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Introduction The state border is a barrier that most people perceive and use to construct their identity vis-à-vis the neighbouring country ( van Houtum 1999 ). However, boundaries and their depiction on maps can bear multiple forms: most of the time, we provide other administrative–political boundaries where states are divided into smaller units, such as regions, provinces, counties or districts. Some of these borders have survived since their creation to the present, others serve as memory (see Jańczak’s concept of the phantom border, 2014). In our article, we
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Works Cited Acosta, Abraham. Thresholds of Illiteracy: Theory, Latin America, and the Crisis of Resistance . New York: Fordham UP, 2014. Aguirre, Adalberto Jr., and Jennifer K. Simmers. “Mexican Border Crossers: The Mexican Body in Immigration Discourse.” Social Justice 35.4 (2008): 99-106. Web. 16 Aug. 2019. Ahmed, Azam. “Where Fear and Hope Collide: Images from Mexican Border, and Beyond.” The New York Times 25 Mar. 2018. Web. 16 Aug. 2019. Anzaldua, Gloria. Borderlands/La Frontera: The New Mestiza . San Francisco: Aunt Lute, 1987. Carroll, Rory. “US
My paper discusses the dialogue between Robert Frost’s verse and William Faulkner’s works: from the first poems he published as a young writer, especially in his debut volume The Marble Faun (1924), to The Hamlet (1940), an acknowledged novel of maturity. Three world-famous poems: “Birches,” “Mending Wall,” “Nothing Gold Can Stay” will represent here Frost’s metaphorical counterpart. The allegorical borders thus crossed are those between Frost’s lyrical New England setting and the Old South of Faulkner’s Yoknapatawpha diegesis; between (conventional patterns of) Romanticism and Modernism – in both writers’ cases; between poetry and prose; between “live metaphor” and “emplotment” (applying Paul Ricoeur’s theory of “semantic innovation”); between (other conventional patterns of) regionalism and (actual) universality. Frost’s uniqueness among the American modern poets owes much of its vital energy to his mock-bucolic lyrical settings, with their dark dramatic suggestiveness. In my paper I hope to prove that Frost’s lesson was a decisive inspiration for Faulkner, himself an atypical modern writer. If Faulkner’s fiction is pervaded by poetry, this is so because he saw himself as a “poet among novelists.” Faulkner actually started his career under the spell of Frost’s verse – at least to the same extent to which he had once emulated the spirit of older and remoter poets, such as Keats or Swinburne.
The author presents Karmannyj Atlas Mira (Pocket Atlas of the World) which was published in Leningrad in 1940. It shows political borders existing in Polish territory at that time. Those borders resulted from the Soviet-German agreement reached in August and September 1939 in Moscow (the Molotov−Ribbentrop pact). On the maps in the Atlas the territories of central Poland are described as “Oblast Gosudarstvennych Interesov Germanii” (Area of the National Interest of Germany). The maps were reprinted in the article in the original version and underwent a historical, political and geographical analysis.