The Principality of Liechtenstein is often referred to in contemporary journalism as an "economic miracle". It is also sometimes said that Liechtenstein experienced "three golden decades" between the early 1940s and the early 1970s. Of course, the country's economic development also brings with it certain negative phenomena, such as environmental damage, the breakdown of traditional values, high land prices, and dependence on labour from abroad. Nevertheless, the country's economic boom is a remarkable fact worthy of attention, inter alia also in the context of economic history. In 1930, gross domestic product per capita in Liechtenstein was 30 percent lower than in Switzerland; there was major economic growth from the 1960s, and by 2000 it was 30 percent higher than in Switzerland. Liechtenstein's economic growth brought about a great need for manpower, which is why many employees began to come to the country from abroad, especially from its neighbouring countries. At this time, Liechtenstein companies also began to expand beyond the borders of Liechtenstein. As of 2018, a total of 10,411 employees of companies belonging to the Liechtenstein Chamber of Industry and Commerce are reported as working directly in the country, with 58,072 employees working for Liechtenstein companies operating abroad. As for employees in the banking sector, which also experienced unprecedented growth, there were a total of 2,064 in Liechtenstein as of the year in question, and 3,800 people worked for Liechtenstein banks abroad. An important indicator of economic prosperity is the tax burden. The tax quota, i.e. state and municipal revenues and revenues from social security and health insurance premiums in relation to gross domestic product, accounted for only 19.6% in Liechtenstein in 2017. For comparison, in the USA it was 27.1% and in France 46.2% The net worth of the Principality of Liechtenstein in 2017 amounted to CHF 1,613 million at the municipal level (annual expenditure 5.9) and CHF 2,652 million at the state level (annual expenditure 3.4). Public finances have recovered even from the last financial crisis thanks to the economic programmes of 2012–2016, which is why Liechtenstein continues to maintain the highest possible financial rating.
Předkládaná polemická studie má metodologický charakter a jejím cílem je najít relativně spolehlivý metodický přístup pro uživatele pojmu židovská literatura, zejména ve středoevropském kulturním prostředí. Autorovi se při výkladu pojmu jeví jako rozhodující židovská témata, látka, motivická rovina literárního díla. Koncept židovské identity pokládá za centrální bod výzkumu. Tato identita je vnímána ve třech vzájemně propojených úrovních. První je personální auto-identita tvůrce. Druhou úroveň pojmu představuje skupina jevů označovaných jako židovská hetero-identita. Pokud je dílo recipováno jako židovské, stává se také jedním z aspektů sledovaného pojmu. Třetím aspektem, literárně a esteticky nejdůležitějším, je individuální a kolektivní auto- a hetero-identita subjektů prezentovaných v literárním díle, tedy tematizovaná identita bez ohledu na autorovu identitu, původ nebo identitu, která byla autoritou uznána nebo recepčně přisouzena. and The presented polemical study has a methodological character and its aim is to find a relatively reliable, methodological approach for users of the term Jewish literature, especially in the Central European cultural milieu. Jewish themes, issues, the material-motivic level of a literary work appear to be decisive to the author in the explanation of the term. The concept of Jewish identity was then made the center of the Jewish theme, which is perceived on three interconnected, interrelated levels. The first is the auto-identity of the creator. The second level of the term is a group of phenomena referred to as Jewish hetero-identity. If the work is considered Jewish, it also becomes one of the markers of the observed verbal unit. The third aspect, literary the most important one, is the collective and individual identity of the subjects presented in the literary work, i.e. the thematized identity regardless of the author's origin or Judaism recognized or attributed to him.
The County of Vaduz and the Lordship of Schellenberg were granted imperial immediacy by the Emperor as early as the second half of the 14th century. The rulers were entitled to exercise high jurisdiction ("blood jurisdiction"), which was the core of the rights of a sovereign state. Subsequently, the dynasties changed about every hundred years. The imperial privileges were always transferred to the new rulers and were confirmed by the emperor again and again. At the beginning of the 17th century, the Princes of Liechtenstein received the title of Imperial Princes from the Emperor, but this title alone did not yet give them the right to participate in the Imperial Diet. For this they needed a territory that was placed under the direct ("immediate") authority of the Empire. After decades of repeated efforts, Prince Johann Adam I was able to buy the Lordship of Schellenberg in 1699 and the County of Vaduz in 1712. These two domains were located far from their other possessions in Austria, Moravia and Bohemia. They were economically almost insignificant, but they had the status of imperial immediacy. At the request of Prince Anton Florian of Liechtenstein, Emperor Charles VI united the two domains and elevated them to the Imperial Principality of Liechtenstein. This gave the Princes the right for "seat and vote" on the Imperial Diet, and secured them a distinguished place among the high nobility in Vienna.
The paper presents and discusses two previously unanalyzed biographical stories from Blumenberg's life that took place between Münster and Munich. The first one discusses the unsuccessful efforts of E. Grassi in the early 1970s to appoint Blumenberg to a professorship at the University of Munich. The second analyzes the cooperation between H. Blumenberg and M. Krüger, who published the magazine Akzente, where Blumenberg published 17 texts. The study draws on archival materials contained in the estate of H. Blumenberg and E. Grassi in Marbach and also takes into account correspondence between Blumenberg and M. Krüger.
The paper contains the publication, for the first time, and the critical examination of four Theatre Review numbers by Antonis Kosmatopoulos, which were presented in Thessaloniki during the Nazi Occupation (1941–1944). Through an analysis of their subject patterns and ideological features, it became obvious that the tensions followed by Theatre Review's playwrights during the interwar period, which had been interrupted because of the country's participation in WWII and the theatre's patriotic mobilization, continued during the Occupation, though with some diff erentiating characteristics.
Antreas Kordopatis, the main character in Thanasis Valtinos' novel Synaxari Antrea Kordopati, Vivlio Proto: Ameriki (1972 [1964]), emerged as an eminent literary figure in Greek post-war literature, especially due to his oscillation between fiction and reality. The aim of this paper is to examine the construction of Kordopatis' character as well as the methods and literary devices that are used for it. Valtinos' blurring of the lines between the real elements of Kordopatis' story and the fictional ones manages to achieve a twofold effect; firstly, he constructs a fluid literary persona that is constantly transforming to conquer its dream, and secondly, he subverts the reader's reception.
У статті розглядається теорія та практика постмодерної літератури з акцентом на необхідності теоретичного розуміння її художньої вартості. Розглядаючи погляди філософів та історію літературних стилів (бароко, романтизм, реалізм, символізм тощо), автор вважає, що постмодерністська поетика вичерпала себе. Постмодернізм створив явища з виразними національними особливостями, що знайшло своє відображення в латиноамериканському магічному реализмі, європейському неоміфологізмі та химерній прозі, а також у творах українського "старшого" покоління, авторів-шістдесятників та пост-шістдесятників. Спроби молодших поколінь перетворилися на графоманію чи так звану "масову" літературу, що призвело до інфляції істини, краси, добра у змісті творів. Письменники вдавалися до "нового історизму" чи "метамодернізму". and The article deals with the theory and practice of postmodern literature with an emphasis on the need for a theoretical understanding of its literature artistic merit. The author, with consideration of philosophers' views, and the history of literary styles (Baroque, Romanticism, Realism, Symbolism, etc.), believes that postmodern poetics has exhausted itself. Postmodernism made the phenomena with distinct national features which were reflected in Latin American Magical Realism, European neo-mythologist, and chimerical prose, including the works of Ukrainian "senior" authors, as well as the Sixties, and the Post-Sixties authors. Attempts of the younger generations transformed into graphomania or so-called mass literature leading to the inflation of truth, beauty, and good in the content of works. Writers resorted to the "new historicism" or "metamodernism".