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Priznavanje vpliva, umik od ikone: Kafka v esejih Maura Covacicha in Giorgia Fontane
No full textIl saggio come forma di scrittura critica e riflessiva non rigidamente strutturata, basata tanto sull’erudizione dell’autore quanto su eventuali esperienze personali, ha una lunga storia e continua a essere praticata, ma ha goduto di una particolare fortuna nel ventesimo secolo proprio per la rinuncia del pensiero della tarda modernità a una visione totalizzante del reale. L’articolo riprende dapprima le tesi espresse da alcuni noti teorici della letteratura, come Lukács e Adorno, e di critici letterari, come l’italiano Berardinelli, che hanno cercato di delineare le caratteristiche del saggio, le sue molteplici finalità e anche le differenti modalità di realizzazione. Trattandosi di un genere poco codificato, il singolo saggista sceglie infatti di lasciare più o meno spazio alla soggettività, di impostare il discorso in forma ipotetica o di ancorarsi, al contrario, a dati provati, così come può mirare a fini caso per caso diversi: a volte gnoseologici, altre volte didattici e spesso anche polemici. Nell’articolo si mostra poi, attraverso un’analisi comparata, la diversità di intenti e di impostazione poetologica e discorsiva di due recenti lavori saggistici dedicati a Kafka, proposti da due scrittori italiani contemporanei, Mauro Covacich e Giorgio Fontana. Il testo dell’uno (Kafka, 2024) ha un taglio allo stesso tempo biografico e autobiografico, e le osservazioni espresse sulla poetica kafkiana vengono collegate a dinamiche psicologiche, mentre il testo dell’altro (Kafka. Un mondo di verità, 2024) ha una impostazione più analitica e un intento polemico: il suo autore mira a ribaltare posizioni divenute quasi dei luoghi comuni sullo scrittore ceco e ci propone così una lezione di metodo. Dal confronto emergono quindi delle sollecitazioni a riflettere sulla varietà di approccio che può ricevere, e ripetutamente riceve, il genere «saggio».The essay, as a form of critical and reflective writing that is not rigidly structured, relies both on the author’s erudition and, where applicable, personal experiences. It has a long history and continues to be relevant, but it enjoyed particular prominence in the twentieth century due to its rejection of a totalising view of reality in late-modern thinking. The article first revisits the theses of prominent literary theorists, such as Lukács and Adorno, and literary critics, such as the Italian Berardinelli, who have sought to outline the characteristics of the essay, its manifold purposes, and its diverse modes of realisation. As a loosely codified genre, individual essayists choose to give more or less space to subjectivity, to frame their discourse hypothetically or anchor it in verified data, and to pursue aims that vary from case to case: sometimes epistemological, sometimes didactic, and often polemical. Through a comparative analysis, the article then highlights the diversity of aims and poetological and discursive approaches in two recent essays on Kafka by contemporary Italian writers, Mauro Covacich and Giorgio Fontana. Covacich (Kafka, 2024) adopts a simultaneously biographical and autobiographical approach, linking observations on Kafka’s poetics to psychological dynamics, while Fontana (Kafka. A World of Truth, 2024) is more analytical and polemical in intent: its author seeks to overturn near-commonplace views about the Czech writer, offering a lesson in methodology. The comparison thus prompts reflection on the variety of approaches that the essay genre can, and repeatedly does, accommodate. Esej je kritična in refleksivna oblika pisanja, ni strogo strukturiran in temelji tako na avtorjevem znanju kot na njegovih morebitnih osebnih izkušnjah. Ima dolgo zgodovino in ostaja prisoten tudi danes, še posebej pa je bil priljubljen v 20. stoletju prav zaradi umika poznomodernega mišljenja od celovitega dojemanja realnosti. Članek najprej povzame teze nekaterih znanih literarnih teoretikov, kot sta Lukáks in Adorno, ter literarnih kritikov, kot je Italijan Berardinelli, ki so poskušali opredeliti značilnosti eseja, njegove številne namene in različne oblike. Ker gre za žanr, ki ni strogo kodificiran, se lahko posamezen esejist odloči, da bo pustil več ali manj prostora za subjektivnost, da bo razpravo oblikoval v hipotetični obliki ali pa jo zasnoval na preverjenih podatkih; prav tako so lahko od primera do primera izpostavljeni različni nameni, včasih gnoseološki, drugič didaktični, pogosto pa tudi polemični. Članek s pomočjo primerjalne analize poudarja raznolikost namenov ter poetoloških in diskurzivnih pristopov dveh novejših esejističnih del o Kafki, ki sta ju napisala sodobna italijanska pisatelja Mauro Covacich in Giorgio Fontana. Covacichev esej (Kafka, 2024) je hkrati biografski in avtobiografski, pri čemer se njegova opažanja o Kafkovi poetiki povezujejo s psihološkimi procesi. Fontanov esej (Kafka. Un mondo di verità, 2024) pa je bolj analitičen in polemičen, saj si prizadeva ovreči skorajda že splošno sprejeta prepričanja o češkem pisatelju in je tako zlasti metodološko naravnan. Primerjava torej spodbuja razmislek o raznolikosti pristopov, ki jih lahko zavzame in jih dejansko zavzema žanr eseja
Knafelj Scholarship Students of Mathematics and Natural Sciences at the University of Vienna between 1872 and 1890
No full textNa podlagi arhivskega gradiva, ki ga hrani Univerzitetni arhiv na Dunaju, je identificiranih petnajst študentov matematike in naravoslovnih smeri, ki so bili v obdobju 1872–1890 Knafljevi štipendisti. Analizirani so biografski podatki študentov, pregled vpisanih predmetov po smereh, prejemanje drugih štipendij ter delna rekonstrukcija njihovega nadaljnjega življenja. Večina obravnavanih Knafljevih štipendistov je poučevala kot gimnazijski učitelji tako na slovenskem ozemlju kakor v drugih deželah avstro-ogrske monarhije. Štirje so bili tudi ravnatelji, in sicer v Ljubljani, Kranju in Kopru. Obravnavani posamezniki so pomembno prispevali k razvoju gimnazijskega izobraževanja in promocije znanosti na področju matematike in naravoslovnih smeri, tudi z izdajanjem učbenikov v slovenskem jeziku, nekateri so bili aktivni tudi na drugih družbenih področjih.According to archival material stored at the Vienna University Archives, fifteen students of mathematics and natural sciences who received the Knafelj scholarship between 1872 and 1890 have been identified. This article analyses students’ biographical data of the students and provides an overview of the subjects they enrolled in, the other scholarships they received, as well as a partial reconstruction of their careers. Most of the Knafelj scholarship recipients later worked as high school teachers, both in Slovenia and in other regions of the Austro-Hungarian Empire. Four of them were also headmasters in Ljubljana, Kranj and Koper. The individuals also made important contributions to the development of secondary education and the promotion of learning in the fields of mathematics and the natural sciences, in particular through the publication of textbooks in Slovenian, while others contributed to wider society in other ways too
Between Vienna and Ljubljana: The Activities of the Branch of the Austrian Art Society in Carniola
No full textČlanek obravnava dejavnost ljubljanske podružnice Avstrijskega umetnostnega društva (Österreichischer Kunstverein) na Kranjskem med letoma 1852 in 1877 ter jo umešča v širši kontekst umetnostnih društev v habsburški monarhiji. Avstrijsko umetnostno društvo, ustanovljeno na Dunaju leta 1850, je bilo eno osrednjih orodij meščanskega kulturnega udejstvovanja v 19. stoletju, saj je prek mreže regionalnih podružnic (v Gradcu, Brnu, Celovcu, Ljubljani idr.) omogočilo kroženje umetnin po vsej monarhiji. Ljubljanska podružnica, ustanovljena leta 1852, je pomenila prvi poskus sistematičnega institucionalnega oblikovanja javnega umetnostnega življenja na Kranjskem. Z razstavami, umetnostnimi loterijami in članstvom, ki je povezovalo umetnike, uradnike, industrialce in plemstvo, je omogočila neposreden stik meščanskega občinstva z umetnostjo.
Raziskava temelji predvsem na analizi sočasnega nemškojezičnega časopisja (Laibacher Zeitung, Laibacher Tagblatt) in dopolnilno na arhivskih virih, pri čemer razkriva dve fazi delovanja podružnice: prvo, kratkotrajno obdobje med letoma 1852 in 1854 ter drugo, intenzivnejše med letoma 1863 in 1877. V tem času je društvo v Ljubljani pripravilo vrsto razstav, na katerih so prevladovala dela dunajskih in nemških umetnikov, zlasti krajinarjev in žanrskih slikarjev, kar je ustrezalo okusu premožnega meščanstva. Udeležba domačih umetnikov je bila skromna; med njimi izstopa slikar Anton Karinger, ključna osebnost ljubljanske podružnice ter povezovalni člen med Ljubljano in Dunajem.
Podružnica je imela pomembno vlogo tudi pri razvoju umetnostne kritike in pisanja o umetnosti v Ljubljani, saj so razstave spremljala obširna časopisna poročila, ki so meščanskemu občinstvu približevala mednarodno likovno umetnost. Društvo je s tem prispevalo k oblikovanju umetnostne javnosti ter širjenju estetskega in kulturnega obzorja lokalne družbe. Vendar pa so k njegovemu postopnemu zatonu po letu 1870 z različno intenziteto verjetno prispevali različni dejavniki: smrt Antona Karingerja, šibka institucionalna podpora, omejeno število aktivnih umetnikov, majhno zanimanje meščanstva za nakup umetnin in gospodarska kriza po letu 1873. Zadnje razstave podružnice so bile posvečene t. i. senzacijskim slikam, ki so sledile evropskim modnim tokovom in obenem nakazovale spremembo v razumevanju umetnosti kot javnega spektakla.
Čeprav je bila življenjska doba ljubljanske podružnice razmeroma kratka, je njeno delovanje pomenilo pomemben prelom v umetnostnem življenju na Kranjskem. Vpeljalo je nove oblike razstavljanja in meščanskega razvedrila ter oblikovalo zametek trga umetnin in poročanja o umetnosti. Prispevek tako osvetljuje doslej spregledano poglavje kulturne zgodovine Ljubljane ter ga umešča v širši srednjeevropski okvir razmerja med umetnostnim središčem in periferijo v 19. stoletju.The article examines the activities of the Ljubljana branch of the Austrian Art Society (Österreichischer Kunstverein) in Carniola between 1852 and 1877, situating it within the broader context of art societies in the Habsburg Monarchy. Founded in Vienna in 1850, the Austrian Art Society was one of the key instruments of bourgeois cultural engagement in the nineteenth century. Through its network of regional branches (in Graz, Brno, Klagenfurt, Ljubljana, and elsewhere), it facilitated the circulation of artworks throughout the Monarchy. Established in 1852, the Ljubljana branch represented the first systematic attempt to organize public artistic life in Carniola. Through exhibitions, art lotteries, and a socially diverse membership that included artists, officials, industrialists, and members of the nobility, the branch brought art closer to the urban middle class.
The research is based primarily on an analysis of contemporary German-language newspapers (Laibacher Zeitung, Laibacher Tagblatt), complemented by archival sources, and reveals two distinct phases in the branch’s activity: an initial, short-lived period between 1852 and 1854, and a second, more intensive phase between 1863 and 1877. During these years, the Society organized annual exhibitions in Ljubljana, dominated by works by Viennese and German artists—especially landscapes and genre scenes— which reflected the aesthetic preferences of the bourgeois audience. The participation of local artists was modest; among them, the painter Anton Karinger stood out as the leading figure of the Ljubljana branch and an important link between Ljubljana and Vienna.
The Ljubljana branch also played a crucial role in the development of art criticism and art journalism in the region, as its exhibitions were accompanied by extensive press coverage that familiarized the local public with international art. In doing so, the Society contributed to the formation of an informed art audience and to the expansion of the city’s cultural and aesthetic horizons. Nevertheless, several factors, of varying intensity, led to the branch’s decline after 1870: the death of Anton Karinger, weak institutional support, the limited number of active artists, low interest among the bourgeois public in purchasing artworks, and the economic crisis following the 1873 stock market crash. The final exhibitions in the 1870s, devoted to Sensationsbilder (sensational paintings), reflected both European exhibition fashions and a shift toward understanding art as a form of public spectacle.
Although short-lived, the Ljubljana branch of the Austrian Art Society represented a significant turning point in the artistic life of nineteenth-century Carniola. It introduced new forms of exhibition and bourgeois entertainment, helped shape an early art market as well as art reporting. The article thus sheds light on a previously overlooked chapter of Ljubljana’s cultural history and places it within the broader Central European framework of relations between artistic centers and peripheries in the nineteenth century
Analogija vode v izbrani emiratski prozi: Nov medbesedilni in stilistični pristop
No full textThis paper critically examines the stylistic and narrative structures of selected novels and stories by UAE authors through the lens of contemporary intertextuality theories to explore the significance of incorporating water motifs in modern Emirati fiction. The paper argues that contemporary Emirati writers have borrowed various patterns of water-related discourses deeply rooted in popular culture and the local history of the Arabian Gulf region, integrating them into their literary works for thematic and aesthetic purposes. The paper analyzes renowned works such as Shahinda by Rashid Abdullah, The Sword and the Flower and The Trilogy of Love, Water, and Dust by Ali Abu Al-Reesh, The Scent of Ginger by Salha Ghabesh, and On the Edge of Day by Abdul Hamid Ahmad to investigate the sophisticated use of intertextuality in the indigenous maritime literature of the UAE. By employing intertextuality as a literary device, notable Emirati authors use water--in its various forms--as a central motif in their fiction to strengthen national identity, uphold domestic traditions, and reconstruct a heritage jeopardized by modernization and globalization.Članek kritično preučuje slogovne in pripovedne strukture izbranih romanov in zgodb avtorjev iz ZAE skozi prizmo sodobnih teorij intertekstualnosti, da bi raziskal pomen vključevanja motiva vode v sodobno emiratsko leposlovje. Avtor trdi, da so si sodobni emiratski pisatelji izposodili različne vzorce z vodo povezanih diskurzov, ki so globoko zakoreninjeni v ljudski kulturi in lokalni zgodovini regije Arabskega zaliva in ki so jih iz tematskih in estetskih vzrokov vključili v svoja literarna dela. Članek analizira znana literarna dela, kot so Shahinda Rashida Abdullaha, The Sword and the Flower in The Trilogy of Love, Water, and Dust Alija Abuja Al-Reesha, The Scent of Ginger Salha Ghabesha in On the Edge of Day Abdula Hamida Ahmada, da bi pokazal prefinjeno uporabo intertekstualnosti v avtohtoni literaturi ZAE povezani z motivom vode. Z uporabo intertekstualnosti kot literarnega sredstva vidni emiratski avtorji namreč uporabljajo vodo - v njenih različnih oblikah - kot osrednji motiv v svojem leposlovju, da bi okrepili nacionalno identiteto, ohranili domače tradicije in obnovili dediščino, ki sta jo ogrozili modernizacija in globalizacija
Digitalni diskurz: Koristi za pouk španščine kot tujega jezika
No full textEn la enseñanza de ELE proliferan los prejuicios sobre la lengua que deben aprender los estudiantes y la manera en que han de hacerlo. Metodológicamente, se pasó de un enfoque elitista y centrado casi de modo exclusivo en la lengua escrita, a otros que, bajo la premisa de la comunicatividad, proscribían la gramática. También, con frecuencia, se priorizó el español normativo frente a cualquier registro coloquial, y el español normativo, al de cualquiera de las otras variantes. De la misma forma, los ejercicios estructurales de huecos, o las actividades lúdicas (por acudir al antagonismo extremo) se han encontrado con las reconvenciones de teóricos de la enseñanza de segundas lenguas.
Parece obvio que estas mismas renuencias se hallarán también al abordar en ELE el discurso digital que, sin embargo, ofrece una serie de virtudes que se pretenden tratar en este artículo; entre otras, el acercamiento a una manera de usar el español que resulta cada vez más popular, pero también en un ámbito perfectamente conocido por los nativos digitales, que están habituados a utilizar su propia lengua en esos entornos.In the teaching of Spanish as a Foreign Language (ELE), numerous prejudices persist regarding both the type of language students should learn and the methods by which they should learn it. Methodologically, the field has shifted from an elitist focus on written language to approaches emphasizing communicative competence, at times minimizing or excluding grammar instruction. Likewise, normative Spanish has often been prioritized over colloquial registers, and northern Peninsular Spanish over other varieties. Structural gap-filling exercises, as well as playful or game-like activities, have also faced criticism from scholars in second language acquisition.
Similar resistance can be expected when introducing digital discourse into Spanish as a Foreign Language instruction. Nevertheless, this type of discourse offers several advantages, which this article aims to explore – including access to a variety of Spanish increasingly used in real communicative contexts and the opportunity to engage learners in spaces already familiar to digital natives, who routinely employ their own language in such environments.Pri poučevanju španščine kot tujega jezika se pogosto pojavljajo pomisleki glede različice jezika, ki naj bo predmet poučevanja, in načinov njegovega usvajanja. Metodološko gledano se je zgodil premik od elitističnega pristopa, osredotočenega skoraj izključno na pisni jezik, h komunikativnim pristopom, ki pa so slovnico postavljali v ozadje. Prav tako so pogosto izpostavljali knjižni jezik pred pogovornimi registri. Na podoben način so se s kritikami teoretikov soočale strukturalistične vaje, pri katerih vstavljamo manjkajoče oblike, in druga skrajnost, kot je igrivo učenje.
Zdi se logično, da se bodo podobni zadržki pojavili tudi pri vključitvi spletnega diskurza v učenje španščine kot tujega jezika. Vendar pa je treba izpostaviti številne prednosti, ki jih tovrstna vključitev prinaša, med drugim omogoča usvajanje vse bolj razširjene različice španskega jezika, hkrati pa to poteka v okolju, v katerem se spletni uporabniki že uspešno sporazumevajo v svojih jezikih
Učenčev idealni jaz v drugem jeziku in dojemanje lastnih komunikacijskih kompetenc: Primer kitajskih učencev indonezijskega jezika kot drugega jezika
Get PDFDespite the growing popularity of the Indonesian language among non-Indonesians and the abundance of research on individual differences in second/foreign language (L2) learning, there is a scarcity of studies investigating the role of individual difference factors among learners of BIPA (Indonesian Language for Foreign Speakers). The present study intends to examine BIPA learners’ Ideal L2 Self (IL2S) and Self-Perceived Communicative Competence (SPCC) in the Indonesian language. It also seeks to investigate how the learners’ IL2S influenced their SPCC. To achieve this, the study examined a group of BIPA learners from China. Using a survey method with paper-based questionnaires, this study found that the participants reported high levels of both IL2S and SPCC. The high IL2S level could be attributed to the possibility that these learners were high-achieving, considering they had been shortlisted for a BIPA programme in Indonesia, and that they perceived Indonesian as a relatively easy language to learn. The high SPCC level may be attributed to the learners’ having specific goals in learning the language and to the Indonesian language exposure they gained during their immersive BIPA programme. This study also found that the participants’ IL2S significantly predicted their SPCC, explaining 42.8% of the total variance in their SPCC. The pedagogical implications include enhancing the relevance of BIPA courses to aid the development of learners’ IL2S, which may lead to a more positive perception of communicative competence in the language. This study could provide an overview of BIPA learners’ IL2S and SPCC. It may prepare the ground for further relevant studies on the roles of these two affective factors in the L2 learning of the Indonesian language.Kljub vse večji priljubljenosti indonezijskega jezika med Neindonezijci in številnim raziskavam o posameznih razlikah pri učenju drugega/tujega jezika (J2) je raziskav o vlogi dejavnikov posameznih razlik med učenci BIPA (indonezijskega jezika za tuje govorce) zelo malo. Namen prispevka je proučiti idealni jaz v drugem jeziku (IJJ2) in dojemanje lastnih komunikacijskih kompetenc (DLKK) pri učencih BIPA ter ugotoviti, kako učenčev IJJ2 vpliva na njegovo dojemanje lastnih komunikacijskih kompetenc. V ta namen smo analizirali skupino kitajskih učencev BIPA. Ti so v papirnatih vprašalnikih svoj IJJ2 in DLKK ocenili z visoko oceno. Visoka ocena IJJ2 bi lahko bila posledica uspeha anketirancev, saj so bili izbrani za program BIPA v Indoneziji; poleg tega so anketiranci indonezijski jezik dojemali kot relativno enostaven. Visoko oceno DLKK je mogoče pripisati temu, da so si anketiranci pri učenju jezika postavili določene cilje in da so bili v času programa BIPA izpostavljeni indonezijskemu jeziku. Rezultati raziskave kažejo tudi, da učenčev IJJ2 pomembno vpliva na njegovo dojemanje lastnih komunikacijskih kompetenc, kar je vzrok za 42,8-odstotno varianco v ocenah DLKK. Ti izsledki lahko pripomorejo k izboljšanju pedagoškega dela s povečanjem relevantnosti tečajev BIPA za še boljši razvoj učenčevega IJJ2, kar lahko vodi k bolj pozitivnemu dojemanju lastnih komunikacijskih kompetenc. Prispevek ponuja pregled IJJ2 in DLKK pri učencih BIPA; kot tak je lahko podlaga za nadaljnje raziskave o vlogi obeh afektivnih dejavnikov pri učenju indonezijskega jezika kot drugega jezika