ПЕЙЗАЖНАЯ ЛИРИКА Ф. И. ТЮТЧЕВА И А. А. ФЕТА В НЕМЕЦКИХ АНТОЛОГИЯХ ВТОРОЙ ПОЛОВИНЫ XX - НАЧАЛА XXI В.

Since the emergence of the modern criticism theories, the aim of these theories was the focus on research and the analysis of literary texts scientifically and academically and according to specific data. The historical criticism theory is one of the first modern criticism theories adopted by many of pioneers of literature and has a group of scientific constituents that investigate the relationship between the text and its external aspects. Generally, there are three stages of criticism theories: the first stage deals with the external aspects of the text .For example writer's life, social situation, conditions and historical events. These external aspects are tools for structuralists and formalists. The second stage deals with the internal context of the literary text. This stage appeared at the beginning of the twentieth century as constructional criticism, modern criticism and structuralism. The last stage pays attention to the readers' role as semiology criticism, deconstruction criticism, reception theory …..etc. This theory is connected to external aspects of the text and it takes historical, political and social events as a means to analyze the literary text. According to this theory, the literary text is reflection of writer's life conditions and the writer is a mirror for the social situations predominant during his era and education emerges from environment which is a part of the history. Therefore, the theory of historical criticism in the process of criticism emphasizes the writer's life, predominant conditions and the environment that the literary text is their outcome. The present study focuses on two collections of poems, namely "The songs and Snow and Fire " by Muaaed Taeeb and "I will not retreat " by Rekesh Amedy . The two collections were analyzed according to the three bases of historical criticism (Time, Environment, and Race). The aim of this study is the explanation of the historical dimension of two collections of poems namely "The songs and Snow and Fire " by Muaaed Taeeb and "I will not retreat " by Rekesh Amedy . As a result of the analysis conducted on these two collections, it turned out that the historical criticism was one of the essential pillars of the creation of the theme and ideology of those poems.

The article first reviews the quality of translations of the poems of the Komi poet A. Luzhikov into Russian. At the time of the harsh change of life paradigms, at the end of the 20th century, due to acute mental trauma, a motive for dividing the world appears in his poetry. Many poems by A. Luzhikov speak of the death of the Komi life equal to the death of the world. His lyrical hero is out of society. Translators strove to convey the dramatic and tragic emotional tone of his poems, the aesthetics of the poetic loneliness of the lyrical hero, reflecting a person's worldview in the era of the global crisis. In the collection of poems we can count about 20 very successful translations in which the metro-rhythmic pattern, the figurative-lexical system of works, and the tension of the feelings of the lyrical hero are adequately recreated. In general, the translations maintain an open expression, conveyed by rhetorical figures; there are artistically accurate and faithfully conveyed images, the poetical and philosophical terminology is saved. At the same time, many translations used some template expressions and ready-made clichés and added stylistic “decorations” alien to poetry by A. Luzhikov (and generally to the Komi poetry). Moreover, in Russion versions, exclamatory and interrogative syntactic constructions were replaced by narrative ones. Such translation transformations led to a decrease in the emotional intensity of texts, and in general, to a distortion of the ethnocultural image of the the Komi poet’s world.

Deshoulières exploits the modeling power of social lyric poetry to represent and regulate gender relations. She fully embraces this issue, which lies at the heart of gallantry. By establishing “tenderness” as the ideal for relationships, whether in love or friendship, and by constructing this ideal in reaction to counter-models of masculinity and femininity, her poetry conveys a moral utopia and is anchored in a coherent figure of female speech placed at the origin of poetic expression. The “paper salon” that is the collection of poems becomes the chosen venue for this friendly conversation between men and women. Writing thus resembles a moral ideal put into action, which is also the conquest of a free female voice.

Alfonsina Storni es una escritora que se ha labrado un lugar dentro del canon literario argentino, por mucho tiempo bajo una imagen de escritora que anudaba sentimentalismo, fatalidad y poesía “femenina” (invisibilizando buena parte de su producción literaria), aunque más recientemente la crítica literaria de orientación feminista haya desmontado esa imagen. Este trabajo se interesa, no obstante, por los años en que Alfonsina Storni publicaba sus primeros poemarios y comenzaba a pugnar por un lugar en el incipiente campo literario, dominantemente masculino. El objetivo es visualizar, desde una perspectiva de género, las prácticas culturales emergentes, dominantes y residuales que contribuyeron o condicionaron su camino hacia la profesionalización como escritora, en un contexto de cambios por los procesos modernizadores y de avances del movimiento feminista.

Resumo Antologia é um compêndio de textos, de um ou vários autores, escolhidos por um organizador com a finalidade de colocar em evidência uma estética, um período ou uma temática. Antologias, portanto, dizem muito das políticas editoriais e sociais do seu tempo. Desse modo, o artigo se propõe a analisar Poesia gay brasileira (2017), coletânea que reúne poemas do século XIX ao XXI a partir da temática da homossexualidade ou homoafetividade. O recorte do estudo, porém, se restringe aos textos nos quais o discurso encena os afetos LGBTQ, o desejo e suas tensões, os prazeres e suas marcas na cultura. Em suma, interessa pensar como o discurso sobre as práticas eróticas desses sujeitos se desloca para uma postura política sobre a sexualidade. Entre outros suportes teóricos, a análise baseia-se em Butler (2017; 2019a; 2019b), Foucault (2015), Preciado (2011; 2014), Rolnik (2018), Rubin (2017), Sejo e Carrascosa (2016) e Vidarte (2019).

The article highlights the history and features of parliamentarism development in the Latin America countries. In addition, the need for training on the subject and the effect of increasing students and educators’ awareness in this field is examined. This process was lengthy, replete with the examples of various social groups, political trends and parties struggle intensity increase. Since the beginning of the 19th century, there have been almost no favorable conditions for the practical implementation of democratic government in the countries of Latin America, and the institutionalization of the party system has not taken place yet. However, there have been exceptions to the general rule in the history of Latin America. Chile and Argentina were such an example. The success of democratic transformations in the countries of the region depended on various reasons: a) whether the country had a democratic experience in its past; b) the conditions for the political and economic development of this country to develop representative institutions in the future; c) the importance of the parties in the political course development and the adoption of state decisions. The results of democracy and parliamentarism development in the states of Latin America are rather complicated by the turn of the 20th and 21st centuries. On the one hand, the last decades of the XX-th century and the beginning of this century was marked by the democratization of political life, reforms, and the replacement of military regimes with civilian governments. Since the beginning of the 60-ies, they started the process of democratization and formation of independent island states in the Caribbean and Central America. Despite the successful development of the economy, culture, education, the presence of a large middle class in Argentina, the military governments overcame civilian ones in the 30-70-ies. Therefore, it is needed to consider this aspect as a part of education system to improve the educators’ level.

In Argentina, public policies related to Safety and Hygiene started at the beginning of the 20th century, and it was not until the 1970s that the first regulations related to the subject were passed, when the current Law Nº 19587 on "Safety and Hygiene at Work" was sanctioned. In particular, the construction industry, since 1996, has had a complementary regulatory framework with Decree Nº 911. On the other hand, the demolition, excavation and submurder stages found an intervention mechanism with SRT Resolutions Nº 550/11 and SRT Nº 503/14. However, the regulatory framework does not provide specificity in relation to procedures and consequently does not guarantee efficiency/effectiveness in operational terms. This work exposes a gap, which, from a particular methodological approach, concludes with the obtaining of results, as it verifies the levels of compliance of the actions in the traceability of the work, aimed at framing the demolition, excavation and submuration tasks according to regulatory parameters of Health and Safety established by the instrument of analysis / matrix. As part of the final considerations, this work proposes to contribute with management guidelines for the aforementioned tasks in urban collective housing works.

SPECIALTY GRAND CHALLENGE article Front. Immunol., 11 August 2011Sec. Cancer Immunity and Immunotherapy volume 2 - 2011 | https://doi.org/10.3389/fimmu.2011.00034

After traversing more than three millennia of the African past, it is time to pause and take stock, to look back in history as well as forward, at the beginning of the twenty-first century. Over the past half-century, scholars have scoured archaeological sites, colonial archives, published works, and oral traditions; utilized social science methodologies – anthropology, linguistics, and demography; and developed an appreciation of African art, music, and literature, to construct a new paradigm for understanding the continent's past. We hope that readers of this text will have recognized the themes in the last several thousand years of the African past that thread their way through the text into the twenty-first century. They are indeed the themes of this book, and they will most certainly reappear – in different forms, to be sure – in the twenty-first century. Environment continues to shape the lives of the African peoples. As seen in the previous chapters, population has long been tied to the interaction between humans and the unique African environment. In relation to its landmass, Africa has, historically, been under populated. Two thousand years ago, Africa south of the Sahara had only an estimated population one-fifth that of China or the Roman Empire. During the next 1,500 years, this ratio continued to decline so that by 1500, Africa contained less than an estimated 15 percent of the world's human beings. At the beginning of the twentieth century, the population of Africa accounted for only about 1 percent of the 2 billion people inhabiting the earth. The reasons for this low rate of growth remain unclear to this day. Was this creeping rate of reproduction caused by a harsh climate, disease, poor soils, conflict, and slavery? One can only reflect and suggest that the reasons lie in the complex interaction between humanity and nature in Africa.

From the beginning of the 20th century on, the activities of the Young Estonia literary movement have had a significant influence on the development of Estonian culture. The group published five Young Estonia albums (1905–1915), the magazine Young Estonia, devoted to science, literature, and the arts (1910– 1911), and the newspaper Vaba Sõna (1914–1916, Free Word). The core of the group was composed of five or six active writers who maintained lively interactions with art and theatre circles. The publications of the Young Estonia Press brought about a revolutionary turn in the design and printing styles of the Estonian-language book. The questions of Young Estonia’s role and meaning have intrigued the Estonian cultural public at different times and in different ways. Young Estonia brought to cultural consciousness liberal views on the interpretation of art as well as an elitist aesthetics. At different times their openness to Europe irritated both the nationalist-minded and internationalists; thus the reception of the Young Estonia movement has been polemical throughout Estonian cultural history. Elapsed time has both opened the way for broader generalizations and, conversely, created a need to reconstruct the cultural context of the beginning of the 20th century. Polemic around Young Estonia was certainly caused by the group as a whole; however, in this article the role of individual members is also highlighted. It is emphasized that the political and aesthetic ideas of the Young Estonians changed synchronously with social conditions, from the 1905 Russian revolution to the world war that ravaged Europe. If the early part of this period saw a more social and nationalist bent to their thinking, then in the years of reaction, positions were taken that were more in keeping with l’art pour l’art. Young Estonia was not a hierarchical organization; rather, its small core group was composed of a narrow circle of friends with various political and aesthetic views: linguist Johannes Aavik, poets Villem Grünthal and Gustav Suits, prose writer and critic Friedebert Tuglas, and critic and translator Bernhard Linde; Finnish-Estonian writer Aino Kallas also belonged to the inner circle. As shown by private correspondences, personal relationships played a major role in the group’s activities; statements on behalf of the group as a whole were only made in the context of parrying the attacks of conservative critics. The main force unifying the members of the Young Estonia group was dissatisfaction with the state of Estonian language, literature, and mentality at the beginning of the 20th century. In addition to their call for a new aesthetic, members of the group wished to hold up their own original work as models. Writers of the Young Estonia group produced little in the way of original literature: their main strength was as critics and essayists, theoretical articulators of a new direction. First and foremost among their contributions – particularly in the case of Johannes Aavik, was a steady, principled struggle for the cultivation of the Estonian language: on this topic they published manifestoes, explanatory articles, and writings of a linguistic-theoretical nature. Along with supplementing the language, there was a joint commitment to the style and form of the work of art. Thus, the second major contribution of Young Estonia was giving a new meaning to the concepts of ”author” and ”writer”. Following the example of Georg Brandes, they began writing a new type of biography of Estonian writers, and oriented themselves to the concept of national literature. For example, Gustav Suits glorified Kristian Jaak Peterson (1801-1822) as the ”first Estonian poet”. The Young Estonian slogan, ”Let us be Estonians, but let us also become Europeans!” lost its meaning during the First World War, when the ideal of Europe collapsed. Those who had been rebels up to that point now became the leaders of Estonian literary life; Gustav Suits became the first university professor of Estonian literature. The Young Estonians had shown their force and established a place for themselves. In Estonian criticism today, approaches drawn from postcolonialism (such as self-colonization) have often been used. In this article, analysis is based rather, and alternatively, on cultural influence and culture transfer. In a time of great cultural ruptures, searching for external models from European modernist culture was the only way imaginable for Young Estonia. One of the most important questions in this regard is the role of German and Russian culture, and this topic is elaborated upon in the current collection of articles. In order to provide a context for the articles in this collection, the co-editors initially provide a panoramic overview of the reception of Young Estonia in the different periods of Estonian history (Young Estonia’s contemporaries, 1905–1915; the Estonian republic, 1918–1940; Soviet Estonia and the literature of the exile 1944–1991). For example, in the Stalinist period in the 1950s, Young Estonia was condemned along with other decadent-bourgeois movements; at the same time, Estonian literary scholars in exile focused their research on the major figures of Young Estonia, particularly Gustav Suits. In the 1960s through the 1980s, the Young Estonians became widely anthologized authors – Young Estonia was canonized, though its political and social context could only be broached with caution. On the 100th anniversary of Young Estonia (2005), it once again became a focus of interest for Estonian literary studies; topics formerly difficult to discuss due to censorship or the lack of sources came to the fore. Based on Young Estonia’s clarion call, ”More European culture!” researchers began systematically to search for a European context for the Estonian intellectual world at the beginning of the 21st century. Literary scholars were joined in this search by historians, semioticians, gender studies scholars, art historians, and new, exciting points of view have emerged for the understanding of Young Estonia. Two international conferences were held at the Estonian Literary Museum in Tartu in celebration of the 100th anniversary of Young Estonia: ”Ten Years of Young Estonia: Time and Literature”, 2005; and ”Ten Years of Young Estonia II: Ideals, Aesthetics, Meaning”, 2007. The current collection gathers 20 articles on Young Estonia which have not been previously published. Together with articles published elsewhere by Epp Annus, Lea Pild, Sirje Olesk, and Katre Talviste, based on their presentations at the same conferences, the contributions in this volume are shaping a new 21st century discourse of Young Estonia. The main message of the collection is valorizing the cultural openness of Young Estonia, and the opportunity to consider the movement as a whole in the context of the collision and adaptation of different ideologies.

In his monograph Krleža’s Still And Moving Images, Prof. Dr. István Lukács, a Croatist and Slovenist living in Budapest presents the problem of intertextuality and intermediality in the work of the classic of Croatian literature, Miroslav Krleža from a comparative Hungarian cultural and literary point of view. In the first part of the monograph, through the analysis of concrete texts (several poems and the novel Flags), the author examines the problem of the reception of Ady's lyric poetry and Hungarian painting production (Dezső Orbán) at the beginning of the 20th century, while in the second, more extensive part, he scrutinizes Krleža's relationship to film. The author's thesis is that the new optical medium (film) played an important role in the formation of Krleža's early dramatic texts (Legends) at the beginning of the 20th century. These works were written in the writer's early youth, immediately after his return from Budapest, where he had studied at the military academy. The author rightly assumes and then proves in his monograph that Krleža was probably already familiar with silent film and Hungarian theoretical works on film at that time. Some authors have already published papers on Krleža's "sound film imaginings", but without a more detailed scholarly elaboration of the whole issue. The first expert to mention the possibility of applying the film technique to a stage production in his extensive essay on Krleža's early plays was Josip Bach, the director of the Drama theater in Zagreb, who refused to stage all of Krleža's plays. Bach's clear observation served as a suitable starting point for the monograph's author to analyse Krleža's Legends, not from the point of view of a possible theatrical staging, but from a possible cinematic inspiration, both in certain themes (Jesus, Salome, Christopher Columbus) as in the application of film poetry, especially in atypical stage directions. In recent decades, authors in contemporary literary theory on intermediality have often thematised the links between literary text and film, they analyse film adaptations of well-known literary works, and write about the filmicity, cinematic style and film poetry of specific literary works. According to the author's findings, all these stylistic elements are also found in Krleža's early works (Legends, symphonies), but the "cinematic language" is so distinctly present that it also structurally characterises these works. The author of the monograph uses the term kinotekst to refer to Krleža's particular stage directions and scenic solutions precisely because of the marking power of these elements. This literary-theoretical notion is an innovation that refers to certain parts of a concrete literary text, and is in fact perfectly adequate to the film cut. This means that certain segments in Krleža's literary text are a real film cut and function as such. It is a strange paradox, since literature is a verbal art and film is a visual art.

Циљ овог истраживања је да се кроз анализу и упоређивање неколико избора српске поезије, насталих у XX и почетком XXI века, и то пре свега кроз сагледавање пропратних текстова њихових аутора, уколико они садрже теоријско-критичке и методолошке основе којима се прецизирају носиоци критеријума избора, утврди на који начин се врши селекција, тачније – да се одреди улога естетских вредности као аксиолошког критеријума у њиховом формирању. Самим тим би се указало и на функције оваквих избора, али и последице које они чине у домену формирања историје књижевности и канона. Пажња је пре свега усредсређена на истицање експлицитно постављених принципа грађења избора од стране самих приређивача, без проблематизовања колико је сам каснији избор оправдао методолошки поступак.

At the beginning of the twentieth century, Belgrade only had about 69,100 inhabitants, while today it has around 1.6 million inhabitants, which is 23% of Serbia’s population. Belgrade has been the scene of social revolutions which have triggered frequent changes in its social and economic stratification, reflected in international relationships that have often broken down in frequent political crises, wars, and migrations. Immediately upon the city gaining autonomy, Belgrade’s history saw great changes in the nineteenth century. Belgrade, within a span of only several decades, significantly changed its appearance: from a derelict, poorly arranged small town with winding, narrow streets, it started to become the principal economic, cultural, and governmental center of the young Serbian state. In the aftermath of WWI, in 1918, Belgrade became the capital of the newly formed Kingdom of Serbs, Croats, and Slovenes, but changed its name in 1929 to the Kingdom of Yugoslavia. Socialist Yugoslavia was formed from the remains of the Kingdom of Yugoslavia in the aftermath of WWII. After Tito rejected making Yugoslavia dependent on the Soviet Union, Yugoslavia left the Soviet bloc in 1948 and changed its political course by establishing a new position between the two blocs. The country took part in establishing the Non-Aligned Movement, which positioned Yugoslavia in the major global political arena. The collapse of the Yugoslav federation in the 1990s was a result of complex internal and external geostrategic circumstances, culminating in violent political conflict. Belgrade arrived in the twenty-first century in a worse state than anyone could have ever possibly predicted in the time of its glory after WWII. This chapter analyzes the urban, political, and socioeconomic rise and fall of Belgrade through its long history. This extensive overall study of Belgrade is divided into five periods: Development of Belgrade to 1914, Belgrade between two World Wars, Belgrade from the end of WWII until 1991, Belgrade from 1991 to 2000, and Belgrade at the beginning of the twenty-first century.

By combining digital humanities text-mining tools and a qualitative approach, we examine changing concepts in forestry journals in Sweden and the United States (US) in the early twentieth and early twenty-first centuries. Our first hypothesis is that foresters at the beginning of the twentieth century were more concerned with production and less concerned with ecology than foresters at the beginning of the twenty-first century. Our second hypothesis is that US foresters in the early twentieth century were less concerned with local site conditions than Swedish foresters. We find that early foresters in both countries had broader—and often ecologically focused—concerns than hypothesized. Ecological concerns in the forestry literature have increased, but in the Nordic countries, production concerns have increased as well. In both regions and both time periods, timber management is closely connected to concerns about governance and state power, but the forms that governance takes have changed.

The objective of the article is to present criminal law provisions and also the actual effects of fighting crime in the area of protection of cultural property in Poland since the beginning of the 21st century. A thesis has been formulated, according to which the protection of cultural property arising from the criminal law remains the key determinant of forming the cultural security of the Third Polish Republic. The conducted analysis shows that the effective forming of cultural security of the Third Polish Republic depends on ensuring the appropriate protection for the property of special significance for culture. Actions taken in this area of the cultural security fit with the postulate of protecting the cultural heritage. An important aspect of actions undertaken by the state is to formulate and apply the criminal law provisions. On the basis of the presented arguments it can be stated that at the beginning of the 21st century the practice of counteracting and fighting crime against cultural property in the Third Polish Republic depended to a significant extent on the activity of the Police and the Border Guard.