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The young Gogol published a study on the teaching of geography for children in 1831. At the same time, he was writing the collection of short stories, Evenings on a Farm near Dikanka (1831–1832). We can observe interesting connections between his texts – prose fictions and pedagogical writing – of this period: motives belonging to geography, history and folklore make a specifically large context. The author’s interest in geology, as he writes, in the „underground geography” (“подземная география”) – the earth’s crust, rocks, strata – corresponds with the “underground mythology and folklore” in the Dikanka stories, with the demonic figures ( колдун, ведьма, черт ), places ( abyss, ravine, depths of the earth, swamp, churchyard ) and time ( night ). In this study, on the basis of the Gogol’s long-time unedited manuscripts ( Неизданный Гоголь , ed. by I. A. Vinogradov, Moscow, 2001) we investigate the common roots of the seemingly heterogeneous motives to discover the hidden strata and meanings of his early works.
Hungarian writers on the military mission of Austria-Hungary in the Balkans
Viceroy Kállay and good soldier Tömörkény
The Austro-Hungarian Monarchy’s military missions on the Balkans can provide the only experience in Hungarian history that can be connected with a notion of colonization. The paper scrutinises some Hungarian writers’ responses to that experience. Kálmán Mikszáth as a journalist shows a shift in attitude; he strongly criticized the occupation of Bosnia and Herzegovina, but eventually he proudly advertised a colonizing discourse. The most important monument of the 40-year connection with Bosnia and Herzegovina in the Hungarian culture was János Asbóth’s monography in two volumes entitled Bosnia and Herzegovina . In that work the celebration of modernisation, westernisation, the development of economy and infrastructure does not imply racism and religious intolerance. The short stories by István Tömörkény that describe the military life in the sanjak Novi Bazar offer a careful analysis of the cultural and linguistic aspects of the experience of otherness in the multicultural Balkan environment.
Az endokrin sebészet evolúciója: múlt, jelen és jövő
Evolution of endocrine surgery: past, present and future
20 603 12 . 2. D Liebermann-Meffert 2000 Short story of Theodor Kocher's life and relationship to the
The expression xuuč yaria can be translated as ‘story’ or ‘gossip’, and indeed, they are short stories about interesting, extraordinary or sometimes fearful events heard or seen by the storyteller. As far as their content is concerned, the stories are colourful and ramifying, and it is beyond doubt that the xuuč yaria has some connections with domogs, tales and even heroic epics. Unfortunately, research into this field has begun relatively recently, so these connections are far from being clear. Moreover, the xuuč yaria stories are interesting not only from the point of view of folklore, but they also shed light on the history of ideas, since the first ones were collected in the 1950s, and thus some of them reflect the political atmosphere of the socialist era. In this article an attempt is made to give the broader outlines of the xuuč yaria as a genre of Mongolian folklore, and establish a typology in the hope that it will be helpful for further research.
This paper intends to present the innovation of stream of consciousness techniques by Sasha Sokolov in School for idiots within the theory of post-structuralism, William James' concept of “consciousness” and the aspects of fictionality. The main stress is laid on how radically Sasha Sokolov renewed a special end of the 19th-first half of the 20th century novel tradition marked by Lewis Carroll, Dujardin, Proust, James Joyce, Faulkner, Vaginov. This article undertakes to demonstrate that Sasha Sokolov in 1970 took with his new concept of the deviant personality and intertextualism a step towards the postmodern, thereby considerably contributing to wind up normative restrictions then reigning soviet belles-lettres. In the narrator's free schizophrenic act of speech, fighting for freedom against the power of persons in control, where the distance between presentation and representation is apparently abolished, strained relations between speaking and writing are created. There is no author's intention which could direct the reception. Past, present and future, imagination and “reality” (within the scope of fiction), life and death are perceived to be reciprocally exchangeable. But despite this discursive way of “showing” the ill boy's inner world, a considerable composing attitude prevails in the text, which is established by the exact mythological and quotational structure, made up mainly by motifs borrowed from Hermetism, by allusions to poems of Pushkin, Hölderlin or Rilke and short stories by Gogol´ and Poe.
This paper examines the iconolographical origin of Johannes Sambucus’ emblem dedicated to Carlo Sigonio, which – according to its title – displays the difference between grammar, dialectics, rhetoric and history. I focus on the central female figure whose innocent nudity represents the truth and whose connection with the ideal historiography standing – balancing together with Dialectics and Rhetoric – on the head of the young virgin Grammar. The special relationship between History and naked truth also defines its symbolic connection with the costumes of the other two figures: Dialectics in rough working clothes and Rhetoric in her long luxury dress. Three symbolic animals also belong to the three female figures: a sphinx to Dialectics, a chimera to Rhetoric and a winged dog to History. Contextual examination of the emblem reveals the possible source of the strange winged dog symbol is Plutarch’s short story of Osiris and Isis. In addition, the paper draws attention to an ironic twist of History in connection with Carlo Sigonio that shows that its nudity is not always so innocent.
While Tolstoy’s ideological and religious turn is often mentioned in the special literature, the turn in his poetics is hardly ever. The present study focuses on the latter phenomenon. After the turn in his ideology and poetics, Tolstoy searched for such new forms to express his moral and philosophical thoughts as the legend, the apologue, the parable, the hagiography and the confession, etc. He elaborated such a comprehensive form of the short story which approaches the novelette in its length but condenses the conflict in a dramatic manner at the same time. The works to be analyzed here are the following: What Men Live By?, How Much Land Does a Man Need?, Father Sergey, Master and Man, Posthumous Papers of the Elder Fedor Kuzmich, The False Coupon. It is possible to understand the deeper meaning of these parables only if one is able to discover the archetypal mythemes in the deep structure of the concrete text, and trace them back to their primal form, which universalizes the mystery of resurrection for the receiver. The conclusion of this paper is that Tolstoy considered self-improvement a universal law, with the help of which man can learn truth and transform it into living practice: aletheia turns into ethos.
Abstract
Mikhail Bulgakov's fantastic short story The Fatal Eggs (1925) was translated into English by five translators, Mirra Ginsburg (1964), Kathleen Gook-Horujy (1990), Hugh Aplin (2003), Michael Karpelson (2010), and Roger Cockrell (2011). The emphasis in this research is on the linguistic analysis of the translations of cultural, social and historical realia referred to as Sovietisms, which pertain to items characteristic of Soviet discourse in the 1930s. Bulgakov's language is brimming with Soviet vocabulary that refers to various cultural and socio-political elements of Soviet reality. A complete naturalization or even omission of Sovietisms may lead to loss of connotative meanings essential to understanding the context, while foreignizing through transliteration or calquing may disturb the fluency of reading. The purpose of the analysis is to assess the translators' choices and what they imply for the readers. Another aim is to test the assumptions of re-translation theory (Bensimon 1990; Gambier 1994), which states that early translations are more target-oriented than subsequent translations. The analysis employs taxonomies suggested by Vlakhov and Florin (1980) and Mokienko and Nikitina (1998) for the classification of Sovietisms, and Aixelá’s taxonomy of translation strategies (1996) as the grounds for the case study.
The contribution discusses the concept of the hybrid text familiar in postcolonial literature as a text written by the ex-colonised in the language of the excoloniser, hence creating a ‘new language' and occupying a space ‘in between'. It is therefore not identical with the concept of the hybrid text discussed in Schäffner and Adab (1997) as the result of an interlingual translation process, although there are many similarities, from the ‘strange, unusual' features to the phenomenon of ‘contact as con-flict'. For the translator, the postcolonial hybrid text – due to its ‘new language' in-volving elements ranging from lexical and grammatical innovation to culture-bound items – presents many problems. These emerge clearly from the examples discussed here, which are taken from India (Rushdie and Roy) and from the Philippines (the tradi-tional form of the short story known as the sugilanon). It is seen that the hybrid, innovative nature of the language is often actually reduced by the interlingual translation process, and – in contrast to the foreignising process of artificially ‘bending back' the lan-guage – a case is made for a holistic, ‘scenes-and-frames' approach and for strategies that maximise the creative potential of the text for the target culture.
The relationship of the three earliest sources (Herodotus, Plato, Xanthus) relating how Gyges came to power is controversial. Their most striking common feature is the motif of Gyges seizing power through getting hold of the queen. The close connection of the queen and power proves to be an Eastern motif, a special Persian interpretation of the translatio imperii , according to which the royal woman bears the glory representing the sovereign power (χvarәnah-) and providing the ruler with legitimacy. Deriving from the Persian ideology of sovereignty, this motif tends to appear in Herodotus, in Xenophon and in the tradition about Alexander the Great. Therefore, the earliest sources relating this story must originate from the Old Persian short stories. The authenticity of the tale about Aladdin in the One Thousand and One Nights has been questioned several times since it does not have a tradition of codices. However, its parallels with the Gyges stories, particularly the presence of the special Persian interpretation of the translatio imperii suggest a common Persian source, thus, the tale is likely to be authentic.
