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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.)

Kopitarjevo ime in delo v srbskem literarnem prostoru spremljamo od leta 1864. Recepcija je potekala v srbskem časopisju in knjigah znotraj odnosa Karadžić-Kopitar. Posebnih prispevkov o Kopitarju je bilo objavljeno malo. Prva monografija Kopitar in Vuk je izšla na Srbskem ob 200-letnici Kopitarjevega rojstva.

Copyright of Literature / Literatura is the property of Vilnius 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.)

Copyright of Glasnik Slovenskega Etnološkega Društva is the property of Slovene Ethnological Society 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 paper deals with theatrological aspects of Nedjeljko Fabrio's texts on opera productions in his musical chronicles The Maestro and His Apprentice, in the magazine Republika from 1986 to 1994, which were afterwards published in the book titled The Children of Orpheus (2008) and subtitled »a contribution to the history of reception in Croatia.« Continuing the line of Croatian writers who considered and evaluated both the musical and theatrical-musical art and confirming the continuity of multiple and diverse interconnections between Croatian music and literature, in The Children of Orpheus, Fabrio critically considered both the literary and musical components of operas and their theatrical-musical realisation on the stage. In each chronicle about a particular opera performance, Fabrio analyses the libretto, investigates the genesis of the work, the reception of all its performances in the history of the Croatian opera theatre, but also the reception and production context in which the opera is performed and critically evaluates it. The Children of Orpheus became an indispensable source for future theatrological research of the Croatian opera theatre. [ABSTRACT FROM AUTHOR]

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Copyright of Literature / Literatura is the property of Vilnius 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.)

U radu se, na temelju građe Državnog arhiva u Osijeku, analizira publicistički opus osječkog književnika i pedagoga Rudolfa Franjina Magjera (1884. – 1954.). Njegov primarni interes za književnost oblikovao se u kućnom okruženju, a nakon završetka učiteljske škole radio je kao učitelj u Šljivoševcima i Valpovu, nastavnik u osječkoj kraljevskoj vježbaonici te školski nadzornik u Građanskoj školi u Osijeku. Istovremeno se intenzivno bavio književnim radom, objavljujući zbirke poezije i kratke proze zavičajnoga karaktera, čime je s vremenom postao jedna od ključnih figura osječke književne scene u prvoj polovici 20. stoljeća. Zbirke djela namijenjene djeci i mladima otkrivaju Magjerov pedagoški potencijal obogaćen literarnim i estetskim iskustvom. Također, bio je jedan od osnivača i predsjednika Kluba hrvatskih književnika i umjetnika u Osijeku. Raščlambom i evaluacijom njegovog publicističkog opusa, koji obuhvaća kritičke i pregledne tekstove, polemike i portrete znamenitih osoba, uočavaju se prepoznatljivi uzorci autorova diskursa. Primjećuju se razlike u kvantiteti, vrsti i stručnoj razini sadržaja, stupnju argumentacije, uvjerljivosti faktografije te balansiranju između subjektivnosti i objektivnosti. Temeljni cilj ovog rada je tematski i žanrovski klasificirati Magjerov publicistički opus, istražujući stručnost i dosljednost u promicanju njegovih društveno-političkih i umjetničkih stavova. Svrha je rada odrediti Magjerov doprinos promicanju hrvatskog jezika i književnosti te oblikovanju čitateljske publike u Osijeku i Slavoniji. Rezultati istraživanja otkrivaju da se Magjer ne koristi stručnim metajezikom, što njegove tekstove čini pristupačnima široj čitateljskoj publici. Međutim, to istovremeno ukazuje na njegovu ograničenu sposobnost da unutar hrvatske književne scene s početka 20. stoljeća progovori autoritativno i stručno.

Change in the paradigm of the documentary heritage also leads to a change in the concept of memory institutions, whereby the most important function of a memory institution becomes active participation in the process of creating the collective memory. Audience engagement is important in this process. Evaluating the reception of documentary heritage communication allows us to assess the involvement of cultural users in cultural communication. Data from a study of the reception of visitors to an exhibition of one of the most important documents to the country’s statehood, the Act of 16 February, conducted using quantitative methods, showed that visitors to the museum where the Act of 16 February was on show rate the exhibition very highly and contribute to its communication in social networks and by oral communication. [ABSTRACT FROM AUTHOR]

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Copyright of Clotho is the property of University of Ljubljana, Faculty of the 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.)

Copyright of Mostariensia: Journal of Social Sciences & Humanities is the property of University of Mostar 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 Libri & Liberi is the property of Croatian Association of Researchers in Children's Literature 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.)

Slovenska recepcija romana in filma V vrtincu se je v zadnjih osmih desetletjih precej spreminjala. Pred drugo svetovno vojno so bili odzivi pretežno naklonjeni tako v levo kot v desno usmerjenih publikacijah; celo karakterizacija pripovednih oseb, ki je pozneje zaradi stereotipnega prikazovanja Afroameričanov postala sporna, je bila v večini tedanjih recenzij izpostavljena kot nekaj pozitivnega. Po vzpostavitvi socialističnega sistema na slovenskem ozemlju pa zapisi o romanu oz. filmu postanejo bolj kritični in iz številnih je razvidna precej negativna nastrojenost do ZDA; to je najbolj značilno za prva povojna leta. Po otoplitvi odnosov med Jugoslavijo in Združenimi državami kmalu po sporu med Titom in Stalinom leta 1948 pa poleg kritičnih zapisov zasledimo tudi izrazito pozitivna mnenja o V vrtincu. Podobno heterogena recepcija je značilna tudi za približno dve desetletji po tem, ko je Jugoslavija soustanovila Gibanje neuvrščenih in se spet nekoliko bolj oddaljila od Zahoda. V zadnjem desetletju pred koncem socialističnega sistema v Sloveniji je bil V vrtincu v serijskih publikacijah omenjen občutno manj pogosto, v 90. letih prejšnjega stoletja pa se je o zadevnem romanu oz. filmu spet pisalo pogosteje. Niti v tistem desetletju niti v prvem desetletju novega tisočletja zapisi večinoma niso kritični do vsebine, v zadnjih desetih letih pa je bilo objavljenih več daljših člankov, ki poročajo o tem, da V vrtincu v izvirni kulturi postaja vedno bolj nesprejemljiv, predvsem zaradi tega, ker mu številni očitajo rasizem. Vendar avtorji in avtorice teh zapisov pretežno ne podajajo lastnih mnenj o problematiki, zaradi česar je sodobna recepcija romana oz. filma V vrtincu veliko manj zaznamovana z ideologijo kot je bilo značilno za obdobje socializma.

Copyright of Issues in Ethnology Anthropology is the property of Issues in Ethnology Anthropology 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 Literature / Literatura is the property of Vilnius 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.)

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Copyright of Clotho is the property of University of Ljubljana, Faculty of the 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.)

Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos 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 Phainomena is the property of Phenomenological Society of Ljubljana 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 Issues in Ethnology Anthropology is the property of Issues in Ethnology Anthropology 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.)

Razprava prinaša editološko analizo edine recepcijsko žive (javnosti dostopne) izdaje temeljnega dela Jana Amosa Komenskega v sodobnem slovenskem jeziku – Velike didaktike (Novo mesto, 1995). Tekstološka analiza ugotavlja, da gre za izdajo, ki ji iz nepojasnjenega razloga manjkajo osnovne določnice znanstvenega dela (kritična izdaja) in tako ne more biti veljaven temelj za recepcijo Jana Amosa Komenskega ne za bralca-poznavalca, celo za splošnega bralca ne. Z editološkega stališča v izdaji ni navednih jasnih podatkov o izvirniku prevoda, ni uredniškega poročila niti tekstoloških komentarjev posameznih pasaž izvirnika/prevoda, npr. razvezave citatov v izvirniku, kar vse je od začetka 19. stoletja standardni vednostni repertorij znanstvenih izdaj virov, tudi kritičnih izdaj prevodov. Izdaja ni nastala na podlagi znanstvenokritične edicije Dílo Jana Amose Komenského 15/1 (DJAK, Academia: Praha, 1986), ki je od svojega izida primarni tekstni temelj za spoznavanje Velike didaktike za vsakega bralca-poznavalca in obvezno tekstno izhodišče za poustvarjalno recepcijo v obliki prevoda. Analizirana izdaja ni komentirana in ker prinaša zgolj prevod brez kakršnegakoli dodatnega vednostnega aparata, je ni mogoče šteti niti za popularizacijsko. Ugotovljeno stanje otežuje polnovredno recepcijo Komenskega in nakazuje nujnost priprave nove znanstvenokritične prevodne edicije izbranih didaktičnih spisov Jana Amosa Komenskega, pri čemer bi bili optimalni rezultati lahko doseženi, če bi sodelovali znanstveniki različnih strok (različne veje zgodovinopisja, didaktika, pedagogika, zgodovina znanosti). Edicija bi morala: 1) biti v sodobnem knjižnem jeziku, temeljiti na kritični izdaji DJAK in upoštevati uveljavljena tekstološka pravila za izdajanje spisov Komenskega; 2) obsegati izbrane temeljne didaktične spise Komenskega; 3) vsebovati obvezno uredniško in prevodno poročilo, 4) razlagalne komentarje in prevode (glede na tekstološki aparat v kritični ediciji DJAK) ter 5) študije o Komenskem v njegovem času in evropskem prostoru, pa tudi 6) razprave o slovenski recepciji Komenskega.

Recepcija Komenskega v slovenski kulturi se začne na začetku 18. stoletja: kapucinski menih Janez Adam Gaiger (Hipolit Novomeški, 1667–1722) pri sestavljanju slovarja Dictionarium trilingue (1712) uporabi slovarski del iz Komenskega dela Orbis pictus. Gre za poustvarjalno recepcijo pri kompetentnem bralcu, ki zaradi rokopisnega značaja Hipolitevega slovarja ni mogla vplivati na podobo slovenske oz. slovensko-nemške dvojezične kulture na Kranjskem v obdobju baroka. Moderna recepcija Komenskega je povezana z delovanjem Slovenskega učiteljskega društva, z začetkom izdajanja specializirane periodike za vprašanja učiteljevanja/pedagogike (Učiteljski tovariš, Popotnik), s slavljenjem 300-letnice rojstva Komenskega in s strokovnim osamosvajanjem pedagogike kot znanstvene discipline, prvi informatorji in prevajalci pa so bili, tudi zaradi jezikovnega znanja, po navadi Čehi, ki so službovali na Slovenskem. Komenský je bil že na začetku moderne recepcije umeščen v slovenski idearij in imaginarij, in sicer na nekonservativni idejni strani. Topogledno je bil tudi presojan pri glavnem ideologu ločitve duhov in kulturnega boja med Slovenci v zadnji tretjini 19. stoletja – goriškem teologu Antonu Mahniču. Slednji ni s stališča katoliškega integralizma presojal le političnih in estetskih fenomenov sedanjosti (npr. literarnih besedil Josipa Stritarja, Simona Gregorčiča in Antona Aškerca), temveč tudi preteklosti, npr. pesništvo Franceta Prešerna, in tako tudi Jana Amosa Komenskega. Recepcija Komenskega v slovenski kulturi ima naslednje tipološke značilnosti: 1) necelovitost (v refleksivno in/ali poustvarjalno prevodno recepcijo prihajajo skorajda izključno Komenskega pedagoška dela, izrazito obrobno filozofska, povsem ob strani pa ostanejo njegova historiografska in teološka dela ter literarno ustvarjanje v češkem jeziku, npr. Komenskega pesništvo in pripovedništvo), 2) recepcijska redukcija (podvrženost posameznemu časovno zamejenemu in tedaj prevladujočemu ideariju ter imaginariju in/ali jezikovno neznanje češkega jezika) in 3) prigodništvo. Temu je pripisati dejstvo, da kljub nespornemu mestu Komenskega kot klasika evropske humanistične misli doslej ni izšla niti ena slovenska knjižna izdaja, ki bi vsebovala spise Jana Komenskega v kritično komentiranem sodobnem prevodu in bi bila uredniško, kolikor je le mogoče, celovit prerez avtorjevega teološkega, filozofskega, pedagoškega in literarnega opusa.

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Cet essai adopte la perspective centrée sur les voyages, les échanges et la traduction pour étudier l‘impact international de l’œuvre d’Algirdas Julien Greimas. L’étude s’attache à mettre en évidence les facteurs clés qui ont affecté la diffusion des idées du linguiste et sémioticien à l’étranger. La plupart des recherches sur ses méthodes se concentrent à juste titre sur la France, où il a enseigné et développé son groupe de recherche, et sur les publications en français, langue initiale et la plus utilisée pour les travaux dans ce domaine. En revanche cette étude explore plutôt la propagation de ses innovations dans d‘autres pays et langues. Des éléments d‘histoire socioculturelle, de relations internationales et d‘histoire intellectuelle esquissent le contexte dans lequel son projet s‘est élaboré et s‘est étendu à différents pays. Les relations entre la France et les autres pays pointent trois grandes catégories dans la réception que connaît le projet greimassien, pour chacune desquelles cette étude se concentre sur deux régions prises comme exemples. L‘article examine d‘abord les cultures qui manifestent les affinités les plus étroites avec la France à savoir celles romanes, en étudiant de plus près l’Italie et l‘Amérique latine. La deuxième catégorie comprend des pays qui jouissent de convergences moindres mais toujours appréciables avec la société française. Il s’agit des zones de langues germaniques, pour lesquelles l‘Amérique anglophone et les pays de langue allemande nous serviront d’exemples. Le dernier panneau du triptyque explore des pays qui entretiennent des relations plus lointaines avec la France, notamment durant la carrière de Greimas, en se focalisant sur la Russie-l’URSS et la Chine. La conclusion tente d’évaluer à quel point des facteurs tels que les structures institutionnelles et les contacts personnels, l‘histoire et le contexte socioculturels et le statut pédagogique et sociolinguistique du français exercent effectivement un impact sur son accueil à l‘étranger. L’analyse de la réception mondiale de l’œuvre de Greimas permet de découvrir les facteurs qui conditionnent la propagation de la sémiotique dans le monde entier.

This paper analyses and compares statutory provisions on tutelage for minor children in the Venetian towns of Koper, Izola, and Piran, and compares them with the regulation of the town of Ptuj, which was part of the Holy Roman Empire. It draws on selected notations from the notary books of Piran and, indirectly, documentary sources from Ptuj that reflect the practice corroborating and illustrating findings concerning statutory law. Moreover, from a comparative perspective, the paper aims to establish how Roman law influenced the legal regulation of the care of minor children in the two neighbouring territories that differed in terms of tradition and administrative affiliation. [ABSTRACT FROM AUTHOR]

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Copyright of Colloquia 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.)

Soočenje temeljnih modelov interpretacije v zgodnjih delih Jacquesa Derridaja je analizirano kot pomembna točka za prihodnje oblikovanje »postmoderne literarne teorije«. Kot pokažejo že francoski avtorji s terminom »French Theory«, je razvidna neločljiva povezanost tega koncepta s francoskim posredovanjem evropske humanistične tradicije v okviru recepcije strukturalizma v ZDA.

The present article analyses the reception of Mark Twain and his works in serial publications on the territory that now constitutes the Republic of Slovenia over a period of circa one hundred years, i.e. it compares Twain's status in the pre-socialist era (until 1945) and the socialist era (1945--1991). The article addresses the extent to which the reception was affected by ideology and the contemporary political situation, as well as by the relations between the United States and the country of which the Slovenian territory formed part during a particular period of time. [ABSTRACT FROM AUTHOR]

Prispevek z vidika cenzure in propagande obravnava pogoje za umetniško produkcijo v času vojnega absolutizma na Kranjskem, kjer je generacija slovenske moderne in impresionistov šele vzpostavljala pogoje za institucionalni razvoj slovenske umetnosti in s tem posledično tudi za uspešno propagando. Številni umetniki zato v vojni propagandi niso našli le možnosti za preživetje, temveč so v povečanem obtoku in pomenu vizualnih sporočil hkrati prepoznali tudi priložnost za uveljavitev tako osebnih kot narodnih idealov. Kljub prevladujočim avstrijsko-germanskim vzorcem so skozi likovno tradicijo narodne pokrajine, ljudsko umetnost in slovensko poezijo našli načine za spodbujanje slovenske nacionalne zavesti.

Mnogobrojni pučki kalendari koji su tiskani u Virovitici između dvaju svjetskih ratova bili su s obzirom na svoju brojnost i raznovrsnost izrazito popularni u virovitičkom kotaru. U radu se analizira 49 pučkih kalendara. O tim serijskim publikacijama koje obiluju pučkim književnim oblicima dosad nije bilo govora u radovima iz područja hrvatske književne periodike iako je pučko štivo aktivno sudjelovalo u dugotrajnom procesu izgradnje čitateljske populacije do koje su modernizacijski procesi, a time i sustavno obrazovanje, uvijek stizali s određenim zakašnjenjem. Budući da su virovitički kalendari izlazili u nakladi domaćih izdavača, cilj je rada ustanoviti koje su mentalitetne, kulturološke, političke i svjetonazorske posebnosti u njima prisutne. Komercijalni uspjeh virovitičkih godišnjaka može se s jedne strane tumačiti kao posljedica karakteristične poslijeratne „gladi za čitanjem“, a s druge strane kao odraz tradicijske kulture prevladavajućeg seoskog stanovništva koje je praktične savjete za život i informacije o događanjima u svijetu jednim dijelom odmjeravao prema onome što je objavljivano upravo u pučkim kalendarima. U proučavanju virovitičkih međuratnih godišnjaka autor ovog rada posebnu je pozornost posvetio poetici kalendarskoga zabavnog i poučnoga pučkog štiva, strukturi pojedinačnih publikacija te odnosu urednika prema tradiciji izdavanja pučkih kalendara.

The article examines the reception of Giorgio Bassani's works in Slovenia. The current state of translations of Bassani's works into Slovene is characteristic of the availability of Slovene editions of Italian authors, which often seems desultory despite the relatively high number of literary translations from Italian published after World War II. In the past, the translations were typically published later than the original texts and without a global strategy. This situation partly persists to the present day: whilst the translations of some authors are sufficiently present, others continue to be absent, which is probably due to the limitations of the Slovene book market. As few as three of Bassani's texts have been translated into Slovene, namely the novel Il giardino dei Finzi-Contini (1978), translated by Stabej, excerpts from the short story Una lapide in via Mazzini (1994), translated by Ožbot, and a selection of poems from In rima e senza (2008), translated by Dekleva. Il giardino dei Finzi-Contini, the only text to have been translated in an unabridged version, was also the subject of linguistic research by Miklič and Premrl. Whilst no doubt interesting for specialists, the results of their research most likely did not reach a wider public. Even though the translation of Bassani's novel was followed by the release of the film adaptation, whilst the poetry collection received critical acclaim, Bassani remains a relatively little-known author in Slovenia to this day. Moreover, as many as thirteen years have passed since the publication of the last translation. [ABSTRACT FROM AUTHOR]

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