Literary magazines

Este artículo discutirá la participación de las voces femeninas en la producción y debate de la cultura chilena en el exilio en quizás la más importante y prestigiosa publicación de este tipo: la revista Araucaria de Chile publicada en Francia y España entre 1978 y 1989. Al analizar la presencia, ausencia y/o co-optación de la creación y reflexión de las mujeres sobre la cultura chilena, la violencia política y la violación a los derechos humanos, pretendemos demostrar si existe o no una marginación de sus voces en dicha revista. Por esto, esta publicación será estudiada en un doble contexto: en primer lugar, en relación a las batallas por la justicia y verdad de las violaciones a los derechos humanos en Chile que causaron tensiones entre discursos oficiales y civiles acerca del significado del régimen militar para el país y, en segundo lugar, en relación al pensamiento feminista que influyó profundamente a las mujeres chilenas exiliadas en Europa en las décadas de los 70 y 80 (periodo que coincide con la publicación de Araucaria de Chile en Francia y España).

INTRODUCTION

      MOSHE BENARROCH
        The Poetry of Rochelle Mass

  CONTENTS
 
      THE POEMS OF ROCHELLE MASS

        I
 
        Looking for the Source
        February: Kitsilano Beach
        Winter
        Between the shutter slats
        Waiting for a message
        Summer is in the making
        Home is where you go
        When things happen
        Timing
        Jerusalem in August
        The New Year
        Winter-trapped
        A reminder
 
 
        II
 
        2 nights and a day
        Like a compass bound for north
        What one man needs
        Send my love to Steven
        The riot has begun
        I know a man
        What people say
        Where's my Home
        The 4th of July
        Dignity
        Like a Hollyhock
        High Noon
        Rising to the Surface
        You ask
 
 
        III
 
        This month
        East
        Holding the earth
        Strawberries from Gaza
        A Place in Africa
        On the train
        Yom Kippur: England
 
 
        IV
       
        Vinegar and wet paper bag
        Suddenly I was 16
        A Printer to the King
        Stored Time
        Controlling Memories
        Wiping away the signs
        A Trade
        A trench for five
        Paying respects
        Into a war
        Fresh Asparagus
        Birthing
 

      POST SCRIPTUM

        Rochellle Mass
            Publishing acknowledgements

The Economy Magazine was an online literary journal that ran from 2012-2015. During this time, the magazine published some of the most important and exciting voices in poetry, fiction, and visual art.

THE ECONOMY MAGAZINE ANTHOLOGY includes work by:

Rae Armantrout
Brooklyn Copeland
Schuyler Dickson
Emily Kendal Frey
Annelyse Gelman
Chloe Honum
Fanny Howe
Douglas Kearney
Nate Klug
Rickey Laurentiis
Anthony Madrid
Michael Martone
Ange Mlinko
Allan Peterson
Christina Pugh
Michael Robbins
Jacob Saenz
Joshua Marie Wilkinson
Christian Wiman

Editor: Anthony Opal

Dobl Benk is a literary journal that publishes creative non-fiction and poetry. Submissions are drawn primarily from student work at the University of Belize. Guest contributions are welcome.

The journal’s aim is to provide an outlet and forum to display student work. Other objectives include fostering literary and artistic production, constructive critical dialogue, and the dissemination of the arts.

Socorro Venegas es una de las más importantes voces de la literatura actual. Novelista y cuentista, se inserta en la con-versación literaria con una obra siempre cercana al aliento poético e historias que revelan verdades terribles de la naturaleza humana.

Abstract: This essay explores the encounter between Latin American indigenismo and avant-garde movements such as Futurism through an analysis of avant-garde literary magazines and Peruvian avant-garde poetry with Futurist tendencies. The first section begins with the Amauta magazine (1926-30), edited by the Peruvian Marxist José Carlos Mariátegui (1894–1930), who promoted an indigenous agenda while also censuring and applauding Futurism. The second section briefly investigates the Chilean literary journal Nguillatún (1924), whose founding manifesto toyed with Futurist principles while simultaneously turning to Chile’s indigenous culture. In addition, I analyse Gamaliel Churata’s Boletín Titikaka (1926-29), which promoted linguistic experimentation with indigenous languages in the form of parole in libertà as a way to reclaim Andean indigenous identity. In the final section, I analyse some Peruvian avant-garde poets who used indigenous, nativist and Futurist themes (especially transportation and technology). While all of these projects applauded the return of the ‘autochtone’ within the ‘national’ as a way to promote a ‘New-World avant-garde’, Futurist, indigenous and nativist themes were not always a compatible mixture. The avant-garde primarily promoted a spirit of innovation in the Peruvian Andes, and also provided a platform from which to promote indigeneity. I argue that Latin American indigenismo allowed for Futurist and avant-garde aesthetics to permeate the social sphere by insisting on social concerns while promoting an international artistic programme.

Literature not only as a work that is imaginative, but the work is able to create the conditions to think critically. The events that happened when present, past, and future is the creation of opportunities in critical thinking, because in general there was a phenomenon that makes a person able to think critically by revealing statement full of ideas. The development of critical thinking person's condition supported media for their role in publishing, whether in print or electronic. In this paper, focusing on print media such as magazines, namely the literary magazine Horison. Horison presence as a literary magazine in the middle of the communities are pivotal to cultivate the habit of reading and writing (literacy) would be supported by the ability to think critically. The works were published in between poems, short stories, drama, literary essays, literary criticism and cultural records. All the work has potential in voicing literacy. However, literary criticism more subjective
kind of thinking that both readers and writers based on the phenomenon that is growing, so the ideas in literary criticism is a reflection of the critical attitude of a person. Literacy became one of the main pillars in building a civilization. Reading skills can make someone rich insight and knowledge. Writing skills make a person skilled in managing and processing insight and knowledge as evidenced by the work. Published works to a size that literacy as a culture able to present and growing. Culture becomes a reflection of a nation, for a nation as more and pharmaceutics culture.

Keywords: literary criticism, horison literary magazine, cultural literacy, publication media, critical thinking

James Joyce is widely known for his radically experimental sense of style. What makes his works so difficult and complicated is rooted in the fact that he is one of the most prominent figures of literary modernism. Marking his transition from realist to modernist literature, it was his first novel A Portrait of the Artist as a Young Man (1916) where he started to challenge traditional norms of writing in both form and content. Moreover, among Joyce’s works, it was the first unabridged translation and the first novel translation into Turkish. Therefore, the discussion around Joyce’s introduction to the Turkish culture repertoire as a modernist writer was held around this particular work. This interdisciplinary research pursued a sociocultural approach to translation within the historical context by combining Pierre Bourdieu’s field theory and Itamar Even-Zohar’s polysystem theory. Firstly, genesis of the habituses of human agents were reviewed as the first Turkish translation of A Portrait of the Artist as a Young Man was initiated by the owner of De Yayınevi and Yeni Dergi, Memet Fuat, and done by Murat Belge in 1966, exactly fifty years after its publication. Secondly, the position of the literary field within the field of power was scrutinized. Accordingly, in the 1960s, there was a relatively free atmosphere in Turkey due to the new constitution and the rights and freedoms it provided. It was found out that the rise of the left during that period paved the way for the establishment of De Yayınevi and Yeni Dergi and then the radicalization of the left led to the closure of them. Thirdly, the structure of literary field itself was examined to demonstrate the general dynamics and tendencies and to contextualise De Yayınevi and Yeni Dergi in a wider frame. When the publishing activities and policies of them were scrutinized in the light of paratextual and extratextual materials, it was revealed that Memet Fuat put a specific emphasis on modernist works, whether indigenous or translated. Thus, they both addressed a special kind of audience with their mostly translated modernist content of which Joyce’s work was a part and operated with an intellectual mission rather than commercial motives. In this respect, Memet Fuat engaged in deliberate culture planning activities with a specific agenda that aspired to keep up the Turkish reader with the modern contemporary world. Finally, despite criticism and ostracism he received, by actively promoting modernist literature in a time when social realist literature dominated the literary field and offering new options to the Turkish culture repertoire by mainly publishing translated works in the 1960s, Memet Fuat emerged as a controversial agent of change.

Este trabajo pretende analizar los textos en prosa de Juan Larrea publicados en la revista Favorables París Poema (1926). Antes de ello se contextualiza el proceso de creación de la propia revista, su repercusión y su desaparición, prestando especial atención a la correspondencia entre Juan Larrea y Gerardo Diego.

This paper aims to analyse the prose by Juan Larrea which have been published in the avant-garde magazine “Favorables París Poema” (1926). Before the previously mentioned analysis, the essay will contextualize not only the making process of this magazine but also its impact and his disappearance, focusing specially on the correspondence between Juan Larrea and Gerardo Diego.

The mag a zine Meiyu 眉語 (Eyebrow Talk), published from 1914 to 1916 and edited by Gao Jianhua 高劍華, was China's first lit er ary mag a zine edited by a woman and targeted at a fe male au di ence. It was also the first mod ern mag a zine to pay ex ten sive at ten tion to nu dity and to phys i cal and ro man tic in ti macy through at times care fully con sid ered jux ta po si tions of texts and im ages. In ad di tion, it was the first Chi nese mag a zine to be banned on the ba sis of ob scen ity leg is la tion in tro duced dur ing the early Republic. The com mit tee that banned Meiyu was led by Zhou Shuren 周樹人, who later be came known as the au thor Lu Xun 魯迅, and his dis par aging rem i nis cence about Meiyu caused the mag a zine to be all but for got ten for nearly a cen tu ry. In this ar ti cle, the au thors use a wide va ri ety of ar chi val ma te rial to re con struct the com plex pub lish ing his tory of the mag a zine, as well as the pro cesses and cul tural stan dards in volved in its ban ning. This is followed by a close anal y sis of aspects of the contents of Meiyu, especially the interaction between texts and images in the representation of nudity, intimacy, and coupledom.

""By the early 1920s, “ladies magazines” (fujin zasshi) had become a distinct category in Japanese publishing. Women’s periodicals increasingly influenced intellectual discourse, the literary establishment, and daily life. Turning Pages makes sense of this phenomenon through a detailed analysis of major interwar women’s magazines, especially the literary journal Ladies’ Review, the popular domestic periodical Housewife’s Friend, and the politically radical magazine Women’s Arts. Through a close examination of their literature, articles, advertising, and art, the book explores the magazines as both windows onto and actors in this vibrant period of Japanese history.

Turning Pages considers the central place of representations of women for women in the culture of interwar-era Japan and our understanding of Japanese modernity. Taking a holistic approach to the texts and using tools of historical, literary, and cultural analysis, the author examines the triangular relationship among the consumers, the producers, and the texts themselves.

25 illustrations  (Sample Chapter Uploaded)

Μία παροιμία των Αράβων λέει ότι "Ένα βιβλίο είναι ένας κήπος που μπορείς να κουβαλήσεις στην τσέπη σου", η οποία μπορεί να παραφραστεί, στη σύγχρονη πραγματικότητα, με αξιοπρόσεκτη ακρίβεια στο "Η βιβλιοθήκη είναι ένας κήπος που μπορείς να κουβαλήσεις στην τσέπη σου". Τα νέα μέσα αποθήκευσης πληροφοριών και η τεχνολογία του διαδικτύου  δίνουν τη δυνατότητα συμπύκνωσης της ανθρώπινης γνώσης σε μεγέθη ασύλληπτα μικρά και μεγάλα, μεταβάλοντας τις, τόσο οικείες, μορφές των βιβλίων και των περιοδικών. Κατά συνέπεια, οι αλλαγές άγγιξαν και τα ίδια τα κείμενα, τον τρόπο γραφής και ανάγνωσης καθώς και την έννοια της αναγνωστικής απόλαυσης. Διαχρονικά, η λογοτεχνία αποτελεί εκείνη την πτυχή του ανθρώπινου πολιτισμού η οποία είναι σε θέση να ισχυριστεί ότι μπορεί να προσφέρει στον άνθρωπο την ποικιλομορφία του κόσμου που τον περιβάλει στην ολότητά του. Κατά τη διάρκεια της ανάγνωσης, όταν αυτή είναι προϊόν επιθυμίας και όχι εξαναγκασμού, ο χρόνος διαστέλλεται, τα χωρικά όρια καταρρέουν, η φαντασία απελευθερώνεται, η ατομική ζωή διευρύνεται, τα συναισθήματα και οι συγκινήσεις πυροδοτούνται, δημιουργούνται δηλαδή όλοι εκείνοι οι παράγοντες που αποτελούν την απόλαυση της ανάγνωσης και την καθιστούν «μία ευγενική τρέλα».

Como citar: ANDRADE, Débora. E. J.. O teatro sob os olhares da crítica :arte e civilização no Rio de Janeiro em meados do século XIX. In: PARANHOS, Kátia R Paranhos (Org.). Grupos de teatro, dramaturgos e espaço cênico:cenas fora de ordem:. Grupos de teatro, dramaturgos e espaço cênico:cenas fora de ordem:. : Mercado das letras, 2012, v. O teatro sob os olhares da crítica: arte e civilização no Rio de Janeiro em meados do século XIX Débora El-jaick Andrade A partir de meados do século XIX, a sociedade fluminense passava por um processo de transformações que está relacionado à construção da unidade e centralização do poder político em torno dos grupos dirigentes ligados ao centro sul do país. A expansão do cultivo de café a partir dos anos de 1820, favorecia novas atividades econômicas no meio urbano, dava novo incremento ao comércio, cuja prosperidade é perceptível através da oferta de produtos de luxo importados. A estabilidade política, que seguiu-se à pacificação das províncias insurretas, compreendeu a imposição do controle social por parte do governo conservador, que manteve a principal instituição do Império, a escravidão. O fim do tráfico negreiro trouxe a perpectiva de liberação de recursos e da modernização das atividades econômicas, no sentido de que sociedade brasileira estaria no caminho de se equiparar em grau de civilização às principais nações européias. Foram realizadas obras de urbanização e embelezamento da cidade, com o objetivo de adequá-la ao status de capital imperial. Ocorria ao mesmo tempo, a criação de instituições escolares, o aparecimento de profissões liberais, criando-se as condições para o surgimento da vida cultural na Corte. Nas décadas de 1830 e 1840, as famílias da boa sociedade aderiram às necessidades de lazer e divertimento, tanto para cavaleiros, como para as senhoras e senhorinhas, sobretudo os que mantivessem a família patriarcal protegida dentro dos limites do ambiente privado ou sob a vigilância paterna. Ao mesmo tempo, seguiam o modelo da sociedade rural francesa e inglesa, paradigma de civilidade e modernidade (ALENCASTRO, 1997:43). Locais de sociabilidade como saraus, bailes e recitais, regados ao som dos pianos importados não afrontavam o pudor e a boa reputação, enquanto confeitarias, livrarias, redação de jornais, clubes e associações eram locais mais frequentados por estudantes, homens de negócio e políticos. Festas populares como o entrudo, as danças de origem africana, o circo, eram divertimentos das classes mais pobres, de criados " portas afora " ou de escravos e deveriam ser evitados a todo custo. O teatro, por outro lado, consistiu durante muito tempo em um gênero de divertimento popular cada vez mais desejável para as famílias da " boa sociedade ". Mais do que tolerável, o teatro foi considerado como instrumento e termômetro de civilização.

El contexto hemerográfico en que se publicaron las primeras versiones de Trilce no se ha estudiado todavía en detalle. Este trabajo pretende señalar esa laguna y abrir una vía de investigación para futuros estudios en los que se ponga de relieve la compleja recepción de una obra que, incluso entre los miembros de la Bohemia de Trujillo, suscitó  distintas reacciones. La recreación del  impacto dispar de Trilce entre los antiguos compañeros de armas del poeta es esencial para captar la hazaña estética de Vallejo en toda su magnitud y complejidad.

En este trabajo se abordan los contenidos y las selecciones de textos y de imágenes propuestas desde las revistas De mar a mar (1942-1943) y Correo Literario (1943-1945), las cuales dan cuenta del proyecto intelectual y cultural sostenido durante esos años por parte de un grupo destacado de exiliados gallegos en Buenos Aires en su diálogo con la intelectualidad argentina y latinoamericana. En términos generales, se puede sostener que en estas revistas se encuentran presentes algunos de los ejes que atravesaron la producción editorial de los exiliados en un sentido amplio: se puede destacar así su puesta en imágenes de las tensiones y relaciones dinámicas entre modernidad y tradición, entre lo local y “universal”.

Esta monografía ofrece un análisis discursivo de la revista "Casa de las Américas" durante los años formativos de la política cultural de la Revolución Cubana hasta la fundación de un Ministerio de Cultura. En ese período la revista estuvo íntimamente vinculada con una nueva generación de escritores latinoamericanos, llamada "el boom".  Julio Cortázar y Mario Vargas Llosa formaban parte de su comité editorial al lado de críticos literarios de primera categoría como Angel Rama, Ambrosio Fornet y Roberto Fernández Retamar. El estudio dedica especial atención al período en que la revista fue dirigida por Antón Arrufat, así como al caso Padilla, al célebre ensayo Calibán,  y al funcionamiento de la revista durante el llamado Quinquenio Gris. Enriquecido por la consulta de documentos de archivo así como por entrevistas con actores protagonistas de la época, este libro propone además un modelo de análisis para otros estudios de revista al elaborar la noción de revista como género discursivo propio y desarrollar nuevos conceptos analíticos para su estudio como 'la dialogicidad implícita' y 'el enunciante'.

When Tobias Smollett founded the Critical Review in 1756, he helped make the 1750s a pivotal decade in literary history. With its inaugural issue of January-February 1756, the Critical joined what had been the only such periodical around, the innovative but uneven Monthly Review (founded in 1749), and together the two went on not only to establish the review journal as a recognised genre but to recentre the power structure of literature and publishing for at least the next fifty years. After the late 1750s, no author, reader, or publisher—no one involved in the print culture of the English-speaking world—could ignore the pervasive influence of literary review journals like the Critical Review.

Književna kroatistika i bohemistika su do danas, kada su u pitanju češko-hrvatske književne i kulturne veze u 19. stoljeću, utvrdile neka opća mjesta, svojevrsna žarišta toga odnosa, kao što su primjerice prožimanje češkog i hrvatskog narodnog preporoda, utjecaj čeških kulturnih krugova na oblikovanje hrvatskih kulturnih ustanova i književnih časopisa i na programe neknjiževne komponente hrvatskog modernističkog pokreta, utjecaj češke književnosti na dio Šenoina književnog opusa i starije hrvatske književnosti na nastanak tekstova unutar Hankinih rukopisnih falsifikata itd. Brojnost ovih općih mjesta dovela je do određenog konsenzusa unutar filoloških krugova o intenzitetu međusobnog odnosa dvaju kultura i književnosti u ovom razdoblju, a kada taj odnos posmatramo s pozicie Ďurišiinovih kriterija (etnički princip, jezični faktor, geografski kriterij, administrativni faktor, idejnopolitiki čimbenik, kriterij razvojne diferencijacije i konfesijski aspekt), dolazimo i do uporišta za na prvi pogled smjelu tezu o postojanju češko-hrvatske međuknjiževne zajednice tijekom 19. stoljeća. Ipak, do sada je napisan mali broj studija kojima se namjeravala dati zaokružena slike o ovom međuknjiževnom i međukulturnom odnosu. Ovim sam radom imao ambiciju na temelju analize tekstova čeških autora i tekstova na češke teme u važnijim hrvatskim književnim časopisima opisati jedan, časopisni aspekt recepcije češke književnosti i kulture u hrvatskoj devetneastostoljetnoj javnosti. Utvrđivanje autorstava pojedinih priloga, kao i identiteta pojedinih prevoditelja, smatram određenim doprinosom ove disertacije postojećim bibliografijama naše književne periodike. Književni su časopisi u 19. stoljeću bili najvažnije smotre hrvatske književnosti. Za razliku od novina, nije im imperativom bila ažurnost već elaboriranje, stvaranje stavova i transformiranje društva i vremena, ali su izlazili dovoljno često da bi mogli biti glavni mediji međuknjiževne i međukulturne komunikacije. Analiza priloga čeških tema i autora provedena je na dvadeset i jednom časopisu, većinu kojih su Ježićeva i Šicelova povijest književnosti odredile kao najvažnije za razdoblje od preporoda do 1903. U odabiru časopisa su dva sporna momenta: osim riječkog godišta ''Nevena'', Tresićeva ''Novog vieka'' i sušačkih godišta ''Hrvatske vile'' u izboru nema južnih, primorskih časopisa. Naime, ti časopisi gotovo da uopće nisu objavljivali prijevode iz češke književnosti. Zašto, pokušali smo pokazati na primjeru ''Zore dalmatinske'': razlozi su romantičarski senzibilitet posredovan od talijanske književnosti koja se nametala kroz suživot s Talijanima, činjenica da su različite hrvatske regije u određenim povijesnim razdobljima gravitirale različitim dominantnim kulturama, te različitost poetika mediteranske i panonske komponente hrvatske književnosti, kojoj je češka bila očito bliža - većina najplodnijih prevoditelja bila je radom ili rođenjem vezana za Slavoniju. Situacija se promijenila nakon konačnog ujedinjenja hrvatskog intelektualnog prostora 70-ih i 80-ih, u čemu je važnu ulogu imao Šenoin ''Vienac'' te jačanje pravaškog pokreta. Drugi je sporni moment uvrštavanje petnaestog godišta neutjecajnog karlovačkog ''Svjetla'', čijom je analizom ilustriran stav koji je prema češkoj književnosti imala tzv. ''novonadaška'' generacija u zreloj i koliko-toliko jedinstvenoj fazi. Među devetnaestostoljetnim književnim časopisima najčešće je priloge čeških autora i tema objavljivala ''Danica'', i uglavnom su to bili tekstovi u funkciji posredovanja preporodnih strategija. U ''Kolu'' se pojavljuje određeni kritički odmak prema doslovnom preuzimanju čeških kulturnih obrazaca u hrvatski društveni život, dok ''Neven'' otvara vrata senzibilitetu koji je Mácha unio u češku književnost i prvi uvodi rubriku Iz Zlatnog Praga. Istoimenu rubriku u ''Naše gore listu'' piše Šenoa, u istom je časopisu pojačano zanimanje za češku prozu socijalne tematike, dok je prijevodna politika ''Slavonca'' u skladu s neoilirskim načelima urednika. Recepciju češke književnosti i kulture u hrvatskoj književnoj periodici do ''Vienca'' obilježavaju rodoljubni kriteriji (panslavenski ili hrvatski usmjereni) te potreba za tematski bliskom popularnom prozom koja bi čitatelja odvukla od njemačke književnosti, što je rezultiralo Chocholoušekom kao najprevođenijim čeških piscem u hrvatskim književnim časopisima u ovom razdoblju. Premda će se panslavenska komponenta odražavati u prevođenju s češkog do u 20. stoljeće (primjerice kroz prijevode Jelínekovih crtica iz poljskog i ukrajinskog ciklusa), ''Vienac'' i prije Šenoe odstupa od pragmatičke prijevodne politike čak i deklarativnim odbacivanjem turske tematike koja je dominirala Chocholoušekovom prozom. Uvode se nova imena: Světlá, Nosek, Jedlička, a više se prevodi Hálek. Šenoa kao urednik zanemaruje češku književnost, a ''Vienac'' okreće romanskim književnostima. Od Šenoine smrti do početka hrvatskog modernističkog pokreta recepcija češke književnosti u periodici više je ovisna o suradničkim afinitetima nego o uredništvom određenoj prijevodnoj politici. U ''Hrvatskoj vili'' i ''Viencu'' prevođena je isključivo proza, u ''Nadi'', zahvaljujući Josipu Milakoviću, poezija. Osamdesetih i devedesetih najplodniji su prevoditelji Milivoj Šrepel, Vjenceslav Novak, Stjepan Sušnik, Josip Milaković, Bartol Inhof, Makso Kuntarić, Vladoje Dukat i Stjepan Žgurić, najprevođeniji su Čech i Vrchlický (s prozama, iako prvenstveno pjesnici), te Herites, Jelínek, Rais i Neruda. Najprevođenija je češka književna vrsta u hrvatskoj književnoj periodici u 19. stoljeću arabeska. Neka od žanrovskih obilježja arabeske bile su i poetičke dominante u hrvatskoj časopisnoj recepciji češke književnosti, od prepjeva čeških narodnih i umjetnih balada u ''Danici'', preko kratkih proza Jedličke, Arbesa, Ziteka, Polykarpa Starog, Nerude, do onih Čecha i Vrchlickog krajem stoljeća: tajanstvenost, mitski okviri koje poslije zamjenjuju socijalni, iracionalni moment, nemoć pojedinca pred sudbinom i tragizam (što nalazimo i kod Raisa). Tek se kod praške i ''novonadaške'' skupine hrvatskih ''mladih'' jasnije razaznaje progamatski odnos prema češkoj književnosti i kulturi, u najvećoj mjeri definiran analogijom koju su vidjeli u pojedinim aspektima hrvatskog i češkog društvenog trenutka: ono što su preporoditelji nastojali kroz beletristiku (Tylove Sestre, Ženam slavskim B. Němcove itd.) i tendenciozne filološke rasprave, ''mladi'' su nastojali kroz književnu i likovnu kritiku, povlečeći paralelu između odnosa naših i čeških ''mladih'' i ''starih'' književnika i umjetnika, a članci čeških autora o seljačkom pokretu te ulozi đaštva u društvu jasno aludiraju i na hrvatske prilike. Nakon preporodnih autoriteta Dobrovskog, Šafaříka i Kollára, prvi i posljednji veliki češki autoritet u hrvatskoj kulturnoj javnosti posredovanjem Radića i njegovih suradnika postaje Masaryk. I slučaj hrvatskih modernista pokazuje nam da je čvršća programska usmjerenost na češku književnost i kulturu bila povezana s pojavom različitih modifikacija panslavističkih ideja ? ranije s ilirizmom, a u hrvatskom modernističkom pokretu s jugoslavenstvom velikog broja njegovih pripadnika. Pragmatizam je u oba slučaja rezultirao razmjerno malim brojem prijevoda kvalitetnih tekstova suvremenih čeških književnika. Bilo je trenutaka u kojima je češka književnost prevladavala kao prijevodna u kojem od hrvatskih časopisa, no nikada toliko da se govori o presudnom utjecaju na tijekove hrvatske književnosti ? ipak, kontinuiranom prisutnošću u od prvih brojeva ''Danice'' do posljednjih sveščića ''Vienca'' i ''Nade''' 1903. češka se kultura nametnula kao dominantna među stranim nacionalnim kulturama na stranicama hrvatske književne periodike. U devetnaestom su stoljeću hrvatski "socio-semiotički poduzetnici" (socio-semiotic entrepreneurs, termin Itamara Even-Zohara) nastojali uključiti hrvatsku književnost u suvremene europske tijekove, što je pratilo i prevođenje na hrvatski jezik onih suvremenih pisaca koji su u europskim razmjerima bili najbolji, kao i kanonskih pisaca. Kada se iz današnje perspektive upitamo koliko je devetnaestostoljetnih čeških pisaca izrazito zaslužno za oblikovanje književnoga korpusa kojega je Slamnig nazivao književnošću zapadnog kruga, odgovor je: malo njih. Možda Čelakovský, Erben, Neruda i Němcova. Bez obzira na to, u hrvatskim smo književnim časopisima pronašli velik broj tekstova za češku književnost manje (primjerice Jedlička i Nosek) ili više (primjerice Chocholoušek i Rais) važnih, ali za europski kontekst kojem je hrvatska književnost težila minornih pisaca. Razlog za to nalazimo, pored povremene slavenofilske pragmatike i pojedinačnih prevoditeljskih sklonosti, i u dva paralelizma - poetičkom u panonskoj komponenti hrvatske književnosti, te u paralelizmu kulturnih, općedruštvenih i političkih okolnosti: ruski su pisci tako prevođeni uglavnom zbog svijesti o veličini Turgenjeva, Čehova, Ljermontova, kao i poljski (pored simpatija prema poljskom patriotizmu), dok su u čeških pisaca hrvatski književnici nalazili teme i svjetove prispodobive hrvatskim okolnostima. Kulturnopolitički je paralelizam naročito došao o izražaja nebeletrističkim prilozima češke tematike, od dužih biografskih članaka do bilježaka, kojima dominira nastojanje dokazati da mali narod narod, u sličnoj situaciji stanju kao i hrvatski, može imati dobre pisce i kulturne i prosvjetne ustanove, kao i jezik kojim se mogu stvarati vrijedna književna djela.

Judgment and distinction have been topics of persistent interest for cultural sociologists. Recent theory has particularly emphasized social interaction and cognition as key sites for understanding judgment, and a number of studies examine gatekeeping practices as a means of understanding the interactive and perceptual determinants of judgment. This article builds upon previous work by presenting the results of an eighteen-month ethnography at a long-running little magazine based in a large American city. In addition to providing an empirical description of an important but understudied domain of cultural production, this article has two findings of theoretical interest. First, without strong external constraints on processes of group evaluation, editors' judgments became markedly negative, and their deliberations were often inconclusive. Second, negative and positive evaluations were not symmetric, but were produced by two differing sets of evaluative practices. These findings are broadly consistent with developing field theoretic descriptions of social life, but also raise many empirical and theoretical questions.

Giulia Iannuzzi. Fantascienza Italiana: Riviste, autori, dibattiti dagli anni Cinquanta agli anni Settanta (Italian Science Fiction: Magazines, Authors, Debates from the 1950s to the 1970s). Sesto San Giovanni, Milan, Italy: Mimesis Edizioni, 2014. Paperback, 359 pages, €30.00, ISBN 978-8-8575-2150-3.

У статті крізь призму найпопулярніших літературних варшавських тижневиків 1930-х, а саме "Wiadomości Literackich", "Pionu" та "Prosto z mostu", розглядаються особливості перцепції радянського літературного процесу відповідно до їхніх програмово-естетичних засад, а також реконструюються уявлення мистецько-інтелектуальних варшавських середовищ щодо місця та ролі письменника у радянському суспільстві, загального значення його творчості. Окрім того, звертається увага на пробле-
му контролю свободи творчості радянського письменника з боку партійного апарату комуністичної партії, котрий для досягнення своїх ідеологічних завдань використовує метод тотального терору.

El trabajo que aquí se presenta toma como objeto de estudio la primera etapa de The West Indian Review (1934-1940), revista mensual dirigida por Esther Chapman en Kingston, Jamaica. Pese a su conservadurismo editorial, la revista emplea una política de traducción única en la región durante la primera mitad del siglo –gracias a la participación de la traductora estadounidense Edna Worthley Underwood– que permite generar una mayor circulación de autores latinoamericanos cuyas obras se vinculan con la afirmación identitaria nacional y regional. El análisis de las estrategias editoriales y prácticas de traducción que se dan en la revista problematiza estas tensiones ideológicas y busca comprender las complejidades del desarrollo del campo literario anglocaribeño.

"Paket (De)Regulasi dan Kebijakan Pro-Bisnis:
Pelayanan Publik sebagai Layanan "Pra-Jual", "Penjualan" dan "Purna-Jual" dalam Mendukung Iklim Investasi di Indonesia"

Majalah Hukum Nasional Nomor 1 Tahun 2016,
Badan Pembinaan Hukum Nasional (BPHN).
Kementerian Hukum dan HAM Republik Indonesia.

The concept of progression cycle was introduced by Wilson & Wilson
(1995:5-6). The medium of mass media, they said, will go through a cycle
of process before it achieved a level of progress. However, the conceptual
meaning of the cycle was fi rst introduced by two renowned communication
experts, John Merril and Ralph Lowenstein. They introduced a theory of
EPS (elitist-popular-specialized) to describe a cycle that any medium will
go through before it achieved a level of maturity. The media, due to it
disadvantages publishing factors, will started as a medium for selected few
before it managed to a􀄴 ract a signifi cant number of audiences. However,
popularity will put the media into troubles, especially on the media which
depend so much on the circulation as well as on the advertising revenue.
Popularity will normally followed by the drop of advertising revenue since
advertisers could not concentrate to their focus target group, while the
publishers will tend to focus their eff ort to please their readers than their
advertisers. As a consequence, the media will return to do specializing to
their niche market. How this concept of progression cycle and EPS theory
eff ect the magazine publishing in Malaysia? This article will discuss this
cycle in the Malay magazine publishing and how magazine publishers
adjust their editorial contents to suit the demand from the reader and their
advertisers.

El presente trabajo es el resultado de un ciclo de conferencias sobre Revistas Argentinas del Siglo XX realizado en el Instituto de Literatura Argentina de la Facultad de Filosofía y Letras de la Universidad de Buenos Aires. Pretende abrir el debate en torno a la importancia de las publicaciones periódicas. Estudia el proyecto periodístico cultural y empresarial llevado a cabo por la revista Crisis en su primera época completa (Buenos Aires, 1973-1976) recuperando los antecedentes y las prácticas concretas de una cultura nacional y popular. Se reconoce la importancia otorgada al concepto de cultura, que contribuyó a configurar un corpus de manifestaciones artísticas heterogéneas, inexistente hasta ese momento. Luego se trabaja con el revisionismo histórico y la adscripción a la figura del intelectual comprometido con el propósito de impulsar una política y una cultura alternativa a las hegemónicas.