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V družbenostnem jezikoslovju in literarni vedi idioglosija ni bila posebej izpostavljena, vendar velja opozoriti na njeno vlogo znotraj določene socialne skupnosti, poiskati vzroke za pojav in analizirati specifičnost besedišča. V umetnostnem besedilu pa je idioglosija odraz umetnikovega razmerja do sveta, v katerem besede izgubljajo svoje poetskomitično domovanje in izginjajo v racionalnosti jezika najrazličnejših družbenih dejavnikov. In the context of sociolinguistics and Slovene literary science, the idioglossia has not been separately discussed. However, it is worth pointing out its role within certain social communities, trying to find reasons for its incidence and analysing the specifity of its vocabulary. However, in the wording of art, the idioglossia is a reflecton of the artist%s relation to the world, in which words lose their poetic mythological home and disappear in the rationality of language of the most varied social factors.

El artículo presenta los resultados de una investigación cuyo tema fue la lectura literaria como práctica, en especial, en los espacios de enseñanza de la literatura y, en general, en la formación de los niños y los jóvenes. Los objetivos del trabajo son, en primer lugar, efectuar un desarrollo conceptual de lo que denominamos experiencia literaria, como relación de la subjetividad del lector con el texto y, consecuentemente, del rol de la imaginación vinculado con la capacidad productiva del lenguaje. En segundo lugar, realizar una explicación teórica acerca de lo que entendemos por lectura crítica, en el sentido de la comprensión de los significados ideológicos que están detrás de los textos. Metodológicamente se utilizaron la encuesta, entrevistas, observaciones de clase, y análisis documental aplicado a los planes de clase. La población objeto fueron estudiantes de primer ingreso a la Facultad de Humanidades de la Universidad Nacional de Catamarca y estudiantes de una institución de educación media. Se presenta un ejemplo concreto de cada uno de los conceptos desarrollados, surgidos de prácticas educativas analizadas.

Doktoritöö fookuses on lugemisprotsess ja lugeja loominguline panus teose aja tõlgendamisel. Lähenen lugemisprotsessile kui kihilisele kogemusele, milles loetavat kogetakse nii füüsilise teksti kujul kui ka kujuteldavate sündmuste ja tegelaste kaudu. Kuna füüsilisel kujul on loo sisu tekstina kirjas, võib öelda, et teose sündmused on nii ruumiliselt kui ka füüsiliselt kohal juba enne lugemisprotsessi algust. Sündmused püsivad paigal, kuni lugeja teose avab ning loob staatilisest tekstist dünaamilise ja elava loomaailma. Teose ajalist struktuuri saab mõista teksti- ja looaja kaudu. Looaeg viitab sündmuste jadale loomaailma sees, ajale, mida kogevad teose tegelased. Tekst kui füüsiline objekt aga looaega ei esita. Tekst esitab fikseeritud narratiivi, kus sündmuste ajaline jada püsib muutumatuna. Samas looaeg, mille järgi kujuteldavas maailmas sündmused kulgevad, on palju paindlikum kategooria. Looaeg kulgeb dünaamiliselt, kujunedes lugeja ja teksti koosmõjul ning lähtudes kujunemisprotsessis lugeja tekstitõlgendusest. Doktoritöö teoreetiline raamistik põhineb fenomenoloogial, retseptsiooniteooriatel, ajafilosoofial ja narratiiviuuringutel. Erinevate lähenemisviiside kombineerimisel moodustub analüütiline tööriist, mis võimaldab uurida teose looaega, lähtudes lugeja tekstiaja tõlgendusest. Arutlemaks individuaalsete lugejate loodud looaja vormide üle, uurin tekstielemente, millel on looaja kujunemisele kõige suurem mõju. Olen analüüsiks valinud postmodernistlikud romaanid, mille tekstiajad on mõneti mitmetähenduslikud. Lähilugemise kaudu uurin valitud romaanide ajalisust ning seda, kuidas tekstid mõjutavad lugejaid lineaarse looaja loomisel, millised tekstielemendid soodustavad ning millised segavad ja takistavad looaja kujunemise protsessi. Doktoritöö põhieesmärk on mõista, kuidas lugeja ja teksti vahelise kommunikatsiooni kaudu moodustub loomaailm – tegelaste ja sündmuste tervikpilt, mille paneb kokku lugeja lugemisprotsessi vältel., The process of reading operates on multiple experiential levels: the experience of physical text, of words that can be read, as well as of fictional events within immersive storyworlds. The events of the novel are spatially and physically present before the beginning of our reading process. Each word and character is in its place before the reader begins her journey through the storyworld as the structure of the narrative is inscribed within the physical book. Before the reading process, the temporality of the novel is static, events stay still until the reader actualizes the narrative. When the reader enters the world of the novel, she will produce a temporalized story from the static text. Rooted in the traditions of phenomenology, reader-response theories, analytical philosophy, and narratology, the project focuses on studying narrative time through the perspective of the reader. The dissertation is devoted to identifying the ways in which readers collaborate with the text to produce story time. Story time refers to the sequence of events within the storyworld, the time period that is represented by narrative content, as if experienced by the characters. Since the organization of narrative of most novels does not consist of a real-time unfolding of events, the structure of story time is often distinct from the structure of narrative discourse. While I consider narrative discourse to be a fixed aspect of text, story time is a more fluid category. Guided by the form and content of the narrative, story time is ultimately shaped by the reader’s interpretation of narrative discourse. The fictional worlds that unravel in the reading process require an active reader who is ready to engage with the narrative in order to assemble stories. Through a close reading of postmodern novels, I study the temporalizing act of producing story time that the reader performs while reading literature. In order to discuss the different shapes story time may take in individual readers’ interpretations, I examine which textual elements have the greatest effect on the production of story time. Thus, the main objective of this dissertation is to understand how the intimate communication between reader and text produces stories – collections of characters and events that are shaped into a specific timeline of activities and processes that gradually unfold during the reading process., https://www.ester.ee/record=b5552639

The article examines in detail the history of the relationship between A.P. Suslova and V.V. Rozanov in connection with the notion existing in the historical and literary science that Rozanovs marriage to Suslova was based on his deep interest in the work of F.M. Dostoevsky and his desire in such an unusual way to penetrate deeper into the secrets of the life and work of the author of The Idiot and The Brothers Karamazov. However, an appeal to various documentary evidence shows that Rozanovs marriage motives came from the warehouse of his nature and constituted a complex of rather complex reasons, among which the human, and not literary, research principle still dominates. The desire for a benevolently objective study of the life history of A.P. Suslova makes it possible to clarify at the modern scientific level the important facts of the biography of F.M. Dostoevsky and V.V. Rozanov, to free them from the stratifications of legends and myths.

The features of the organization of the artistic world of a fantastic work are considered. The material was the works of O. Gromyko, written in the genre of fantasy. The main parameters of the organization of the artistic world are analyzed: artistic space, artistic time and the picture of the heroes’ world, understood as a system of their value attitudes and rules. The relevance of the study is due not only to the wide popularity of works of science fiction, but also to the ability to analyze the linguistic means of creating a “secondary world” using this material. The scientific novelty of this work is seen in the fact that linguistic nominative means of forming the main categories of the artistic world: space, time and the picture of the world are investigated. It is shown that the understanding of a fantastic work as a special “otherness of reality” is associated in literary science with the problem of artistic convention. Attention is paid to the description of the main scientific approaches to understanding the primary and secondary artistic conventions. It is noted that the idea of creating a special artistic world in fiction correlates with secondary conventions and fiction, which are interpreted as essential features of any work of art. The author concludes that the exceptional plausibility of the universe under consideration is due to the conceptuality, associativity and duality of the created narrative.

A common university joke goes that in order to complete the first-year program at a faculty of philology, one has to read not less than a thousand pages daily during the academic year. The number of works and commentaries increases every year and catalogues are swelling, putting modern philologists in an ever more difficult position. The rapid digitalizing of old texts and the exponentially growing number of new ones during the last decade hardly allow any works to escape the professional eye. Accessibility is turning into information overload, and philologists are becoming unable to see the forest behind the trees. The abundance of texts, provoked exclusively by technology, cannot be conquered merely by recommending perseverance or cultivating the love of reading: there is a need for a whole new way of being a philologist. This article examines the new quantitative formalism from a historical critical perspective. Formalism did not evade “biological bias” even at the time of its formation and specification as a method: it would be odd to expect that it could be evaded at the stage of the hybridization of literary science and methodological convergence.

Cognitive literary science has explored the the complex relationship between literary reading and social cognition. However, this insightful work about reading literature is frequently distanced from discussions about teaching literature. This essay discusses the results and ramifications of a pedagogical study conducted in two sections of an introductory literature course that was redesigned around cognitive literary studies. Qualitative and quantitative data is collected and analyzed in order to see if a pedagogy rooted in cognitive literary science affects students’ perspective-taking. The essay also illustrates how such a teaching practice might be incorporated into any undergraduate literature curriculum.

The functions of literature are diverse. However, the main task of strong interaction is educational, aesthetic and enlightenment. The educational function of fiction refers to the influence of moral and related qualities on the formation of the spiritual world of the reader, which will find its direct or indirect expression in each work. However, the role of morality in the literature should not be understood as merely a matter of advice. In this regard, it also includes the education of the reader in the spirit of humanity, patriotism, nationalism, justice. The following article looks into the educational role literature.

This article examines the problem of literary reputation, which is urgent for today’s literary science, in the context of modern reputation theory. Among the many aspects that together create a public image of the writer, the main focus is on the role of the media. Based on the analysis of the reception of one of the characteristic works, it is shown how the modern contributed to the creation of the “phenomenon” of Leonid Andreev.

The desire to see the people free from any fettles of oppression, to see the Motherland as independent country that in development and progress has reached the most advanced countries in the world, prevails in all the works of Fitrat. The theme of patriotism has a central place in the works of Fitrat. Patriotism has been one of the important factors in the spiritual, social-political development of society in all periods of historical progress. He wrote about from Afrosiab to Yassavi, from Yusuf Khos Hajib to Navoi, from Mashrab to Umarkhan, to his contemporaries Elbek and Cholpon. He laid the foundation stone of the new Uzbek literary science.

The following article is a review of Grażyna Tomaszewska’s book entitled Praktyki czytania. Ponowoczesna interpretacja a szkoła (Gdańsk 2019). One of the major advantages of this publication is a contextual teaching strategy. Not only does it help to define the subject area of the text but also enables the reader to go beyond the presence and relate to the tradition, which tends to be a tough task in school reality. Thanks to an interesting mixture of the cultural texts, the localness (in the form of separateness and distinction) can mirror itself in a wider historical perspective. As a result, both the old and the contemporary show the quality of universality. In order to broaden the contexts, Tomaszewska also uses (post) modern interpretation theories (feminism, postcolonialism), which give the texts a fresh look and revise previous interpretations. Being impressive theoretically-wise as it is (literary theory, literary science, didactics), Tomaszewska’s book still seems to have more powerful impact in practical aspects. Here, we can witness how interpretations of cultural texts are created, how they surprise and provoke. The author picks contemporary poems of Szymborska, Hartwig, Miłosz and Herbert along with Wiesław Myśliwski’s prose (Kamień na kamieniu) and Jacek Dehnel’s novel Matka Makryna. Recapturing of the tradition is presented through the books and heroes of Romanticism (including the mother Makryna), which, once again, proved to be a sense-making and life- giving movement that raises questions and brings meanings.

Slovaks living abroad form an integral part of the Slovak national cultural context. They create values that need to be preserved, enhanced and point out their versatility and use for contemporary forms of cultural identification. Slovaks in Hungary, who have been living in the vicinity of Békéscsaba for more than three hundred years, are also an important component of the Slovak minority of Hungarian Lowland. From this “Slovak Palestine”, as Ján Kollár named it, in the 18th and 19th century a historical-religious-cultural center of Slovaks (and also Hungarians) was created, which can still be rightfully proud of its heritage. Being a part of it, as a kind of pioneer, even as a historical basis, is also the personality of Lajos Haan (1818-1891), who performed his versatile activity in the chronotope of “Hungarian and Slovak” Békéscsaba. In this spirit, the article interprets his letters, his diary, “Pamätnosti” (Memoirs) and “Dejiny” (History), while presenting material and immaterial sources, monuments, inspirations that have been, are and will certainly be useful in artistic, cultural and literary “communication”. It is based on the attributes of cultural and literary science, which is thus an integrative model of literature research: a set of approaches that focus on cultural topics, theories and methods. The region of Békéscsaba ( pars pro toto: contemporary Hungary) is its focus. In selected texts of his material writings, Lajos Haan reflects his closer understanding of cooperation with the environment, from a broader point of view the intra- and interculturality of Hungarians and Slovaks: their coexistence, cooperation and diverse creative efforts. It points out the importance of Haanʼs personal contacts within the contemporary social environment, which is also specified in his personal letters. Memoirs are a testimony of an intellectual from the second half of the 19 century; to today's reader they will reveal the “strange, interesting, Hungarian” atmosphere of the time - in the background of social, political, historical, cultural and literary attributes. The description of the characteristic features of the city is a symbol of the peaceful coexistence of nations and nationalities in the Lowlands. In fact, the article presents the complex activity of an unusual personality: a Hungarian historian and a Slovak priest in one person, Lajos Haan, whose texts are interesting and current for today.

The intertextual layers of the stories by N. Gaiman “A Study in Emerald” and Ya. Wagner “A Study in Purple” are examined in this article. It is shown in the article that the intertextual fields of modern texts are allusions, reminiscences, metatextuality, paratextuality, architextuality, as well as onomastic quotations. It is concluded that the images and motives of the classic detective work of the early XX century create a visible intertext in the works of the XXI century and become a central device that generates secondary artistic worlds. It is emphasized that contextual correlation with A. K. Doyle’s story allows modern writers (both English-speaking and Russian-speaking) to create clear projections to the text about the famous detective, expanding the chronotopic organization of their metatexts. Particular attention is paid to the comparative intertextual analysis of the classical text of Arthur Conan Doyle with the stories of modern writers — English (N. Gaiman) and Russian (Ya. Wagner). The novelty of the research is seen in the insufficient appeal of literary science and literary criticism to the analysis of Doyle’s intertextuality and intertextual references to the story “A Study in Scarlet”, in particular. The relevance of the study is also due to the enduring reader’s interest in the detective genre and in the work of Arthur Conan Doyle.

The article emphasizes the important aspect of literary studies training of the students of speciality Ukrainian language and literature - the study of the course «History of Ukrainian Literature». The purpose of the investigation is to determine the theoretical and methodological principles of integrating study of the history of Ukrainian literature and to represent formation of integration and literary competence of future teachers of Ukrainian language and literature on this basis. The theoretical and empirical methods of scientific research were used in the process of investigation. The analytical synthetic and comparative methods were applied in the process of studying scientific sources. The empirical method was used during the process of this issue studying in real learning conditions. The content and methodological support of the integrating study of the history of Ukrainian literature was presented in the research. The dfferent types of integration are revealed: extra-subject, intra-subject, inter-artistic, which are realized at the semantic level. The interconnection with theadjacent humanities is highlighted. Intra-subject integration between the sections of literary science on fiction, biography, and creativity. The possibilities of inter-artistic integration are revealed in the process of perception and understanding of fiction with other arts. The article outlines the integration at the activity level, which occurs through the introduction of innovations into the traditional educational process of innovations: critical thinking technologies, information and communication technologies; combination of different forms of education: classroom and extracurricular; educational and research activities. The study presents the means (multimedia presentations of lectures, audio and video recordings), methods (problem, heuristic, illustration), which are applied during the integration study of the subject «History of Ukrainian Literature». It is proved that in the process of such learning the integration-literary competence is formed, which is shown through motivational-value, cognitive-reflexive, creative-activity components.comparative studies and among literary disciplines is illustrated by the example of elaboration of the writers’ biography

This essay wishes to engage with the crucial issue of the interpretation of literary texts from the specific perspective of the rise of Cognitive Sciences in the past two or three decades. One of the stimulating, but also controversial elements of Cognitive Literary Studies is the variety of denominations of the field itself. Different labels have been adopted to define it, including: “Cognitive Poetics”, “Cognitive Semiotics”, “Cognitive Stylistics”, “Cognitive Literary Studies”, “Cognitive Criticism”, and “Cognitive Literary Science”. A crucial problem that has variously been dealt with but that still remains open to discussion (and has sometimes promoted a questioning of the usefulness of the neurosciences in the interpretation of literary works), is the problem of the affordances of a cognitive approach to the specificity of literary artifacts. This contribution will therefore address and investigate this timely topic and illustrate aspects of the dynamics of literary interpretation that the cognitive sciences have recently productively developed. In particular, it will focus on the following elements: various perspectives in “the neurohumanities”, “literariness and the brain”, “the respective contribution of the cognitive sciences and of literature to the knowledge of the human mind”.

The article is a statistical research of the development of Polish literature studies at the Department of World Literature and Comparative Literary Criticism at the Vasyl Stefanyk Pre-Carpathian National University (Ivano-Frankivsk, Ukraine), covering the period from 1997 to 2018. Focusing on scientific researches in the field of Polish philology accomplished by the professors of our department, the present article gives the general outline of quantitative dynamics, the timeline, genre composition, types of heuristic analyses, language of these publications and their publishing data. The publications are also structured according to such criteria as authors, objects of consideration, various fields of historical and literary science. The sporadic experience of studying Polish literature by the employees of other departments of the Faculty of Philology at the Vasyl Stefanyk Pre-Carpathian National University was also taken into account.

The article discusses the problem of the development of a scientific approach and Swahili terminology by national Swahili literary science in the context of the emergence of new Swahili poetry in the 1970s against the background of prevailing traditional genres, as well as the comprehension, interpretation and application of this terminology by scientists. Born at the end of the 19th century among European missionaries and scholars, the theory of Swahili versification continued to develop in European-language works until the 1950s when the first critical essay on Swahili versification by the traditional poet Amri Abedi appeared. The emergence of new Swahili poetry in the mid-1970s against the background of traditional genres not only produced the well-known mgogoro wa ushairi (dispute about poetry), but also required the comprehension of poetry itself and Swahili literature as a whole. An important role in this process was the priority of developing a unified scientific approach, as well as Swahili terminology. The emergence of a new Swahili-language poetry embodied in the works of Kezilahabi, Mulokozi, Kahigi and others, from the very beginning posed the task of naming this kind of poetry. The article focuses on the unsettled nature of certain Swahili poetry terms denoting new, modernist, Swahili poetry, a reflection of which is shown by the evident heterogeneity of their use in the studies of literary Swahili scholars of the 2000–2010s.

Uvedená studie se zabývá pojmem intertextuality v jeho ohraničeném pojetí (navazující na strukturalismus) i globálním pojetí, ke kterému nemalým dílem přispěla francouzská literární věda (J. Kristeva, R. Barthes). Toto teoretické zázemí je pak aplikováno na empirickou zkušenost s četbou francouzských děl se studenty v rámci soutěže Choix Goncourt de la République Tchèque. Zde hrála intertextualita nemalou roli. Závěr studie tvoří otevřené otázky týkající se intertextuality: otázky o literární komunikaci s dílem, autorské intenci i úkolech literární vědy. This study deals with the concept of intertextuality in its limited conception (following structuralism) and the global conception, to which French literary science (J. Kristeva, R. Barthes) has made a significant contribution. This theoretical background is then applied to the empirical experience of reading French works with students in the competition Choix Goncourt de la République Tchèque. Intertextuality played an important role here. The study concludes with open questions about intertextuality: questions about literary communication with the work, the author's intention and the tasks of literary science. This study deals with the concept of intertextuality in its limited conception (following structuralism) and the global conception, to which French literary science (J. Kristeva, R. Barthes) has made a significant contribution. This theoretical background is then applied to the empirical experience of reading French works with students in the competition Choix Goncourt de la République Tchèque. Intertextuality played an important role here. The study concludes with open questions about intertextuality: questions about literary communication with the work, the author's intention and the tasks of literary science.

The subject of the research is the identity discourse in literary works of Tatar literary figures at the beginning of the 20th century (G. Ibraghimov, G. Sagdie, G. Battala, N. Dumavie, G. Rakhim). The coexistence of Eastern and European literary terms and concepts, which indicates the reception of works by Russian and European scientists and the transformation of traditional views on literature, caused by Eastern poetics influence, was established in the works under study. The research was carried out in the context of the problem of identity that is relevant to contemporary literary criticism. For the first time, literary works of Tatar writers and scholars are considered as one of discursive practices in which the national identity of Tatar literature is manifested. It is revealed that the discourse of identity in the analyzed works is problematic in two aspects: civilization aspect (the problem of East and West) and national aspect (the problem of literary science as one of the factors of national construction).

How do translator-authors represent translators and the translation act in fiction? What do such works indicate about the affective aspects of translation and literary translation in particular? This introductory survey of these issues analyses several fictional works written by translators, to show that certain emotional responses recur , and that while there is little research into affect and literary translation, there are elements commonly found in studies of bilingualism which are echoed in the works of fiction studied. Whether these echoes can be construed as constituting a psychological profile of the literary translator is a moot point; what does emerge clearly is a literary representation of a profession whose members are marginalised, trans gressive, even fraudulent or impostors; at the very least, prey to identity instability.

Francophone literary production in Madagascar, although born out of a colonial context, has found its own voice in terms of the codes and themes it uses. It seeks to take its place in Francophone literature through comprehension based on a common language. However, the works written in French are informed by the cultural, social, spiritual and linguistic context of Madagascar. The resulting texts are full of allusions to prestigious literary genres, shared concerns and concepts whose comprehension is difficult for a readership which understands the words without understanding their cultural connotations. It is necessary to reflect on the specific task of the literary critic who may, whilst respecting the dynamics of a literary text, add annotations in the form of ‘cultural translations’. The aim would be not to smother a body of work, which must be allowed to maintain its own nuances, but to allow better knowledge of the works and to make more effective the intercultural exchanges which are part of contemporary globalisation.

Modern didactics of literature is based on the conception of society as a polysystem and the conception of literature as one of the components of the social polysystem (society, language, culture and literature). The place of Slovenian young adult fiction in an international environment is a challenge for all didactics and researchers in the field of young adult literary science. Slovenian literature (Classics, Contemporary Classics and Contemporaries) is relevant to the home environment, but it has a different connotation in the international space and needs to be recontextualized. There has been a change in the paradigm of teaching Slovenian young adult literature in the international arena. The systemic didactics of literature is relevant to the international space, where it became necessary to teach in context − language, literature, culture. On the basis of theoretical knowledge, didactic experience and needs of addressees in the international space, the basic concept was: 1. treatment of authors who are connected with Slovenian literary culture with their lives and/or work, 2. relevance to international space, and 3. picture book form. It turned out that the picture book form is the most suitable for dealing with cultural heritage motifs, as besides the verbal elements, it also contains the visual elements, i.e. illustrations.