Bilingualism (Multilingualism) in the Balkans: Bulgarian and Macedonian Exemplification

Bilingualism (Multilingualism) in the Balkans: Bulgarian and Macedonian ExemplificationThe paper attempts to find a broader language and identity context for the output of Grigor Prličev (1830/31–1893), out of an obligation created by the first Polish translation of his poem Skanderbeg (1862, Σκενδέρμπεης), by Małgorzata Borowska (Colloquia Humanistica 10, 2021). Prličev’s dramatic language and identity choices had their roots in the multilingualism in the Balkans, and a complete change of civilisational and cultural orientation in Balkan cultures during the nineteenth century. The Bulgarian and Macedonian exemplification is preceded by a Serbian illustration with some references to the Greek.Problem bilingwizmu (wielojęzyczności) na Bałkanach. Egzemplifikacja bułgarska i macedońskaNiniejszy artykuł jest w istocie próbą znalezienia szerszego językowo-tożsamościowego kontekstu dla twórczości Grigora Prličeva (1830/31–1893), do czego zobowiązuje pierwszy polski przekład jego drugiego poematu Rzecz o Skanderbegu (1862, Σκενδέρμπεης), którego autorką jest Małgorzata Borowska („Colloquia Humanistica” 10, 2021). Dramatyczne wybory językowo-tożsamościowe Prličeva zakorzenione w wielojęzyczności Bałkanów w XIX wieku, były pochodną całkowitej zmiany orientacji cywilizacyjno-kulturowej w kulturach bałkańskich. Egzemplifikacja bułgarska i macedońska została poprzedzona ilustracją serbską z pewnymi odniesieniami do greckiego kontekstu.

Review of the monograph: V.E. Golovchiner, T.L. Vesnina. Comic features in plays by M. Bulgakov in the 1920-ies. Tomsk: Izd-vo Tom. un-ta, 2021, 140 p. ISBN 978-5-7511-2628-5

The present review is devoted to monograph by Valentina E. Golovchiner and Tatiana L. Vesnina Comic features in plays by M. Bulgakov in the 1920s, which examines the dramatic language of Bulgakovs plays through the prism of the artistic and journalistic genre of feuilleton. The author comes to the conclusion that the published monograph is a major study of the actual problem of constructing an artistic language and contains significant theoretical and practical results that can be used in the scientific and educational activities of teachers, teachers, students, graduate students and doctoral students.

Aposiopesen und Ellipsen

The article examines the rhetorical devices of aposiopesis (broken-off speech) and ellipsis (omission of words) in dramatic texts of the »Sturm und Drang« movement as well as in examples of 21st-century drama. The main focus is on what is spoken in the mode of ›silent language‹. The analysis of 18th-century dramatic texts (Lenz and Goethe) draws on the anthropological and poetological writings of the time, which show that the presence of the unspeakable in dramatic language is primarily a matter of the »excitation of the soul« (Herder). In contemporary drama, on the other hand, no generalisable function for the abruption of speech or the effect of standing still can be determined; the lack of movement in these dramatic texts serves to highlight alienated human relationships (Thomas Arzt) and displays existential dissolutions of meaning (Ewald Palmetshofer).

Expressing the Bewilderment of the Modern Man through Silence in Samuel Beckett’s Happy Days

Samuel Beckett’s Happy Days (1961) clearly portrays a lack of communication among the characters of the play which refers to the condition of modern man. This failure of communication led Samuel Beckett to use a lot of pauses and silences in all plays written instead of using words. To express the bewilderment of the modern man during the 20th century, Beckett adopts the use of no language strategy in the dramatic works. After World War II, people were without hope, religion, food, jobs, homes, or even countries. Beckett gave them a voice. He used a dramatic language out of everyday things, in which silence was part of the syntax as a poetic repetition. Language is no more important to the modern man; instead, he used silence to express his feelings. For him, silence is more powerful than the words themselves. That’s why; long and short pauses can be seen throughout all Beckett’s plays. In this play, the characters chose not to communicate; instead, they kept silent because they failed to interact with each other or even with themselves. The nature of this study is qualitative and objective; it textually analyzes the text to show the state of the modern man during 20th century. As a conclusion, one can say that Beckett’s use of pauses and silences was to express the bewilderment of the modern man and the inner conflict inside of him. Moreover, the modern man has lost his communication with other people as a result of that conflict.

SOCIOLINGUISTIC CONCEPTS OF K.MUKHAMEDZHANOV

The article deals with the socio-linguistic concept of eminent writer, playwright and translator Kaltai Mukhamedzhanov in the field of state language status, its role as mother tongue, the normalization of the literary language, the purity of the language, language culture, language ecology, language policy. These problems are analyzed in the article dividing them into three areas. The first is the problem raised in the writer's dramatic works in the field of language purity and its ecology. The second is the writer's statements and concepts regarding the dramatic language of writers, the stage language, the scope of the actor's use of the language on stage, and the Director's responsibility for the language culture. The third is sociolinguistic concepts of a public figure regarding the role and significance of language in society, in the sphere of language policy, and in the development of language as a state language in the territory of our Republic.

‘To reforme a frame’: The 1602 translation of Il pastor fido and Elizabethan theatrical publishing

In the history of translation, it is often the case that one version of a popular book becomes so well-known that it tends to eclipse the efforts of all previous and subsequent practitioners. Richard Fanshawe’s 1647 translation of Giovanni Battista Guarini’s pastoral play, Il pastor fido, has led scholars to overlook the virtues of an earlier version, attributed to Tailboys Dymock and published in 1602. This article argues that this edition, and the book that introduced it to late-Elizabethan London, should be regarded as an important document in the development of English dramatic language and English theatrical publishing.

Heidegger, Martin (1889–1976)

Martin Heidegger taught philosophy at Freiburg University (1915–23), Marburg University (1923–8), and again at Freiburg University (1928–45). Early in his career he came under the influence of Edmund Husserl, but he soon broke away to fashion his own philosophy. His most famous work, Sein und Zeit (Being and Time) was published in 1927. Heidegger’s energetic support for Hitler in 1933–4 earned him a suspension from teaching from 1945 to 1950. In retirement he published numerous works, including the first volumes of his Collected Edition. His thought has had strong influence on trends in philosophy ranging from existentialism through hermeneutics to deconstruction, as well as on the fields of literary theory and theology. Heidegger often makes his case in charged and dramatic language that is difficult to convey in summary form. He argues that mortality is our defining moment, that we are thrown into limited worlds of sense shaped by our being-towards-death, and that finite meaning is all the reality we get. He claims that most of us have forgotten the radical finitude of ourselves and the world we live in. The result is the planetary desert called nihilism, with its promise that an ideally omniscient and virtually omnipotent humanity can remake the world in its own image and likeness. None the less, he still holds out the hope of recovering our true human nature, but only at the price of accepting a nothingness darker than the nihilism that now ravishes the globe. To the barely whispered admission, ‘I hardly know anymore who and where I am’, Heidegger answers: ‘None of us knows that, as soon as we stop fooling ourselves’ ([1959a] 1966: 62). Yet he claims to be no pessimist. He merely wants to find out what being as such means, and Being and Time was an attempt at this. He called it a fundamental ontology: a systematic investigation of human being (Dasein) for the purpose of establishing the meaning of being in general. Only half of the book – the part dealing with the finitude and temporality of human being – was published in 1927. Heidegger elaborated the rest of the project in a less systematic form during the decades that followed. Heidegger distinguishes between an entity (anything that is) and the being of an entity. He calls this distinction the ‘ontological difference’. The being of an entity is the meaningful presence of that entity within the range of human experience. Being has to do with the ‘is’: what an entity is, how it is, and the fact that it is at all. The human entity is distinguished by its awareness of the being of entities, including the being of itself. Heidegger names the human entity ‘Dasein’ and argues that Dasein’s own being is intrinsically temporal, not in the usual chronological sense but in a unique existential sense: Dasein ek-sists (stands-out) towards its future. This ek-sistential temporality refers to the fact that Dasein is always and necessarily becoming itself and ultimately becoming its own death. When used of Dasein, the word ‘temporality’ indicates not chronological succession but Dasein’s finite and mortal becoming. If Dasein’s being is thoroughly temporal, then all of human awareness is conditioned by this temporality, including one’s understanding of being. For Dasein, being is always known temporally and indeed is temporal. The meaning of being is time. The two main theses of Being and Time – that Dasein is temporal and that the meaning of being is time – may be interpreted thus: being is disclosed only finitely within Dasein’s radically finite awareness. Heidegger arrives at these conclusions through a phenomenological analysis of Dasein as being-in-the-world, that is, as disclosive of being within contexts of significance. He argues that Dasein opens up the arena of significance by anticipating its own death. But this event of disclosure, he says, remains concealed even as it opens the horizon of meaning and lets entities be understood in their being. Disclosure is always finite: we understand entities in their being not fully and immediately but only partially and discursively; we know things not in their eternal essence but only in the meaning they have in a given situation. Finite disclosure – how it comes about, the structure it has, and what it makes possible – is the central topic of Heidegger’s thought. ‘Time is the meaning of being’ was only a provisional way of expressing it. Dasein tends to overlook the concealed dimension of disclosure and to focus instead on what gets revealed: entities in their being. This overlooking is what Heidegger calls the forgetfulness of the disclosure of being. By that he means the forgetting of the ineluctable hiddenness of the process whereby the being of entities is disclosed. He argues that this forgetfulness characterizes not only everyday ‘fallen’ human existence but also the entire history of being, that is, metaphysics from Plato to Nietzsche. He calls for Dasein resolutely to reappropriate its own radical finitude and the finitude of disclosure, and thus to become authentically itself.

Mechanisms in Harold Pinter’s The Caretaker

Harold Pinter has explored human subjectivity and the process of its development especially in the domain of language in his play The Caretaker. He has used the dramatic language in the traditional sense. He chose to capture everyday speech and has rendered an authentic reality of life through his overturned use of language. As in real life, he has focused on the vocal elements such as silence, pause, and repetition and has used them in the statements. The paper focuses on these statements and discusses the concepts of psychosis or neurosis of the characters in their conversation with others wittily.