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Copyright of Turcology Research is the property of Ataturk University Coordinatorship of Scientific Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Kazak edebiyatı XIX. yüzyılın ikinci yarısı itibariyle modern bir başlangıç yapar. Zira siyaset, ekonomi ve hayat tarzının ortaya çıkardığı yeni ihtiyaçlar yeni ifade kalıplarını dayatır. Kazakların göçebe yaşam tarzını kısmen de olsa yitirmesi, Rusların coğrafyaya iyice yayılıp yerleşmesi, sanayi üretimine dayalı modern hayatın çıktıları Kazak edebiyatını da diğer tüm coğrafyalar gibi değişime zorlar. Kazak edebiyatının esaslı türü olan şiir bu değişimden çok etkilenir. Çünkü şahsi şöhretlerin ve menfaatlerin aracı olarak kullanılan şiirin toplum için ürettiği bir şey yok gibidir. Bu da sosyal hayattaki insicamı bozmakta, toplum bilincindeki travmayı derinleştirmektedir. Bunu babasının işi dolayısıyla yakından gözleme imkânı bulan Abay Kunanbayulı, çözüm arayışına girer. Ciddi bir zihnî hazırlık sürecinin ardından türe dönük örnek ve öncü uygulamaları ile eski şiir anlayışını tüm unsurları bakımından yeniden ele alır. Kunanbayulı, eski şiir ve yeni şiir arasında tahrip edici bir mücadele başlatmaz. O, itidal içerisinde bir yenilenme arayışındadır. Kendisi de gelenekten beslenerek yetişen Abay Kunanbayulı, eldeki mevcudu çağın ihtiyaçlarının gerektirdiği şekilde güncellemek ister. Başka şiirlerinde de yer almakla birlikte poetik ilkelerin yoğun olarak yer aldığı altı şiirinde eski ve yeni şiire bakışını ortaya koyar. Çalışma, Abay Kunanbayulı’nın poetik içerikli şiirlerinden hareketle Kazak edebiyatının eski ve yeni şiir anlayışına dönük tespitlerini ortaya koymayı amaçlamaktadır. Metin inceleme yöntemi ile ele elde edilen bulgular çalışmanın temelini oluşturmaktadır.

The article focuses on the poems of the German poet Friedrich Hölderlin which he wrote after his release from the clinic, i.e. between 1807 and 1820. The author attempts to show that the texts which he places in the first period of Hölderlin’s tower production, differ in form and content both from the work produced before his hospitalization and from the poems written later in the tower. While the external conditions of the poet’s life did not change, his texts did, but this fact has not been satisfactorily elucidated yet.

This study aims to better understand the authorial figure of Vladislav Vančura by reconstructing the critical and literary-historical image conveyed to us by the reception of the writer during his lifetime, starting with the writer’s first short story collections and finishing with his Obrazy z dějin národa českého (‘Images from the history of the Czech nation’). Loosely following on the theoretical bases of previous discussions, which in various ways conceptualize the effect of the ‘name of the author’ in relation to his work (Foucault, Bourdieu, Russian formalism, Mukařovský), this study examines Vančura’s literary output through the lens of its author (as a constructed figure and category), especially in terms of the author function as it serves to form this output into a unified whole. It deals with changes in the name of the author mainly in relation to Vančura’s reception. During the interwar period the critical reception captured the creative phenomenon of the writer in the course of his development, at a moment when his extreme style and language caused numerous controversies which grew into open polemics. While these revolved primarily around the issue of aesthetics (in the case of Pole orná a válečná and Poslední soud), they involved broader worldview and ideological issues (as with the novel Tři řeky). Vančura’s persistent search for a narrative form repeatedly compelled critics and interpreters of his time to reassess the criteria and critical standards for literature. This study traces the transformations of the author’s image in this context all through his life as it assumed countless ‘faces’, subverting the traditional assumption of coherence in Vančura’s literary output that the concept of the author was meant to guarantee, and thus demonstrating — given the failure of this concept to bring about such coherence — how it is necessary to look instead for those places of incoherence, contradiction, and disparity. To this end, the study does not seek to cover the history of Vančura’s reception in all its facets but to trace those significant moments when the image of the author and his work was transformed, challenging unequivocal interpretations and defying the interpretative stereotypes and schemes into which it has so often been confined.

The article focuses on the poems of the German poet Friedrich Hölderlin which he wrote after his release from the clinic, i.e. between 1807 and 1820. The author attempts to show that the texts which he places in the first period of Hölderlin's tower production, differ in form and content both from the work produced before his hospitalization and from the poems written later in the tower. While the external conditions of the poet's life did not change, his texts did, but this fact has not been satisfactorily elucidated yet. [ABSTRACT FROM AUTHOR]

Copyright of Folklor / Edebiyat is the property of Cyprus International University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Knižná recenzia.

This study aims to better understand the authorial figure of Vladislav Vančura by reconstructing the critical and literary-historical image conveyed to us by the reception of the writer during his lifetime, starting with the writer's first short story collections and finishing with his Obrazy z dějin národa českého ('Images from the history of the Czech nation'). Loosely following on the theoretical bases of previous discussions, which in various ways conceptualize the effect of the 'name of the author' in relation to his work (Foucault, Bourdieu, Russian formalism, Mukařovský), this study examines Vančura's literary output through the lens of its author (as a constructed figure and category), especially in terms of the author function as it serves to form this output into a unified whole. It deals with changes in the name of the author mainly in relation to Vančura's reception. During the interwar period the critical reception captured the creative phenomenon of the writer in the course of his development, at a moment when his extreme style and language caused numerous controversies which grew into open polemics. While these revolved primarily around the issue of aesthetics (in the case of Pole orná a válečná and Poslední soud), they involved broader worldview and ideological issues (as with the novel Tři řeky). Vančura's persistent search for a narrative form repeatedly compelled critics and interpreters of his time to reassess the criteria and critical standards for literature. This study traces the transformations of the author's image in this context all through his life as it assumed countless 'faces', subverting the traditional assumption of coherence in Vančura's literary output that the concept of the author was meant to guarantee, and thus demonstrating -- given the failure of this concept to bring about such coherence -- how it is necessary to look instead for those places of incoherence, contradiction, and disparity. To this end, the study does not seek to cover the history of Vančura's reception in all its facets but to trace those significant moments when the image of the author and his work was transformed, challenging unequivocal interpretations and defying the interpretative stereotypes and schemes into which it has so often been confined. [ABSTRACT FROM AUTHOR]

Despite the scattered poetic data in their works, the works of Eastern Islamic literature artists have received little analysis, if any, in terms of their understanding and creation methods. Mevlana Celaleddin-i Rumi is one of the artists who have received little attention in this regard. There are numerous poetic couplets in both his Masnavi and Dīwān-e Kabīr. Some studies have explored the book of Masnavi on this subject before; however, this book has not been emphasized, despite many poetic couplets in Dīwān-e Kabīr. However, evaluating classical period works from this perspective is important not only for contemporary readers, but also for their authors. Today, as new ways of approaching works of art emerge around the world, we cannot convey our classical works to today's people, particularly children, by repeating the perspective of our literature and artists from the classical period. Thinking about the subject and exploring new approaches is critical to our integration with our literary tradition. Despite his high regard for the word, Mevlana tends to transcend sound and words, breaking the shell and removing boundaries to express his feelings and thoughts. One of the most important and exciting topics to discuss is the collect into a book (bookization) processes of the Masnavi and Dīwān-e Kabīr, the impact of the period's political and sociocultural structure on work production, and the similarities and differences between these two works regarding poetic art. The poetic couplets of Mevlana's ghazals, particularly the maqta couplets, convey a special message to us readers. [ABSTRACT FROM AUTHOR]

Copyright of Nesir: Journal of Literary Studies / Edebiyat Araştırmaları Dergisi is the property of Nesir: Journal of Literary Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Art of Words / Umjetnost Riječi is the property of Umjetnost Rijeci and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Croatica et Slavica Iadertina is the property of University of Zadar, Department of Croatian & Slavic Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Croatica et Slavica Iadertina is the property of University of Zadar, Department of Croatian & Slavic Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Church in the World / Crkva u Svijetu is the property of University of Split, Catholic Faculty of Theology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Iz svih djela sv. Hildegarde iz Bingena proviru nadahnuće i upute iz Pravila sv. Benedikta. Za života cijenjena, dugo je vremena njezino djelo bilo zastrto pomanjkanjem zanimanja, da bi u 20. stoljeću bila “ponovno otkrivena” kao autorica čija djela - književnost (proza, stihovi, dramsko prikazanje), teologija, glazba, prirodna filozofija - i današnjim primateljima progovaraju kao jedinstven spoj poetskoga nadahnuća i nabožne književnosti. Ona uvijek promatra sve stvorenje kao jedno, kao Božje djelo pa stoga traži veze između povijesti svijeta i povijesti spasenja, te između stvorenoga, materijalnoga svijeta i Stvoritelja, tj. one stvarnosti koja je neprolazna. A u središte stvorenja Bog je bio postavio upravo čovjeka koji jest creatura, ali ima i dostojanstvo da bude operarius Dei. Taj panoramski pogled najjasnije dolazi do izražaja u Hildegardinim vizijama, napose u djelu “Scivias” (nastalom između 1142. i 1151. god.) koje obuhvaća različite žanrove i diskurse, od stihova preko (kraćih) teoloških traktata, do prirodnofilozofijskih razmatranja. Uz to u vizijama kombinira različite moduse (pitanja i odgovori, pripovijedanje, opis, tumačenje, komentar), a takav se postupak može nazvati specifičnim višeglasjem ili suzvučjem različitih žanrova i modusa.

The article takes a poetological approach to the thematising of everyday life and its connections with the poetics of the "effect of the real". Methodologically, it is part of the research concept of the new poetics. On the material of a canonical text of Slovak literary realism -- the novella "Neprebudený" ([The unawakened] 1886) by Martin Kukučín (1860 -- 1928) --, it identifies poetological characteristics of the novella, reveals its existential parameters, and points to the place of M. Kukučín in the ironic-polemical line of modern Slovak prose. This innovative approach allows for identification in the structure of the text the tradition of the poetics of grotesque realism as conceptualised by M. M. Bakhtin on the folk culture of the Middle Ages and the literature of the European Renaissance. The identification of elements of the poetics of the grotesque in the text of the novella is based on the emphasis of this poetics on the shape/surface of the phenomena of the life world, especially the human body. Therefore, the starting point of the interpretation of the novella as outlined here is description as the basic stylistic procedure of realistic texts -- the description of the character in this case. The description and subsequent interpretation of the image of the grotesque body makes it possible to identify the presence of the poetics of discrete irony as a key strategy of authorial narration in the text of the novella. [ABSTRACT FROM AUTHOR]

Formed on the axis of pure poetry, containing symbols and impressionist elements, Ahmet Hâşim poetics, which forms an aesthetic composition from the relation of arts such as painting, sculpture, and poetry, especially music, includes the form and content, which are considered among the characteristics of the poetry genre up to itself, such as the composition of the arts in poetry, poetic style, rhythm, rhyme and a special language. It exhibits a significant transtextuality with Orhan Veli’s poetics in the Garip style, which rejects all the features of Ahmet Hâşim’s poems, which were rewritten with poetic poems in the Garip style, are important in terms of forming the framework of the Garip poetics. Poems produced from hypo-texts by Garip poets, especially Orhan Veli Kanık, and which are mostly rewriting products in the form of parody in terms of derivative relations, are poetic poems because they contain opinions on what elements should be included in poetry and what should be excluded. The poetic poems in question are examples of rewriting, which was created with an understanding that rejects the old poetry, especially the poetics of Ahmet Hâşim, but incorporating these poems on the axis of transtextuality. Palimpsests and hypo-texts are included in the hyper-texts with referential methods such as citation and allusion as well as rewriting. Texts processed by methods such as rewriting, citation, allusion to a text require a certain amount of knowledge and reading experience in terms of ecoleenvisages of poetry. The hypotexts, which are rewritten and parodied, are in a way the mainstay of Garip poetics. From this aspect, Garip, which was established as a realistic and society-oriented poetic aesthetic, imagines that the society should have a certain aesthetic consciousness and taste, especially in their poetic poems. Based on the “Carnation” poems of Ahmet Hâşim and Orhan Veli, the aim of this study is to reveal the effect and importance of these relations in the poetics of Orhan Veli and Garip, based on the determination of the transtextual relations and the methods used to create these relations. [ABSTRACT FROM AUTHOR]

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Copyright of HUM: Journal of the Faculty of Arts at the University of Mostar is the property of University of Mostar, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Dva se latinska neologizma, prilozi tunicaliter i flammanter, zapisani u Liber vitae meritorum svete Hildegarde iz Bingena, promatraju kao stilogeni elementi, naglašena mjesta u odlomku iz vizije, te kao svojevrstan nadomjestak za definirane teološke pojmove. Hildegarda se izražava slikovito kako bi potaknula osjećaje, maštu, ali i razmišljanje u primatelja. Pritom ti prilozi stvaraju poveznice s poznatim sadržajima (osobito sa Svetim pismom), te se istodobno otvaraju novi vidici za promišljanje izloženoga teksta. Razumijevanje leksičkih inovacija dijelom je otežano jer je riječ o hapax legomena, pa interpretacija treba uključiti simboliku tunike i plamena (imenica od kojih su prilozi izvedeni) u Hildegardinu vizionarskom opusu uopće. Uz njih zanimljiva je i sintagma officiale opus kojom Hildegarda neizravno određuje čovjeka i njegovu ulogu u spasenjskoj povijesti svijeta.

Copyright of Art of Words / Umjetnost Riječi is the property of Umjetnost Rijeci and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Early Lithuanian Literature / Senoji Lietuvos literatūra is the property of Institute of Lithuanian Literature & Folklore and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article the authors offer an elaboration of the lyric collection "Carminum libri octo," written by theologist Joseph Schneider, with particular reference to the theme of death, an essential component of his poetic oeuvre. The collection is analyzed both from the aspect of versification and from the aspect of theme; the image of death, as refigured by the poet. The resulting article demonstrates that this, death, is the key to decoding his vision of the world and his poetic identit y. [ABSTRACT FROM AUTHOR]

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Copyright of Croatica: Magazine for Croatian Language, Literature & Culture is the property of University of Zagreb, Faculty of Humanities & Social Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of International Social Research is the property of Journal of International Social Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Considered to be one of the most powerful representatives of all Turkish literature, Sheikh Gâlib already authored the Hüsn ü Aşk mesnevi in six months when he was barely twenty six years old. Widely regarded as the 'standard of excellence' and 'turning point' of our classical poetry, Hüsn ü Aşk is hailed as being one of the finest and the most original mesnevi of classical Turkish literature. Indeed, many scientific publications and academic studies have been published on this important work. While some of these studies focus on the publication and interlanguage translation / explanation of the Hüsn ü Aşk text with the Latin alphabet, others examine the content, linguistic features and formal characteristics of the work as well as its artistic aspects. However, when all of these studies are examined, it is clear that it was the copy of the author's manuscript found at Süleymaniye Library, Halet Efendi Department, No: 171, which was used for the transcription of the text into the Latin alphabet. But, this copy is a draft of Hüsn ü Aşk and it is very important for showing to what extent Sheikh Gâlib worked on the mesnevi while writing his work. The aim of this study, is to show how Sheikh Gâlib wrote Hüsn ü Aşk, what phases he used while writing the work, and what changes he made when he was nearing completion of the work with reference to the draft of Hüsn ü Aşk found at the Süleymaniye Library. [ABSTRACT FROM AUTHOR]

Copyright of Early Lithuanian Literature / Senoji Lietuvos literatūra is the property of Institute of Lithuanian Literature & Folklore and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Bu makalede tasavvufun şiir poetikası tasavvuf dışı şiir anlayışlarıyla karşılaştırmalı olarakele alınmaktadır. Aynı şekilde bu çalışmada tasavvuf şiiri ile tasavvuf dışı şiirin poetikasının bellibaşlı özellikleri ortaya konulmaktadır. Öncelikle diğer şiirin poetikası genel hatlarıyla irdelediktensonra tasavvuf şiirin sanat anlayışı detaylı bir şekilde incelenmektedir. Daha sonra Sûfilerinşiirlerini hangi gayeyle ve nasıl icra ettikleri açıklanarak tasavvufî şiirin Türk edebiyatına etkisi veyeri üzerinde durmaktadır. Bundan sonra da tasavvufî şiirin kullandığı sembolik dil ele alınmaktave tasavvufla diğer şiirin poetik farkını anlatan tasavvufî bir şiir örneği verilmektedir. Tasavvuftaşiir, Allah’la hemhâl olup bütünleşen kişinin, O’nu benliğiyle yaşamaya çalışırken aldığı bu zevktendolayı Allah’a olan bağlılığını dışarıya yansıtmasıdır. Bu bütüncül yaşayış, ya sevinçle, ya huşuduyarak ya da teslimiyetin vermiş olduğu tevâzuyla “hiç”liğini anlamak suretiyle olur. Şiir, kişinin,kalp dünyasında bu hatırlayış türlerinden hangisiyle etki yaparsa, Allah insanı, Hakk’ı bu hâlüzere hatırlar. Bu yüzden sûfîlerin şiir poetikası, hangi inançtan ve felsefeden olursa olsun diğerbütün şâirlerin şiir anlayışlarının tamamen ötesinde bir hakikattir.

The study intends to investigate the relations between Philip Sidney and the continental intellectual circle (mainly that of Protestant scholars and aristocrats) on the basis of Sidney’s correspondence. The study is focused especially on the Czech cultural milieu. Sidney’s „grand tour“ over continent is crucial for the formation of his concept of poetry. The poesy is, against Sidney, among all forms of learning the best suited to move the soul to virtue through the beautiful and delightful images of moral example, playing its important role in society.

V prispevku z vidika Mandelštamove poetike analiziramo politični potencial sodobne ruske poezije in rapa kot izrazne oblike, ki v sodobnosti ohranja nekatere tradicionalne prvi- ne pesništva. Mandelštamovo razumevanje pesništva nam služi kot izhodišče za opredelitev specifične pesniške dimenzije političnega in etičnega, nato pa v tem okviru analiziramo dva različna primera sodobne politične poezije (Dmitrij Bikov in Jelena Fanajlova) ter ugotavlja- mo, da v nobenem od obravnavanih primerov ne moremo govoriti o resničnem udejanjenju pesniške politike/etike, da pa se morda del tega potenciala skriva v družbeno angažiranem sodobnem ruskem rapu.

Copyright of Journal of International Social Research is the property of Journal of International Social Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Drawing its methodological inspiration from A History of New Modernism. Czech Literature, 1905–1923 (2010), this study aims to present the development of Czech literature over the course of a single year: 1929. The objective, however, is not to portray the literary events and literary production of this year in the manner of a chronicle, nor in their entirety, but to capture certain ‘nodal’ characteristics of the imagination and literary language. There is one event that allows the author to take this approach — i.e. to identify themes, images and figures that are typical of the artistic discourse of the period —, namely the publication of Richard Weiner’s The Barber-Surgeon. The themes, motives, and figures found in this text (dream and dream writing, language, failure, literary polemics) constitute a point of departure for grasping the dominant features of a literary period which is otherwise rather amorphous. By virtue of Weiner’s poetics, a thread of sense begins to emerge, and eventually the ‘story’ or ‘drama’ of 1929, out of the re-constructed configurations and correlations of several different literary texts. Through its ‘otherness’, Weiner’s ‘dream poetics’ separated itself from the universalizing aesthetic concept of its time, thus falling ‘out of the picture’ from the perspective of literary history. By contrast, the author considers it as the central feature of a network of relations among a number of texts published in 1929: the short story AM from Jakub Deml’s collection My Purgatory; the poem The New Icarus by Konstantin Biebl; Karel Čapek’s Tales from Two Pockets; Jaroslav Durych’s essay on Poetics; and Vladislav Vančura’s novel The Last Judgement. The themes and figures under consideration here — poetics, dreams, dream writing and literary polemics — are all related to the writer’s self-consciousness in the creative process and the attention paid by the writer to material elements of the work. This manifests itself as an interest in the question of poetics and in a vivid ‘linguistic awareness’, which is also manifested in the widespread interest in questions of language and the culture of language that Czech linguists, especially those associated with the Prague Linguistic Circle, studied in accordance with — and in dialogue with — contemporary trends in modern art. [ABSTRACT FROM AUTHOR]

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The fundamental question the author of the study focuses on is related to the problem of individualisation as a vital mechanism of control in terms of the construct of the collectivistically based society. In the totalitarian society, the control as an instrument of power is based on the radical reduction of the "movement of existence", that leads towards the construct of "useful man" and introduces him mainly in his social function. In this context, the study analyses and takes notice of the related discursive instruments and genres (poetics of control), while making use of Michel Foucault's concept of disciplinary writing as a methodological instrument. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Turkish Research Institute / Atatürk Üniversitesi Türkiyat Arastirmalari Enstitüsü Dergisi is the property of Ataturk University Coordinatorship of Scientific Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

By comparing two versions of Ján Ondruš's poem A Hat of Wine and critically reading the version in his debut book, the paper arrives at the characterstics of the selected piece of writing, which is an intersection of different types of poetics relevant for interpretation of Slovak poetry written in the 1960s in general: sadness, or Baudelairesque „spleen“ and its projection into physical base being lived, a rural genre featuring characteristic details, expressivization and metaphorization of physical gestures, excessiveness of the mental state of the poetic „self“ also suggested through the magic of lunatism, employing surrealist imagery, the author´s individual poetics of fatal returnability and repetitivenss, text enigmatization as a result of abridging the text, the archetypal lyric „nox et solitudo“ situation. At the end of the paper the question that arises is what results from these findings and what it means for the impression of Ján Ondruš´s poetic writing in terms of semantics and values. [ABSTRACT FROM AUTHOR]

The paper consists of two parts. In the first one the author focuses on obtaining methodological tools, which make it possible to oppose the rationalist modernist construct of history as „inevitable evolution", where an individual human and his or her living uniqueness, the concept aimed at revealing and emphasizing living uniqueness of existence dissolve. What becomes the tool for the author is the „principle of authenticity" formulated by Alessandro Ferrara and the effort to develop the „project of modernism", which is presented by Miroslav Petříček. By employing the methodological apparatus, the other part of the paper is aimed at identifying poetics of presence (as modality of event poetics), which was used to „show" activities of subcultures in the space of Czechoslovak culture after year 1948. [ABSTRACT FROM AUTHOR]

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Copyright of Slavistična Revija is the property of Slavisticno Drustvo Slovenije and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The contribution characterises the poetics of the last four novels written by Milan Kundera (Slowness, Identity, Ignorance, The Festival of Insignificance). Despite certain differences the author of the essay particularly pays attention to elements in which “the French series” follows the poetics of the novels written in Czech (existential theme, sarcastic humour etc.)