Suchergebnisse

International audience ; Die Lesebücher für das französische Schulwesen erweisen sich als sehr wirksame Vermittler von Kenntnissen und Werten. Dieser Beitrag zeigt, dass sie eine Vorstellung des Krieges mittels der ausgewählten literarischen Texte, der beigefügten Bilder und der Schüleraufgaben erzeugen können, deren Gesamtheit Formen der Argumentation zugunsten der Übernahme einer ideologischen Konstruktion bildet. Wir wissen zwar wenig über die prägende Wirkung auf die Vorstellungskraft, die Empfindsamkeit und das Denken der Kinder und Jugendlichen, die mit diesen Büchern arbeiten, aber man kann zumindest die ihnen angebotenen Informationen analysieren.Zu diesem Zweck haben wir die Bestände des CEDRHE an der FDE Montpellier ausgewertet : 58 Lesebücher für den Cours moyen et supérieur im Gebrauch an französischen Schulen zwischen 1923 und 1939. Die Texte, ihre Plazierung in den Büchern, die Arbeitsfragen sowie die ausgewählten historischen Elemente ergeben eine Vorstellung vom Ersten Weltkrieg, die von der Verherrlichung des patriotischen Heldentums bis zu einer gewissen Werbung für den Pazifismus reicht. Im Laufe der Jahre tauchen in den Büchern Autoren und Textauszüge auf, die allmählich zu Prototypen für diesen Krieg werden und ein « verkehrtes » Bild zeichnen, das ihn aus seinem historischen Zusammenhang loslöst, um « kulturbildend » zu wirken ; The textbooks used in the French academic system are strong knowledge and values vectors. This article shows that those textbooks can build a representation of the First World War, through different ways-literary texts, iconographic medias, activities proposed to the pupils – that constitute forms of persuasion and adherence to an ideological construction. We cannot gauge the impact created by these textbooks on children's and teenagers' imaginary, sensitiveness and thoughts but we can analyse the information which is delivered to them. To this end, Thanks to the CEDRHE and FDE's collection of Montpellier, we have studied the 58 textbooks used in France in the ...

Throughout the twentieth century, as literary texts circulated through high-school and college classrooms, reading became a specialized skill. Especially with the dominance of the "new criticism" in the 1930s, literature acquired an autonomous life as "text," demanding intensive "close reading" of its verbal complexity and formal coherence as an aesthetic object. Beginning in the 1970s, with the proliferation of programs devoted to African-American culture, gender studies, sexuality studies, and ethnic studies programs, the literary canon became more diverse. In the mid-1980s new historicism helped push aesthetic formalism further from the agenda of literary education in the university, promoting new interest in historical contexts even as psychoanalytic, deconstructive, and reader-response approaches continued to fetishize "textuality" as their primary object of inquiry. Whatever the vagaries of theory, method, and subdisciplinary turf battles through which scholars have wandered over the last few decades, we have remained in our professional practices of reading and teaching committed to a hermeneutics of interpretation. Even as scholars developed arguments about history or culture, the teaching and criticism of literature has continued to rely on the institutional and psychological isolation of reading, as an individual exercise in mastery of the text fostered by silence and solitude.

International audience ; Die Lesebücher für das französische Schulwesen erweisen sich als sehr wirksame Vermittler von Kenntnissen und Werten. Dieser Beitrag zeigt, dass sie eine Vorstellung des Krieges mittels der ausgewählten literarischen Texte, der beigefügten Bilder und der Schüleraufgaben erzeugen können, deren Gesamtheit Formen der Argumentation zugunsten der Übernahme einer ideologischen Konstruktion bildet. Wir wissen zwar wenig über die prägende Wirkung auf die Vorstellungskraft, die Empfindsamkeit und das Denken der Kinder und Jugendlichen, die mit diesen Büchern arbeiten, aber man kann zumindest die ihnen angebotenen Informationen analysieren.Zu diesem Zweck haben wir die Bestände des CEDRHE an der FDE Montpellier ausgewertet : 58 Lesebücher für den Cours moyen et supérieur im Gebrauch an französischen Schulen zwischen 1923 und 1939. Die Texte, ihre Plazierung in den Büchern, die Arbeitsfragen sowie die ausgewählten historischen Elemente ergeben eine Vorstellung vom Ersten Weltkrieg, die von der Verherrlichung des patriotischen Heldentums bis zu einer gewissen Werbung für den Pazifismus reicht. Im Laufe der Jahre tauchen in den Büchern Autoren und Textauszüge auf, die allmählich zu Prototypen für diesen Krieg werden und ein « verkehrtes » Bild zeichnen, das ihn aus seinem historischen Zusammenhang loslöst, um « kulturbildend » zu wirken ; The textbooks used in the French academic system are strong knowledge and values vectors. This article shows that those textbooks can build a representation of the First World War, through different ways-literary texts, iconographic medias, activities proposed to the pupils – that constitute forms of persuasion and adherence to an ideological construction. We cannot gauge the impact created by these textbooks on children's and teenagers' imaginary, sensitiveness and thoughts but we can analyse the information which is delivered to them. To this end, Thanks to the CEDRHE and FDE's collection of Montpellier, we have studied the 58 textbooks used in France in the intermediate and higher class between 1923 and 1939: the choice of the texts, the place where these texts were located in the textbook, the didactic questioning along with the choice of historical elements, show, when evoked, a representation of the First World War caught between the glorification of patriotic heroism and, in the same time, a promotion of pacifism. Gradually, in the course of textbooks in use, authors and abstracts emerge that will become representative of this war. They will form an implicit picture that emancipates this war from the historical context so as to " make culture " . ; Les manuels de lecture, communs à tout le système scolaire français, se révèlent être des vecteurs très puissants de transmission des connaissances et des valeurs. Cette communication montre qu'ils peuvent construire une représentation de la guerre de 14-18, par le biais des textes littéraires choisis, des éléments iconographiques adjoints, des activités proposées aux élèves, l'ensemble constituant des formes de persuasion et d'adhésion à une construction idéologique. On ne peut certes en connaître l'impact sur l'imaginaire, la sensibilité et les pensées des enfants et des adolescents exposés à ces ouvrages mais on peut analyser les informations qui leur sont délivrées. Nous avons à cet effet dépouillé, à partir du fonds du CEDRHE de la FDE de Montpellier, les livres de lecture en usage en France dans les Cours moyen et supérieur, entre 1923 et 1939, soit 58 ouvrages : les textes, les places de ces textes dans les manuels, les questionnements didactiques, tout comme le choix des éléments historiques, montrent, quand elle est évoquée, une représentation de la Première Guerre mondiale prise entre une glorification de l'héroïsme patriotique et dans le même temps une certaine promotion du pacifisme. Peu à peu, au fil des manuels en usage, émergent des auteurs, des extraits, qui vont petit à petit devenir prototypiques de cette guerre et en composer une image « en creux » qui l'émancipe du contexte historique pour « faire culture »

This article will address issues related to the translation of fiction as derivative works. The current legislation defines translation as a type of derivative work. Therefore, the translation is subject to copyright. All the features that are characteristic of any other copyright object are inherent in translation, i.e. the creative nature of labor and the objective form. To carry out actions aimed at translating a work of fiction from one language into another requires the application of the creative efforts of the translator. A technical (interlinear) translation will not be subject to copyright as it does not reflect the artistic intent of the original author. The main task of the translator, in our opinion, is to convey as much as possible the artistic message that the author of the original work wanted to convey to the reader. If the translator allows the text of the original author to be changed, distorts the images of the work, then the personal non-property rights of the author of the original work are violated. Any literary work of fiction created by the author must convey to the reader thoughts, images that allow the audience to understand the intention of the original subject of copyright. Moreover, translations are protected on an equal basis with the original works, without prejudice to the rights of the author (paragraph 3 of article 2 of the Berne Convention), but the translator must respect the rights of the author of the original work. The article also indicates that the translation of a work of art in the classification of types of translations takes place as authorized and author's. This article will reveal the main features of translation as a derived literary work. ; У статті розглянуті питання, що стосуються перекладу художньої літератури як похідних творів. Чинне законодавство визначає переклад як вид похідного твору. Отже, переклад є об'єктом авторського права. Перекладу властиві всі ознаки, які характерні для будь-якого іншого об'єкта авторського права (творчий характер праці й об'єктивна форма). Для вчинення дій, спрямованих на переклад художнього твору з однієї мови іншою, потрібні творчі зусилля перекладача. Технічний (підрядковий) переклад не буде є об'єктом авторського права, тому що він не відображає художнього задуму первісного автора. Основним завданням перекладача, на нашу думку, є максимальна передача читачу того художнього посилу, що хотів донести автор первісного твору. Якщо перекладач допускає зміну текступервісного автора, спотворює образи твору, тим самим порушуються особисті немайнові права автора первісного твору. Будь-який літературний художній твір, створений автором, має донести до читача думки, образи, які дадуть змогу аудиторії зрозуміти задум первісного суб'єкта авторського права. Крім того, переклади охороняються нарівні з оригінальними творами, без шкоди правам автора (п. 3 ст. 2 Бернської конвенції), але при цьому перекладач має зважати на права автора оригінального твору. Також у статті вказується, що переклад художнього твору в класифікації видів перекладів позначається як авторизований і авторський. Стаття розкриває основні особливості перекладу як похідного літературного твору.

The article is dedicated to the study of metaphor as a means of forming scientific concepts and creating expressive-illustrative context. The research aims to identify types and sources of metaphorical transfers in Ossetian literary-critical texts and analyze their functioning as an important part of the language of these texts. The novelty of this study lies in the first-ever analysis of metaphor types in Ossetian literary-critical texts, verbalizing scientific concepts and creating an expressive field specific to scientific discourse. Sources of metaphors and their functions are identified. The study reveals that the main types of metaphors in the language of the texts under investigation are nominative, figurative, poetic (individual), and cognitive. Sources of metaphors include nature-mimetic and anthropocentric, acoustic, visual, and spatial groups, artifacts, symbols, etc. Metaphors are integrated into the content of the texts as essential linguistic material capable of creating a scientific context and reflecting the scientific worldview of the people. Many scientific concepts and a range of artistic-illustrative means in the analyzed texts can be considered borrowings from the Russian language, indicating a connection between the two languages in the scientific sphere of communication.

What are the future prospects for literary knowledge now that literary texts—and the material remains of authorship, publishing, and reading—are reduced to bitstreams, strings of digital ones and zeros? What are the opportunities and obligations for book history, textual criticism, and bibliography when literary texts are distributed across digital platforms, devices, formats, and networks? Indeed, what is textual scholarship when the "text" of our everyday speech is a verb as often as it is a noun?These are the questions that motivate Matthew G. Kirschenbaum in Bitstreams, a distillation of twenty years of thinking about the intersection of digital media, textual studies, and literary archives. With an intimate narrative style that belies the cold technics of computing, Kirschenbaum takes the reader into the library where all access to Toni Morrison's "papers" is mediated by digital technology; to the bitmapped fonts of Kamau Brathwaite's Macintosh; to the process of recovering and restoring fourteen lost "HyperPoems" by the noted poet William Dickey; and finally, into the offices of Melcher Media, a small boutique design studio reimagining the future of the codex.A persistent theme is that bits—the ubiquitous ones and zeros of computing—are never self-identical, but always inflected by the material realities of particular systems, platforms, and protocols. These materialities are not liabilities: they are the very bulwark on which we stake the enterprise for preserving the future of literary heritage

This thesis examines the sub-genre of the literary biopic and its intersections with literary texts and other film genres through the lens of the melodramatic mode. It explores the dramatization of the 'life-text', defined as the process by which events in the non-discursive space-time become discursive elements in written and film biography, by looking at the figure of the author in a selection of literary biopics from the classical Hollywood era to 2018. The number of studies on the biopic is reduced, but those that have been published so far have not examined the strategies of the melodramatic mode in biographically- inflected films. Since the body and presence of the actor is the cornerstone of the biopic genre, as well as the site for the spectator's investment in the narrative, the embodied authorial figure in biopics becomes a locus of emotional authentication that allows us to identify and decode the forces that are part and parcel of the biopic's and melodrama's semantic force fields, and participate in the metamodernist oscillatory experience between irony and earnestness, belief and disbelief, as the body of the writer on screen both enacts and challenges prevailing theories of authorship. The thesis argues, in short, that film biography must be 'melodramatic' in order to be 'true' – 'truth' being a certain readable, coherently constructed sense of interiority that speaks to what we perceive as reality of the human condition, and which is encoded in the presence and the gestural performances of the actors' bodies on screen, expressed through (melo)dramatic form. The protagonists of melodrama, and, by extension of biographical films, embody and enact socioethical values, showing the work of emotion and personality in social and political processes. The majority of the productions under scrutiny are English-speaking productions, but there are also a small number of international films that have been chosen on account of their relevance to particular sections of this study, for in a globalized cultural ...

Kalaignar M. Karunanidhi stands high of all literary stalwarts of his age through his contribution to the language, literature and the state as a writer and a leader. He had been meticulously writing for decades together producing wide range of works that include political statements, pamphlets, editorial columns, poems, plays, stories, and translations of classics, screenplay and dialogues for films, Television serials and so on. His area of expertise includes ancient Tamil literature on which he has written kuraloviyam, sangaTamizh, Tholkapiyapoonga and ThirukuralThelivurai. He registers his vision for Tamil language and people in his works. He records his pride in rich Tamil tradition and at the same time he employs satire to comment about the grey areas. This paper studies the works of Dr. Kalaignar and presents the social history of the Tamils depicted in it through various literary devices.

In conventional literary fiction, effective typography recedes. Grey rectangles of justified type are so familiar they are essentially invisible on the page, allowing the reader to slip into the world of the book unimpeded by the activity of reading. This article explores ways some
novelists use unconventional typography as a literary device, visually interrupting the reader to make a specific point. A range of typographic devices are shown to effect pace, point of view, tone of voice, characterization and to imply ephemeral documents within novels. These typographic
devices are illustrated with examples from a collection of novels including Mark Z. Danielewski's House of Leaves (2000), Salvador Plascencia's The People of Paper (2005), Joanthan Safran Foer's Extremely Loud and Incredibly Close (2005) and Steven Hall's The Raw Shark
Texts (2007). The article aims to illustrate ways authors have experimented with typographic devices to literary effect, and to encourage more experimentation with word-image interplay as a storytelling device.

Abstract
The teaching of literature (and at the same time the teaching of the history of national literature) together with education in the field of the mother tongue has always been one of the key areas of education in the Slovak school system, therefore they have always received due and even special attention. Literary education (teaching literature) is a specific school process of literary communication and metacommunication, which can be interpreted in two ways in secondary school conditions: the first represents literary education as a traditional and stable part of the subject Slovak language and literature. Its goal is to prepare the pupil for the maturita exam. The second view presents literary education as a way to search for the meaning of human life through a functional chain of reception and interpretation of artistic texts. A fundamental problem of current education in the field of literature is the transfer of information from the latest scientific research into school practice. Another long-term and permanent problem of teaching literature at Slovak grammar schools and secondary schools is that literary education practice overestimates the informative component of the curriculum focused on memory acquisition. The paper introduces and discusses the number of theoretical and practical problems which arise in connection with the above-mentioned problems, as well as with teaching literary analysis and organizing the complex of tasks related to the meaningful reading of literary texts.