 19, n. 3 (16 aprile 2014): 403–6. http://dx.doi.org/10.1080/10848770.2014.898954.
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Zahrah Hadi, Ghaidaa Abdul. "Criticism of Translation Problems in Ahmad Matar's Poetry". INTERNATIONAL JOURNAL OF RESEARCH IN SOCIAL SCIENCES & HUMANITIES 13, n. 02 (2023): 162–75. http://dx.doi.org/10.37648/ijrssh.v13i02.013.
Testo completoAbstract (sommario):
It is no secret to everyone that translation is very important in the exchange of cultures and sciences between different nations and civilizations. Today, it has become a bridge to pass the various sciences of poetry, history and culture from one language to another. Among the poets whose poetry was important in his translation was Ahmed Matar, whose poems were translated from Arabic into many languages, including Persian. Therefore, criticism of the translation of Ahmed Matar's poems was one of the important topics that must be taken into account in research and studies to show the importance of translation criticism in general, and criticism of translated poems by this poet in particular.
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Kaźmierczak, Marta. "Krytyk przekładu myśli o obrazach (wybrane paralele poezji Leśmiana z malarstwem)". Przekładaniec, n. 44 (13 dicembre 2022): 89–110. http://dx.doi.org/10.4467/16891864pc.22.004.16510.
Testo completoAbstract (sommario):
A Translation Critic Thinks about Paintings (Selected Parallels Between Bolesław Leśmian’s Poetry and Visual Arts) The paper is intended as an example of translation criticism that accounts for intersemiotic aspects of translation. The author presents parallels – understood as associative potential (non-obligatory for translation) – between texts of the Polish modernist poet Bolesław Leśmian and certain works of art, and gauges the presence of analogical potential in translations of the poems into English, Russian and Czech. Three visual analogies to the poems are explored: the motif of a window open into the world in German Romantic painting, C.D. Friedrich’s Cross in the Mountains and images of Ophelia in Pre- Raphaelite art. In the course of the analysis the author attempts to show the advantages of the proposed approach in terms of it being conducive to realising functions ascribed to translation criticism.
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Jareš, Michal. "Poetry in Volumes Published by Czech Wartime Émigrés in Great Britain". Soudobé dějiny 14, n. 1 (1 marzo 2007): 44–77. http://dx.doi.org/10.51134/sod.2007.002.
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ABU-HAIDAR, J. A. "WHITHER THE CRITICISM OF CLASSICAL ARABIC POETRY?" Journal of Semitic Studies XL, n. 2 (1995): 259–81. http://dx.doi.org/10.1093/jss/xl.2.259.
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Berthoud, Luiza Esper. "Art History and Other Stories". ARS (São Paulo) 18, n. 38 (30 aprile 2020): 197–217. http://dx.doi.org/10.11606/issn.2178-0447.ars.2020.162471.
Testo completoAbstract (sommario):
Through the analysis of one erroneous piece of art criticism, an essay by Goethe that re-imagines a lost ancient sculpture, I demonstrate the difficulty that the discipline of art history has with conceptualizing the experience of art making and how one ought to respond to it. I re-examine the relationship between art making and art appreciation informed by ideas such as the Aristotelian view of Poiesis, Iris Murdoch’s praise of art in an unreligious age, and Giorgio Agamben’s call for the unity between poetry and philosophy. I also argue that much of modern art criticism has forgotten Arts’ earlier conceptual vocation, and propose methods of appreciating art that are in themselves artistic.
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Levinger, Esther. "Czech Avant-Garde Art: Poetry for the Five Senses". Art Bulletin 81, n. 3 (settembre 1999): 513. http://dx.doi.org/10.2307/3051355.
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Markov, Alexander. "Contemporary Russian Poetry in the Period of Intense Events". Philosophy. Journal of the Higher School of Economics VI, n. 3 (30 settembre 2022): 256–88. http://dx.doi.org/10.17323/2587-8719-2022-3-256-288.
Testo completoAbstract (sommario):
This article examines the impact of being inside the intense development of events on contemporary Russian poetry as a set of institutions of production and consumption of texts. We prove that under this influence of events, not only individual ways of texts' existence are changing, but also the very meaning of media and social contexts of poetry development. Poetry turns out to be an area not so much of comprehending current reality as differentiating the very modes of utterance that represent the actual state of affairs. Therefore, in the period of events, poetry partly returns to the representational principles of the old art, but there also appear new ways of poetry expansion, from illustrated publication to collaborations with intellectuals, commentators or artistic communities, which enable it to operate in the field of public discourse. The following shifts are taking place in Russian poetry now: (1) the rejection of reliance on former resources of relevance for the sake of establishing new infrastructures of social attention; (2) the creation of new forms of justification of poetic expression, different from previous criticism or statements; (3) the problematic action in the political field in differentiating figures of “proper” and “other”; (4) metacriticism of poetics as a figurative text structure, along with implicit indications of the limitations of figurative writing. As a result, in contemporary Russian poetry, the problematization of the other as unpredictable, dangerous, and yet necessary entirely coincides with the latest postcolonial, gender, and social criticism.
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Fest, Bradley J., e Rachel Blau DuPlessis. "Something Worth Leaving in Shards: An Interview with Rachel Blau DuPlessis". boundary 2 50, n. 2 (1 maggio 2023): 1–30. http://dx.doi.org/10.1215/01903659-10300579.
Testo completoAbstract (sommario):
Abstract This interview with poet, essayist, literary critic, and collagist Rachel Blau DuPlessis was conducted via email correspondence between June 11 and August 29, 2020. Author of over a dozen volumes of poetry and half a dozen books in modernist studies, poetics, and feminist criticism, DuPlessis reflects broadly on her career in this interview. She discusses the ongoing role of feminism in her writing and thought, the forms of the fold and the fragment, the relationship between her poetry and criticism, her work in and on the long poem, and her post-Drafts poetry, including her (at the time) most recent book, Late Work (2020). The interview concludes with a conversation about the relationship between poetry and theorizing practices and a meditation on writing during a global pandemic.
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Livingstone, David. "Where Is My Homeland?: The Pilgrimage of Marcela Sulak". Ostrava Journal of English Philology 13, n. 1 (2021): 61–66. http://dx.doi.org/10.15452/ojoep.2021.13.0005.
Testo completoAbstract (sommario):
This essay examines the literary output of Marcela Sulak, a Texas‑born Czech poet and academic now living and working in Tel Aviv, Israel. There is a focus not only on her recently published memoir, but on her poetry and her translations of two Czech classics (Mácha and Erben) into English. The primary interest of the essay is in exploring her search for identity, not only geographically, but also spiritually. Increased attention is paid to those aspects of her life and work connected with the Czech nation, history, culture and language.
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Cooper, David L. "Competing Languages of Czech Nation-Building: Jan Kollár and the Melodiousness of Czech". Slavic Review 67, n. 2 (2008): 301–20. http://dx.doi.org/10.1017/s0037677900023548.
Testo completoAbstract (sommario):
In the modern era, the institution of literature is being reconceived across Europe as a national institution. But the new paradigm of national literatures requires a remaking of literary discourse, including the transformation of critical terminology, and this results in literary discourse becoming politicized. By analyzing the history of the term libozvučnost (melodiousness) in the Czech national literary revival, David L. Cooper demonstrates how this seemingly innocent literary term became a political lightening rod for friends pursuing the same national program. This strongly suggests that, in the formative era of national literatures, using literary issues to discuss politics is not simply a matter of instrumentalizing literary criticism for covert political activity but that discussing literary values is directly political. The example of libozvučnost also reveals how the “borrowed“ discourses of Romanticism and nationalism were fundamentally remade to respond to the modern Czech situation.
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Shnaweh, Lect Dr Masar Ghazi. "Significant cultural patterns and their references in the poetry of Safi al-Din al-Hilli". Thi Qar Arts Journal 2, n. 40 (27 dicembre 2022): 222–33. http://dx.doi.org/10.32792/tqartj.v2i40.377.
Testo completoAbstract (sommario):
The emergence of cultural criticism at the end of the last century brought about a qualitative leap in the field of critical practice as a whole, as we see a distinct shift from criticism of literature to criticism of culture, which has become a focused discourse in this field. Cultural criticism often embraces culture and never separates from it. Just as it takes from every science a party that combines contextual and systematic approaches, even theories of reading and reception, criticism of reader response and deconstruction, as it was based on psychology, sociology and history and relied on everything that would happen in addition to literature as a cultural phenomenon. It is striking that cultural criticism is based on a central idea that stems from and returns to, which is the criticism of fairness, especially the cultural defects that are implicit in every discourse or that are hidden behind the linguistic textual fabric. what they are.
Al-Hilli’s poetry conceals cultural patterns in which reality is critiqued from a behavioral, economic, political and religious point of view, providing the reader with an integrated picture of his society. We have relied on the categories of cultural criticism as a floating critical activity that refuses to fall under any approach, and uses procedural tools of various sources, which belong to different sciences such as anthropology, psychology, and history.
In order to answer the research questions and its problems, the research plan was as follows:
Introduction: I tried through it to provide an overview and familiarity with the subject and its basic forms.
The first requirement: the most important tributaries of cultural criticism and its background knowledge:
1: The concept of cultural pattern
2: systemic function
3: the cultural sentence
4: the cultural sentence
5: The total metaphor
* The second requirement: an overview of the social and poetic papers of the poet Safi al-Din al-Hilli (677-752 AH / 1277-1339 AD).
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Amelina, Anna V. "Russian writers in the Czech environment during the first half of the 1920s: periodicals of the left political wing (newspaper “Rude pravo”)". Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 59 (2021): 199–212. http://dx.doi.org/10.37816/2073-9567-2021-59-199-212.
Testo completoAbstract (sommario):
The paper examines perceptions of Russian literature in the first half of the 1920s by a Czech literary criticism of the left-wing political orientation, namely by Rudé Právo, newspaper of the communist party of Czechoslovakia. On the one hand, at this time, the Russian classics are being rethought in terms of their usefulness for the purposes of proletarian movement, up to discrediting individual authors (for example, F. M. Dostoevsky) and adjusting ideas of other writers to the communist ideology (L. N. Tolstoy). On the other hand, much attention of the editors is paid to the modern literature of post-revolutionary Russia, whose representatives are evaluated and selected for translation and review, provided they accept and praise the revolution (first of all, this is the poem The Twelve by A. A. Blok, poetry by V. V. Mayakovsky, prose by M. Gorky and V. G. Korolenko), whereas their work is assessed one-sidedly, exclusively in the ideological aspect. The first attempts of writing generalizing materials on the contemporary literary process (for example, Peasant revolutionary poetry by I. Weil) are being made. In general, Russian literature is viewed from an ideological standpoint, only with varying degrees of categoricality by individual critics. As the author reveals it was of great importance for the shaping of the ideological position and cultural program of the Czech communists, and compared with other literatures, its role is identified as leading.
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Batistová, Anna, e Nico Carpentier. "Constructing the Czech nation". Journal of Language and Politics 17, n. 6 (14 dicembre 2018): 713–43. http://dx.doi.org/10.1075/jlp.17063.bat.
Testo completoAbstract (sommario):
Abstract The article’s objective is to analyse the discursive construction of the Czech nation in three cultural magazines, produced by Czech exiles in London during WWII. The theoretical backbone for this analysis is provided by Laclau and Mouffe’s (1985) discourse theory, which in turn supports a discourse-theoretical re-reading of the literature on the nation, first in general and then in relation to the Czech nation. These three theoretical components support an analysis of 650 selected contributions in 36 issues of the three main cultural journals of the Czech London exile: Obzor [Horizon], Kulturní zápisník [Cultural Notebook] and Review. This discourse-theoretical analysis shows the presence, particularity and contingency of a series of internal nodal points (temporal, spatial, linguistic, cultural and popular), in combination with the external nodal point of diversity in relation to outgroups. In the conclusion, the political nature of this construction, which we label the politics of poetry, is emphasized.
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Stanco, Michele. "Art and beauty. Linguistic versus psychological aesthetic theories". Recherches anglaises et nord-américaines 36, n. 1 (2003): 47–68. http://dx.doi.org/10.3406/ranam.2003.1668.
Testo completoAbstract (sommario):
In his dialogues Plato distinguished poetry as ‘inspiration from poetry as ‘technique’. Taking a hint from this archetypal distinction (as well as, inevitably, from the overstaying opposition between ‘idea’ and ‘matter’), the paper explores some of the most momentous phases in the history of criticism, from the earliest documents on poetry to the contemporary aesthetic debate. In so doing, it points to the irremediable and continuing dualism of a critical tradition, which has alternatively emphasised the ideal elements of beauty or the material constituents of art.
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Charypar, Michal. "Conceptualizing Literary History: A Survey of Poetics in Czech Fiction 1860–1910 (Part One)". Bohemistyka 23, n. 3 (28 agosto 2023): 394–408. http://dx.doi.org/10.14746/bo.2023.3.15.
Testo completoAbstract (sommario):
The article provides an innovative model of poetics (or isms, styles, etc.) in Czech prose in the latter half of the long 19th century. It gives an overview of seven individualized and mutually distinct poetics, including ideal, analytical, and psychological realisms, Parnassism, naturalism, impressionism, and decadence. The individual poetics do not represent periods, but exist in parallel, allowing confrontations and intersections either within the author's work or in a specific text, as in the model of Czech literature developed by Dalibor Tureček in the past decade. They are always set in the context of European literature and supported by many illustrative examples. The model is not only typological, but also assumes a diachronic perspective, which can be developed in future scholarly work on the history of Czech literature. The aim is to create a system that can potentially be applied not only to Czech fiction, but possibly also to poetry or drama, in other periods and literatures. Part One of the article concentrates on a general overview and on ideal and analytical realisms.
25
Armstrong, Isobel. "The First Post: Victorian Poetry and Post-War Criticism". Journal of Victorian Culture 8, n. 2 (gennaio 2003): 292–304. http://dx.doi.org/10.3366/jvc.2003.8.2.292.
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DAVIES MITCHELL, M. "Review. Apollinaire, Visual Poetry, and Art Criticism. Bohn, Willard". French Studies 48, n. 3 (1 luglio 1994): 353. http://dx.doi.org/10.1093/fs/48.3.353.
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Wolwacz, Andrea Ferras. "TOM PAULIN'S POETRY OF TROUBLES". Organon 34, n. 67 (9 dicembre 2019): 1–23. http://dx.doi.org/10.22456/2238-8915.96943.
Testo completoAbstract (sommario):
This paper is part of my PhD thesis. It examines contemporary Northern Irish Literature written in English with the help of the theoretical approach of Irish Studies. It aims to introduce and make a critique of poetry written by Tom Paulin, a contemporary British poet who is regarded one of the major Protestant Irish writers to emerge from Ulster province. The thread pursued in this analysis relates to an investigation of how ideological discourses and the issues of identity are represented in the poet’s work. The author’s critical evaluation of existing ideologies and identities and his attempt to respond to them will also be analyzed. Four poems from three different collections are investigate. Paulin’s poems function as testimonies, denouncement and criticism of the Irish history.
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Elfenbein, Andrew. "Cognitive Science and the History of Reading". PMLA/Publications of the Modern Language Association of America 121, n. 2 (marzo 2006): 484–502. http://dx.doi.org/10.1632/003081206x129675.
Testo completoAbstract (sommario):
Cognitive psychologists studying the reading process have developed a detailed conceptual vocabulary for describing the microprocesses of reading. Modified for the purposes of literary criticism, this vocabulary provides a framework that has been missing from most literary-critical investigations of the history of literate practice. Such concepts as the production of a coherent memory representation, the limitations of working memory span, the relation between online and offline reading processes, the landscape model of comprehension, and the presence of standards of coherence allow for close attention to general patterns in reading and to the ways that individual readers modify them. The interpretation of Victorian responses to the poetry of Robert Browning provides a case study in the adaptation of cognitive models to the history of reading. Such an adaptation can reveal not only reading strategies used by historical readers but also those fostered by the discipline of literary criticism. (AE)
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Bula, Andrew. "Literary Musings and Critical Mediations: Interview with Rev. Fr Professor Amechi N. Akwanya". Journal of Practical Studies in Education 2, n. 5 (6 agosto 2021): 26–31. http://dx.doi.org/10.46809/jpse.v2i5.30.
Testo completoAbstract (sommario):
Reverend Father Professor Amechi Nicholas Akwanya is one of the towering scholars of literature in Nigeria and elsewhere in the world. For decades, and still counting, Fr. Prof. Akwanya has worked arduously, professing literature by way of teaching, researching, and writing in the Department of English and Literary Studies of the University of Nigeria, Nsukka. To his credit, therefore, this genius of a literature scholar has singularly authored over 70 articles, six critically engaging books, a novel, and three volumes of poetry. His PhD thesis, Structuring and Meaning in the Nigerian Novel, which he completed in 1989, is a staggering 734-page document. Professor Akwanya has also taught many literature courses, namely: European Continental Literature, Studies in Drama, Modern Literary Theory, African Poetry, History of Theatre: Aeschylus to Shakespeare, European Theatre since Ibsen, English Literature Survey: the Beginnings, Semantics, History of the English Language, History of Criticism, Modern Discourse Analysis, Greek and Roman Literatures, Linguistics and the Teaching of Literature, Major Strands in Literary Criticism, Issues in Comparative Literature, Discourse Theory, English Poetry, English Drama, Modern British Literature, Comparative Studies in Poetry, Comparative Studies in Drama, Studies in African Drama, and Philosophy of Literature. A Fellow of Nigerian Academy of Letters, Akwanya’s open access works have been read over 109,478 times around the world. In this wide-ranging interview, he speaks to Andrew Bula, a young lecturer from Baze University, Abuja, shedding light on a variety of issues around which his life revolves.
30
Gerchikova, Irina. "The Phenomenon of Karel Kryl, The Poet with the Guitar, in the Czech Culture". Slavic Almanac 2023, n. 1-2 (2023): 287–302. http://dx.doi.org/10.31168/2073-5731.2023.1-2.3.03.
Testo completoAbstract (sommario):
The article describes the work of Karel Kryl (1944–1994), a Czech singer-songwriter and poet. Author’s musical poetry as a cultural phenomenon is considered. From the mid-1960s (“The Happy Age of Literature”) he performed songs of his own composition, based on the traditions of Czech artists of the interwar period J. Werich, J. Voskovec, J. Ježek, and the poetry of P. Bezruč. Kryl, belonging to the first generation of the Czech folk, was heavily influenced by Bob Dylan and the American tradition of song poetry. He expanded the popular song genre and became a legendary voice of protest and the voice of his people. He earned fame after August 1968, when he wrote the song “Bratříčku zavírej vrátka” (“Keep the Gate Closed, Little Brother”) in one night. The Poet with a Guitar spent twenty years in Germany. His life path was not easy both in the emigration as well as upon his returning back home, since he could not accept the new reality after the Velvet Revolution. He had a hard time enduring the division of Czechoslovakia into two states and therefore faced misunderstanding. An eternal dissident and a rebel, Kryl went down in history as an original poet who used a variety of means of artistic expression and complex metaphors. He became a symbol of the Czech music and poetic culture in the second half of the 20th century. His significance for the Czech Republic is comparable to that of V. Vysotsky and A. Galich for Russia. There are many studies about Kryl in Czechia but the scale and facets of his talent, his prophetic visions, and the individual style of his creative manner deserve attention and are waiting to be discovered in Russia.
31
Vasilyeva, L. A. "“Mir Taqi Mir”. A fragment from the History of Urdu Poetry “Water of Life” of Muhammad Husayn Azad". Orientalistica 3, n. 5 (29 dicembre 2020): 1437–49. http://dx.doi.org/10.31696/2618-7043-2020-3-5-1437-1449.
Testo completoAbstract (sommario):
The article is a translation into Russian of the chapter from the “Water of Life” by Muhammad Husain Azad (1830–1910). This is the chapter about the greatest Urdu poet Mir Taki Mir (1713/1723(?)–1810 AD). The critical work by Azad, the “Water of Life” is considered as the first history of Urdu poetry written in Urdu. Azad was the first to see in this phenomenon a continuous process. The periods in the development of literature are interlinked. Azad identifies five major periods of Urdu poetry and briefly describes each of them. His work comprises biographical facts, characteristics, vivid word-portraits of outstanding Urdu poets and colourful historical anecdotes associated with them. The “Water of Life” had a very significant impact on contemporaries of Azad, as well as on the further development of literary-critical thought in Urdu. It set the standard for literary criticism for many decades. “Water of Life” had a significant impact on contemporaries, as well as on the further development of literary-critical thought in Urdu. It set the standard for literary criticism for many decades to come. Regardless that some historical dates and literary facts, as well as some important generalizations of the author, seem today at least controversial, still many Urdu literati and critics even nowadays fully rely upon the evaluation and criticism of famous poets as given by Azad.
32
Nicolau, Felix. "El espejismo del Norte: los Geats y la pasión escandinava en la obra de Alejandro Busuioceanu". Swedish Journal of Romanian Studies 6, n. 1 (15 maggio 2023): 349–60. http://dx.doi.org/10.35824/sjrs.v6i1.24972.
Testo completoAbstract (sommario):
One of the less discussed figures of the Romanian exile caused by the fraudulent establishment of communism in Romania is the polygraph Alexandru Busuioceanu, who wrote poetry in three languages, but also art criticism, literary criticism, and history. The present research is interested in the ideational intertwining of Busuioceanu's intellectual life. As regards his poetry, the volume “Poemas patéticos” of 1948 is analyzed in particular. The writer formulated bold hypotheses which he justified with erudite arguments. Busuioceanu's research, like his art, was carried out in several countries, so access to sources and linguistic context was unmediated. The scholarly legacy of Vasile Pârvan, whose disciple Busuioceanu was, proved also important for this work. Has this enormous intellectual cargo and capacity imprinted Busuioceanu´s creativity or did he preserve his pristine imagination and thinking?
33
Tourmuzi, Lalu Muhamad Rusdi F., e Tatik Mariyatun Tasnimah. "KRITIK SASTRA ARAB ERA SHADR ISLAM". SHAWTUL ‘ARAB 1, n. 2 (24 aprile 2022): 78–86. http://dx.doi.org/10.51192/sa.v1i2.322.
Testo completoAbstract (sommario):
This article aims to examine the development of literary criticism in the early era of Islam. The research method used by the researcher is the library method. Researchers look for data related to the content of the study, take notes, and collect data relating to the history of the development of literary criticism in the early era of Islam. As for the results of this study, the reader can find out what is relevant regarding the definition of criticism, the development of literary criticism, the purpose of poetry, and know the influence of Islam on Arabic literature Islam. This makes the writers of the present era know the traces of Muslim writers at the beginning of the development of Islam.
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Różańska, Marta. "Światło zza rzeki – kwestia tożsamości we współczesnej poezji Zaolzia". Edukacja Międzykulturowa 1, n. 3 (30 giugno 2014): 239–64. http://dx.doi.org/10.15804/em.2014.11.
Testo completoAbstract (sommario):
The work explores the issue of national identity based on selected texts of contemporary poetry from Zaolzie – the region on the Polish-Czech borderland. The question of nationality, a difficult subject for the inhabitants of this politically-divided land, is examined at spatial and cultural levels. The central topoi – the border, city, house, language, religion and history – are associated with the problems of national identity of the Zaolzian poets; they are intrinsically present in selected works written in Polish language and its Cieszyn dialect. Yet in the latest Zaolzian poetry language ceases to be a determinant of national identity of these authors and therefore artificial division between Polish and Czech cultural heritages disappear in the name of multilingualism and multiculturalism. This study shows a picture of culturally diverse borderland, which nowadays has departed from the traditional view of borders differentiation; the borderland poets abandon the stereotypical divisions in the name of “dialogue of cultures” and identity based on Zaolzian genius loci.
35
Parina, Elena. "Textual Criticism and Text Reconstruction: Approaches to Early Russian and Welsh Poetry". Studia Celto-Slavica 5 (2010): 149–58. http://dx.doi.org/10.54586/iumu8654.
Testo completoAbstract (sommario):
The Tale of Igor’s Campaign and The Gododdin, two poetic texts crucially important for the history of Early Russian and Welsh literature respectively, have a very dark history. Both are preserved in only one reliable source and are supposed to be composed about 600 years before this edition or manuscript was created. Anna Dybo and John Koch however propose an attempt of reconstruction for the Ur-Text of these poetic masterpieces. In this article we compare the framework within which these reconstructions were created. Whereas Anna Dybo relies mainly on contemporary texts, John Koch in the absence of such monuments has to rely more on historical interpretation.
36
Hendren, T. George. "Catullus’s Ameana Cycle as Literary Criticism". Mnemosyne 69, n. 2 (4 febbraio 2016): 262–75. http://dx.doi.org/10.1163/1568525x-12341769.
Testo completoAbstract (sommario):
This paper will reevaluate Catullus’s venom in poems 41 and 43 (the so-called ‘Ameana Cycle’) to show that his attacks on Ameana are in fact veiled criticisms of Mamurra’s loathsome poetry. Catullus’s descriptions of Ameana substantiate this reading: her physical features are disproportionate and ill suited to Roman conceptions of beauty, she is entirely without wit, and despite her patent imperfections, she has no idea how hideous she really is. The use of a poetic mistress in this manner has parallels within the Catullan corpus, and is also referenced in the work of Martial.
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Korzun, Valentina. "A. V. Florovsky and Mark Block: Some Details to the Fate of the Historian in Exile". ISTORIYA 13, n. 7 (117) (2022): 0. http://dx.doi.org/10.18254/s207987840022266-1.
Testo completoAbstract (sommario):
The article analyzes the letter-review “Quelques observations sur l'histoire des relation commercial entre l'Europe et des pays de l'Erope Orientale” by M. Block (founded by the authors in the Slavic Library in Prague) on the article sent to the “Annales” in November 1933 by A. V. Florovsky. A. V. Florovsky summarized his ten-year search in the problematic field of Czech-Russian relations in the X—XVIII centuries and it caused serious criticism from M. Bloсk. The text of the letter allows authors to highlight the main directions of this criticism, which was directed against the “bureau” architectonics of the text and insufficient attention to the problems of human and the socio-cultural context. This text, firstly, clarifies the publication policy of the “Annales” and the style of communication between editors and authors. And, secondly, it complements the existing ideas about the scientific fate of A. V. Florovsky in exile. This intellectual contact left a noticeable mark in the direction of Florovsky’s further searches, as evidenced by his subsequent publications on the problem of trade relations between the Czech Republic and Moravia with the countries of Eastern Europe.
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Annabil, Muhammad Naufal, e Tatik Mariyatut Tasnimah. "KRITIK SASTRA ARAB ERA UMAWY DAN ABBASY". `A Jamiy : Jurnal Bahasa dan Sastra Arab 10, n. 2 (20 settembre 2021): 245. http://dx.doi.org/10.31314/ajamiy.10.2.245-255.2021.
Testo completoAbstract (sommario):
This writing aims to examine the development of Umawy and Abbasy literary criticism. The method used in collecting data in this historical research is the literature method, the researcher looks for all the data related to this research and then records the data into a notebook. The method used in this research is descriptive qualitative method, this method uses interpretation through descriptive media. Meanwhile, the approach applied in this research is a historical approach, in which the researcher looks for history related to the development of literary criticism in Umawy and Abbasy The results of this study are that we can find out the definition and division of literary criticism, and find out about the purpose of prose and poetry Umawy or Abbasy. In addition, this research produces information about literary criticism in Umawi and Abbasy. In Umawy, literary criticism is still in a developmental stage, whereas in Abbasy, literary criticism is in a perfect state.
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Wright, Matthew. "POETS AND POETRY IN LATER GREEK COMEDY". Classical Quarterly 63, n. 2 (8 novembre 2013): 603–22. http://dx.doi.org/10.1017/s000983881300013x.
Testo completoAbstract (sommario):
The comic dramatists of the fifth centuryb.c.were notable for their preoccupation with poetics – that is, their frequent references to their own poetry and that of others, their overt interest in the Athenian dramatic festivals and their adjudication, their penchant for parody and pastiche, and their habit of self-conscious reflection on the nature of good and bad poetry. I have already explored these matters at some length, in my study of the relationship between comedy and literary criticism in the period before Plato and Aristotle. This article continues the story into the fourth century and beyond, examining the presence and function of poetical and literary-critical discourse in what is normally called ‘middle’ and ‘new’ comedy.
40
Bongers, Anna. "Remembering the Beginning: “All Electrons Are (Not) Alike” by Rosmarie Waldrop". aspeers: emerging voices in american studies 6 (2013): 25–39. http://dx.doi.org/10.54465/aspeers.06-04.
Testo completoAbstract (sommario):
Through a close reading of “All Electrons Are (Not) Alike,” the opening poem of Rosmarie Waldrop’s latest collection of prose poetry, Driven to Abstraction (2010), this paper shows how the poem deconstructs history and memory through criticism of language. Retelling the narration of the conquest of the Americas, “All Electrons Are (Not) Alike” calls into question the beginning of what was to become US American national identity. Putting Waldrop’s poem in the broader context of transnational criticism, I argue that its deconstructive poetic and philosophical use of language contributes to the transnational turn, helping to create the room that transnational criticism needs in order to come up with new, more appropriate ways of structuring literary studies.
41
Lišková, Kateřina, e Andrea Bělehradová. "‘We Won’t Ban Castrating Pervs Despite What Europe Might Think!’: Czech Medical Sexology and the Practice of Therapeutic Castration". Medical History 63, n. 3 (18 giugno 2019): 330–51. http://dx.doi.org/10.1017/mdh.2019.30.
Testo completoAbstract (sommario):
The Czech Republic holds one of the highest numbers of men labelled as sexual delinquents worldwide who have undergone the irreversible process of surgical castration – a policy that has elicited strong international criticism. Nevertheless, Czech sexology has not changed its attitude towards ‘therapeutic castration’, which remains widely accepted and practised. In this paper, we analyse the negotiation of expertise supporting castration and demonstrate how the changes in institutional matrices and networks of experts (Eyal 2013) have impacted the categorisation of patients and the methods of treatment. Our research shows the great importance of historical development that tied Czech sexology with the state. Indeed, Czech sexology has been profoundly institutionalised since the early 1970s. In accordance with the state politics of that era, officially named Normalisation, sexology focused on sexual deviants and began creating a treatment programme that included therapeutic castration. This practice, the aim of which is to protect society from sex offenders, has changed little since. We argue that it is the expert–state alliance that enables Czech sexologists to preserve the status quo in the treatment of sexual delinquents despite international pressure. Our research underscores the continuity in medical practice despite the regime change in 1989. With regard to previous scholarship on state-socialist Czechoslovakia, we argue that it was the medical mainstream that developed and sustained disciplining and punitive features.
42
Kantoříková, Jana. "Melancholy, Hanuš Jelínek and Miloš Marten". Acta Musei Nationalis Pragae – Historia litterarum 61, n. 1-2 (2016): 77–82. http://dx.doi.org/10.1515/amnpsc-2017-0022.
Testo completoAbstract (sommario):
The aim of this article is to present the roles of Miloš Marten (1883–1917) in the Czech–French cultural events of the first decade of the 20th century in the background of his contacts with Hanuš Jelínek (1878–1944). The first part of the article deals with Marten’s artistic and life experience during his stays in Paris (1907–1908). The consequences of those two stays to the artist’s life and work will be accentuated. The second part takes a close look at Miloš Marten’s critique of Hanuš Jelínek’s doctoral thesis Melancholics. Studies from the History of Sensibility in French Literature. To interpretate Marten’s reasons for such a negative criticism is our main pursued objective. Such criticism results not only from the rivality between Czech critics oriented to France, but also from different conceptions of the role of critical method and the role of the critic and the artist in the international cultural politics. The third part concludes with the critics’ „reconciliation‟ around 1913 by means of the common interest in the work and personality of Paul Claudel.
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Chukwu, Mathias O., Kingsley O. Ugwuanyi e Anenechukwu K. Amoke. "Texture in Okigbo’s poetry: An exploration of cohesion". IKENGA International Journal of Institute of African Studies 22, n. 3 (1 settembre 2021): 1–19. http://dx.doi.org/10.53836/ijia/2021/22/3/001.
Testo completoAbstract (sommario):
Even among system texts, poetic language is unique. On the surface, the words appear disparate, resulting in the perceived difficulty associated with its study/analysis. Okigbo’s works have been criticised for their esotericism. Insights from the linguistic approach of cohesion, however, reveal that Okigbo’s poetic language is neither disparate nor deny access to the poetic text. Indeed, the words cohere, quite uniquely, sustaining ancient kinships and entering into new relationships, helping them to achieve texture. A(re)reading of Okigbo in light of this approach addresses the perceived opacity associated with his works and raises fresh questions on the traditional criticism of Okigbo, particularly the motif of the prodigal son. This study, therefore, explores the interpretive affordances of the notion of cohesion in selected poems by Okigbo. The overarching aim is to re-examine Okigbo’s works with the lens of cohesion, underpinned by the cohesion theory of Halliday and Hasan (1976/2013) in order to offer new insights into the interpretation and criticism of his poetry.
44
David, Jaroslav, e Tereza Klemensová. "Still having a conflict potential? German and Hungarian toponyms in the Czech and Slovak national corpora texts". Miscellanea Geographica 23, n. 3 (31 luglio 2019): 158–62. http://dx.doi.org/10.2478/mgrsd-2019-0005.
Testo completoAbstract (sommario):
Abstract The paper focuses on German forms of place names in Czechia and Slovakia, and Hungarian forms of place names in Slovakia, especially on their revitalization and perception after 1989. This concerns their thematization, which is illustrated on the Czech National Corpus and the Slovak National Corpus materials, and on the 1990s discussions about their restoration. German place-name forms are not considered to be a crucial political topic these days; however, Hungarian forms still represent a conflict potential. German forms in Czechia are only thematized in poetry and fiction books, in order to evoke lasting time and the complicated modern Czech history. On the other hand, they are predominantly used in trade names as a marketing tool aimed at German (localization function) and Czech customers (allusive function). In Slovakia, Hungarian forms are not used in marketing and are not thematized in fiction as a positive value connected with the national history.
45
Andreev, Sergey, e Michal Místecký. "Activity in Czech and Russian Nineteenth-century Sonnets: A Contrastive Study". Glottotheory 9, n. 1 (27 novembre 2018): 89–104. http://dx.doi.org/10.1515/glot-2018-0004.
Testo completoAbstract (sommario):
Abstract The article focuses on analysing activity in the selected sonnets of the Czech and Russian nineteenth-century literatures (100 poems per each). Busemann Coefficient (Q) is counted for the samples, and the individual authors are tested on statistical significance by means of the nonparametric Mann–Whitney–Wilcoxon test. Another product of the research is a scatter plot, where the counts of the significant MWW test values for the poets and their average Q’s are compared; these figures are clustered according to the k-means method, and interpretations are formulated on the basis of the groupings. Both microanalyses penetrating into an author’s production, and literary-movement investigations are provided, so as to make the research of use for literary criticism, too. Finally, two ways of comparing the Czech and Russian data are sketched, with the outcomes being commented upon.
46
Bender, Lucas Rambo. "Against the Monist Model of Tang Poetics". T’oung Pao 107, n. 5-6 (9 dicembre 2021): 633–87. http://dx.doi.org/10.1163/15685322-10705004.
Testo completoAbstract (sommario):
Abstract In recent decades, a significant amount of Western scholarship on traditional Chinese poetry and poetics has either proposed or assumed a vision of the art underwritten by the supposed “monism,” “nonduality,” and “immanence” of traditional Chinese worldviews. This essay argues that although these were important ideas in certain periods and contexts, they cannot be taken as unproblematically defining the world of thought in which poetry operated during the Tang dynasty. Instead, Tang writers more routinely drew in their discussions of art upon the epistemological tensions and discontinuities posited by medieval intellectual and religious traditions. For this reason, they often outlined models of poetry very different from those most common in contemporary criticism.
47
Bethea, David M., Aleksey Gibson, Anna Prismanova, Petra Couvee, Iurii Mandel'shtam, Ed Weeda, Valerii Pereleshin e Jan Paul Hinrichs. "Russian Poetry and Criticism in Paris from 1920 to 1940". Russian Review 54, n. 1 (gennaio 1995): 128. http://dx.doi.org/10.2307/130789.
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Beaujour, Elizabeth Klosty, e Aleksey Gibson. "Russian Poetry and Criticism in Paris from 1920 to 1940". Russian Review 50, n. 3 (luglio 1991): 358. http://dx.doi.org/10.2307/131084.
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M. Himeidi, Assist Prof Dr Sundus. "Plagiarism in Arabic Criticism Heritage". ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 223, n. 1 (1 dicembre 2017): 33–56. http://dx.doi.org/10.36473/ujhss.v223i1.318.
Testo completoAbstract (sommario):
The phenomenon of plagiarism has been commonly dealt with in Arabic criticism heritage,and many traditional Arab critics have written a specific part in their books covering this phenomenon under the title of "literary thefts". Literary thefts have been condemned in Arabic heritage as one poet takes some expressions or phrases from his predecessors, and such a tendency leads to the underestimation of the poet’s status. This phenomenon is called "citation" in Arabic rhetorics when the cited materials are extracted from the Glorious Qur'an or the Prophetic Traditions. This phenomenon has been given different names in Arabic heritage depending on the source of taken materials like sayings, poetry, etc.The phenomenon of plagiarism can be found in the poetic antithesis. Accordingly, plagiarism is the focus of this study. This study is organized around an introduction and three sections. Section one presents the concept of plagiarism from linguistic and terminological perspectivesa long with its history. Section two is limited to the different types of plagiarism in Arabic criticism heritage. Section three deals with the construction patterns of Arabic criticism heritage. Finally, conclusions are drawn out.
50
Martindale, Colin. "Deformation forms the course of literary history". Language and Literature: International Journal of Stylistics 16, n. 2 (maggio 2007): 141–53. http://dx.doi.org/10.1177/0963947007075981.
Testo completoAbstract (sommario):
The Russian Formalists and Czech Structuralists argued that foregrounding devices such as deformation and deautomatization are central to literature. They saw that such devices build a pressure for novelty into literature. Literature must change constantly because readers gradually become used to and bored with initially novel and interesting deformations. Formalist and Structuralist theorists saw that literature should change but could not explain the direction in which it would change. They hypothesized that the direction of change is determined by extra-literary sociocultural forces. I argue that this hypothesis may be wrong. If we examine the way in which people think of novel word combinations in the first place, we can formulate a theory that explains the direction of literary change. Production of novelty often involves movement away from ordinary waking consciousness toward an altered state of consciousness. Within the confines of a given style, to produce something even more novel, poets must regress to an even more altered state of consciousness. The state of mind in which a poem is produced to some extent determines the words used in the poem. Given that the pressure for novelty is always present whereas other forces acting upon poets vary, we can predict the direction in which poetry tends to move from the alterations in consciousness required to produce ever more novel poetry. Statistical analyses of several poetic traditions show that this is, indeed, the main direction in which poetry evolves.