This article discusses the choice of copy texts to serve as the basis of
a critical edition of Ivan Bunin's prose works. The issue of choosing copy texts has
been most thoroughly dealt with in regard ...to Bunin's poetry, while the text criticism
of his prose works is still at an early stage. The multiple stages Bunin's works went
through both before and after their publication require methods of presenting his
texts to be elaborated which take into consideration both his own work on them and
their impact on literary history and on contemporary readers and critics. The present
article embodies a first general approach to this subject and outlines a variety of
possible solutions to the problems raised. Four groups of Bunin's prose works are
examined — those from his early, pre-revolutionary and émigré periods, and those
he left unpublished — and an approach to choosing copy texts for each group is
explained. A suitable volume structure in a future critical edition of Bunin's works
is described. Problems posed by the correct dating of Bunin's stories are analyzed in
relation to their chronological position within a future critical edition and the choice
of copy texts for them. The basic principles underlying the choice of copy texts of
Bunin's prose for a complete scholarly critical edition of his works are presented in
conclusion. The article emphasizes that it is impossible to fulfill the last creative will
of the author due to the incompleteness of his work with his legacy (selection of works
for future editions, uncoordinated editing).
Arhiv knjižničarske udruge Kovačić, Mihaela; Bačić, Edita
Vjesnik bibliotekara Hrvatske,
10/2018, Volume:
61, Issue:
1
Journal Article
Peer reviewed
Open access
Cilj. Ukazati na važnost i potrebu da regionalne knjižničarske udruge u Hrvatskoj kao privatni stvaratelji i imatelji arhivskog gradiva vode o njemu sustavnu i standardiziranu brigu bez obzira na ...vrstu nosioca informacije. Metodologija. Propituju se teorijske postavke, zakonska regulativa i mogućnosti nadležnih državnih arhiva u odnosu na knjižničarske udruge. Kao model istraživanja dobre i loše prakse upravljanja arhivskim gradivo uzeto je gradivo Društva knjižničara u Splitu. Usto, procjenjuje se mogućnost da se osnovnom korpusu gradiva pridruže privatni arhivi/zbirke fizičkih osoba – članova knjižničarske udruge. Rezultati. Svrha objedinjavanja gradiva jest stvaranje što cjelovitije dokumentacije o djelovanju knjižničarske zajednice u određenom prostoru i vremenu. Preduvjet je za to detaljnije reguliranje upravljanja pripadajućim arhivskim gradivom kroz dokumente knjižničarske udruge. Potvrdu tih promišljanja nalazimo i u praksi međunarodne knjižničarske zajednice (American Library Association Archive, Chartered Institute of Library and Information Professionnals i Associazione Italiana Biblioteche). Originalnost rada. Ukazuje se na to da je na putu prema stvaranju što cjelovitijeg arhiva knjižničarske zajednice, jedinstvenog ne u fizičkom smislu, već u tematskom obuhvatu gradiva kod različitih stvaratelja i imatelja, već sada potrebno sustavno i standardizirano dokumentiranje njezina djelovanja na lokalnoj i nacionalnoj razini. Pritom je poželjan partnerski i savjetodavni odnos s arhivističkom zajednicom.
Purpose . This paper considers the importance of the archive material of associations as private creators and possessors, with a special emphasis on the archives of regional library associations in Croatia. Services are discussed in relation to library associations. Approach. Theoretical assumptions, statutory framework and the capabilities of competent state archives are discussed in relation to library associations. The material of the Library Association in Split was considered as a model for the study of good and bad practices with respect to the management of archive material. In addition, the possibility of adding private archives/collections of private individuals – members of the library association – to the basic corpus of materials has been assessed. The purpose of the aforementioned unification of the material is to create documentation as comprehensive as possible on the activities of the library community in a specific space and time. According to the results of the study, a prerequisite to achieve this goal is a more detailed regulation of the management of related archive material through the documents of the library association. Therefore, the final aim of this paper is to point out the need for a systematic care of library associations for archive material, regardless of the type of information carrier. Confirmation of these considera-tions can also be seen in the practice of the international library association (American Library Association, Chartered Institute of Library and Information Professionals and Associazione Italiana Biblioteche). Originality/value . In order to create better integrated archival material as the source of knowledge on the activities and the impact of the library community in society, there is the need a for a unique form of concepts, cooperation and coverage at the local and national level, preferably in a partnership and advisory relationship with the archivist community
The Polish version of the article was published in Roczniki Humanistyczne vol. 61, issue 1 (2013). The presented material contains the first edition of an unknown story by the writer and poet ...Stanisław Czycz (1929–1996) with an introduction concerning the history of the work and with the editor’s commentary. The typescript survived in the writer’s home archive. Owing to another archive record it was possible to establish that the humorous sketch was written for a competition organized by the Magazyn Turystyczny Światowid. It was also possible to try to date the text more precisely. The rules of the competition said that its aim was to arouse writers’ interest in the subject of tourism and to win readers for good fiction dealing with this subject. The story is about a Sunday trip to the woods. The protagonist meets his friend who is riding a motorbike and offers him his company. The confrontation of the lover of walking tourism and the motorcyclist ends with the former one winning it. A cheerful tale has the same tone as Czycz’s Krzeszowice stories printed in the Przekrój weekly at that time, and then published in the volumes Nim zajdzie księżyc (Before the Moon Sets) (1968) and Nie wiem co ci powiedzieć (I Don’t Know What to Tell You) (1983). It reveals a different face of the writer, whose debut was the innovative And (1961), and who, after writing Ajol (1967) and Pawana (Pavane) (1977) was called the Polish James Joyce.
The archive of the Salekhard District Museum and Exhibition Complex named after I. S. Šemanovskij hosts a Tundra Nenets word list which was compiled for a practical dictionary by the topographer and ...land surveyor Vladimir Petrovič Evladov. Evladov collected this material between 1926 and 1935 during three expeditions to the Yamal Peninsula. He also consulted with students of the Institute of Northern Peoples in Leningrad. The material consists of two word lists, a Nenets-Russian and a Russian- Nenets one. The material reflects Tundra Nenets pronunciation and the meaning of lexemes around these years. It is important for studies on the period of language construction in Soviet Russia. We publish here the Nenets-Russian vocabulary in the Unified Northern Alphabet.
Kokkuvõte. Marina Ljublinskaja: Neenetsi sõnastik Vladimir Evladovi arhiivist Salehardis. Salehardi I. S. Šemanovskij nimelises ringkonnamuuseumis ja näitusekompleksis asub tundraneenetsi sõnaloend, mille koostas praktilise sõnastikuna topograaf ja maamõõtja Vladimir Petrovič Evladov, kes kogus selle jaoks materjali oma ekspeditsioonil 1926. ja 1935. aasta vahel. Ka konsulteeris ta Leningradis Põhjarahvaste Instituudi üliõpilastega. Andmestik koosneb kahest sõnaloendist: üks neenetsi-vene suunal ja teine vene-neenetsi suunal. Materjal kajastab tolleaegset tundraneenetsi hääldust ja lekseemide tähendusi ja on oluline uurimaks keelekonstrueerimise perioodi Nõukogude Venemaal. Uurimus sisaldab neenetsi-vene sõnastikku ühtses põhjarahvaste tähestikus.
Аннотация. Марина Люблинская: Ненецкий словарь из архива В. П. Евладова в Салехарде. В архиве музейно-выставочного комплекса в городе Салехарде (ЯНАО) хранятся списки слов на ненецком языке, собранные топографом и землеустроителем В. П. Евладовым. Слова были записаны в 1926–35 годах во время исследовательских экспедиций по Ямалу для составления практического словаря. Между поездками Евладов обсуждал материал с ненецкими студентами института Народов Севера в Ленинграде. Готовилось два словаря – ненецко-русский и русско-ненецкий, которые так и не были изданы. Записи Евладова передают произношение и значене ненецких слов в начале XX века. Также материал значим для изучения периода языкового строительства в Советской России. Ниже публикуется ненецко-русская часть словаря, записанная Единым Северным алфавитом.
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This is a quest for Antoinetta Angelidi’s gaze beyond her films; her relation to the visual arts, and painting in particular, through her life and works, her drawings and installations, and – yes – ...her short and feature films, the known and the lost ones.Antoinetta Angelidi has painted obsessively since she was a child. In her words, painting for her is a place of concentration and salvation. As she heads for adolescence, the art books her father gives her come to mark her way. Painting, the most silent of the visual arts, gives her discourse a new voice. This dialogue with painting has been a component of her work ever since.During this same period when the art books she is given by her father cultivate her artistic gaze, she paints her mother’s naked body with its hidden secrets. And not only that: She paints the ‘rotten life’ which, alongside that other life, the still or dead life (nature morte) of academic painting, vies for a locus of decay within and beyond the person. She paints cobwebs, which have this to teach: the secretions of a barely-there body are strong enough to lay traps for stronger prey. In this way, the microcosm undermines the certainty of the macrocosm. Or, more correctly, it reminds us that ‘the random can be a powerful compositional principle’.These first drawings have not survived. Which is true, too, of a good many of her later works: like the photo series of a naked pregnant woman doing housework, made in 1978, a year after her return to Greece, which so shocked the organisers of the left-wing youth organisation festival it was intended for that they refused to accept it. Equally lost is a work she made with menstrual pads and tights in the context of a subsequent feminist action. ‘We didn’t believe in archives then. There was only the here and now!’, she says. It is true that the 60s, 70s and 80s didn’t seek to cocoon memories spider-like in archives; they were lived instead for their own expanded present.
In his lecture of 27 May, the second of the series of 'Democratic Conferences' promoted at the Lisbon Casino in May-June 1871 by the new generation of Portuguese intellectuals who would become known ...as the 'Generation of 1870', Antero de Quental enduringly framed the terms in which both 'decline' and 'Europe as modernity' would assume, for his and subsequent generations, their mythic and obsessive status and fascination in the public and political debate of the Portuguese question and the state of the nation. Historically, the causes of decline are named as three, and of three orders: moral — the Counter-Reformation's transformation of Catholicism into a Roman and Jesuitic institution, stifling individual conscience and national Churches; political — the Absolutist turn of monarchy ruthlessly suppressive of local autonomies, representative institutions and potential rival powers; and economic — the Conquests and its attendant aristocratic ethos, with its neglect of productivity and disdain for the work ethic. In consequence of all of these, the middle classes, carriers of the project of modernity, were stillborn. The Causes of Decline identified, the solutions were correspondingly three: the promotion of the scientific spirit of enquiry; federative government; and industry. With his lecture Antero answered the very question he himself had set at the heart of the concerns of the Conferences: Modernity as Europe, Europe as telos. Nesta conferência de 27 de Maio, segunda da série de Conferências Democráticas promovidas no Casino Lisbonense de Maio a Junho de 1871 por elementos da nova geração de intelectuais portugueses que viria a ser conhecida por ‘Geração de 70’, Antero de Quental cunhou os sentidos e o fascínio que os conceitos de decadência e Europa como modernidade assumiram no debate público e político sobre o problema do atraso português e o estado da nação, quer pela sua, quer pelas gerações seguintes. Adoptando uma perspectiva de análise histórica do presente, Antero apresentou as causas do declínio como sendo três, e de três espécies: moral, política e económica. A primeira, consequência da reacção Contra-Reformista Católica cuja expressão Romana e Jesuítica se manifestou pela extinção da liberdade de consciência e autonomia das igrejas nacionais; a segunda, o advento do Absolutismo, intolerante das autonomias municipais, Cortes, e poderes rivais; a terceira, as Conquistas, espírito guerreiro e exploração do trabalho escravo que fizeram descurar a agricultura e indústria, e desprezar o trabalho. O resultado foi o desenvolvimento abortado das classes médias, agentes históricos da modernidade. Identificadas as causas da decadência, igualmente ficavam indicadas as soluções: o espírito científico, o princípio federativo, e a indústria produtiva. Com esta conferência Antero deu como resposta aos objectivos que ele próprio enunciou como problemática das Conferências a Europa como modernidade e destino.
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7.
The Modernist Movement DE ANDRADE, MÁRIO; Correll, Richard
Portuguese studies,
03/2008, Volume:
24, Issue:
1
Journal Article
Peer reviewed
In 'The Modernist Movement', the leading figure of Brazil's 1920s avant-garde generation offers a self-critical post-mortem of the modernist adventure, two decades on. Andrade first evokes the ...energy, turbulence and social character of the movement: the ambivalent relationships between the anti-bourgeois artists and intellectuals, their patrons, the paulista coffee 'aristocracy', the provincial yet cosmopolitan spirit of São Paulo, the 'folksy' conservatism of Rio de Janeiro, and the regions. He then focuses insistently on the Modernists' necessarily 'destructive' spirit of rupture, but also the principles they succeeded in putting on the agenda: the right to artistic experimentation; the modernization of artistic thinking, and the consolidation of a national consciousness. But underlying the patriotic rhetoric of 'rootedness in the land' was a chauvinist conservatism, mirroring the contorted nationalist posturing in which the debate about the language question became mired. Andrade reserves his severest criticisms for last, lamenting the Modernists' hedonist individualism and abstentionism, and their irresponsible failure to engage 'socio-politically' with the pressing realities of the day. Em ‘O Movimento Modernista’, a principal figura da geração de vanguarda dos anos 20 apresenta um balanço auto-crítico da aventura modernista, duas décadas depois. Mário evoca primeiro a energia, a turbulência e o caráter social do movimento: as relações ambivalentes entre os artistas e intelectuais anti-burgueses, seus patrocinadores, a ‘aristocracia’ cafeeira paulista, o espírito provinciano mas cosmopolita de São Paulo, o conservadorismo ‘folclórico’ do Rio de Janeiro, e as regiões. Passa a enfocar insistentemente o espírito necessariamente ‘destruidor’ dos modernistas, mas também os princípios que conseguiram colocar na pauta: o direito à pesquisa artística; a modernização do pensamento artístico, e a consolidação de uma consciência nacional. Mas subjacente à retórica patriota de ‘enraizamento na terra’ se encontrava um conservadorismo ufanista que refletia também as contorções nacionalistas em que se afundou o debate em torno da questão da língua. Mário guarda para o final a crítica mais severa, lamentando o individualismo hedonista e o abstencionismo dos modernistas, que se esquivaram irresponsavelmente de comprometer-se ‘socio-politicamente’ com as questões prementes do dia.
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A representation of a male figure sitting on a bench. In the original, it is posslble to lift the trunk upwards. there are illustrations of various organs around him.
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