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The article is an attempt at a preliminary reconnaissance of the main elements constituting the issue of exile repeatedly occurring in Zygmunt Haupt’s work. The presented analysis is first of all focused on showing the sources of the originating discourse. To do this the writer’s letters to Józef Witlin and Mieczysław Grydzewski have been analyzed, as they are an extremely precious source concentrating both the author’s existential experience and the attempts he made to put it into the form of a narrative. The writer’s correspondence with the author of Orfeusz w piekle XX wieku (Orpheus in the Hell of the 20th Century) has not been published as yet, so the article also brings interesting discoveries connected with substance of the issue.
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It is chiefly literature that has shaped popular images of celestial beings, and so not surprisingly many works of different literary periods provide the motif of angels. During the Romantic period, the interests in angels grew significantly as people tended to believe in the power of feelings and intuition, and were concerned with mysticism and fantasy. Juliusz Słowacki, known for his angelological inclinations, derived his visions from many cultures and traditions, from the biblical through the mystical to the purely literary. Each of his angelic images is original and does not follow the established patterns of representation. The motif of angels, whose physical and psychological traits have been recorded over centuries, does not require detailed description or much complementing, yet it seems worthwhile drawing attention to the literary recreation of the motif and its functioning as an element of Słowacki’s spiritual philosophy.
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This research paper encompasses a commentary and a transcript of Stefan Szlachtycz interview with Teodor Parnicki (1908–1988) – an outstanding historical novel writer. During this 20-minute-long conversation Stefan Szlachtycz – a director of a movie based on Parnicki’s novel Tylko Beatrycze (1975) – asks the writer about narrative complexities and historical references. Parnicki’s answers are of a great value for literary studies as he presents his train of thought and intellectual horizons; he also unveils some aspects of his literary practices. This interview indicates the reasons why Parnicki’s novels are so complicated, multithreaded and improbable from the historical point of view.
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The article written by the researcher of classic literature and its reception in the 19th century studies the editions of Polish translations of The Song of Roland which precededthe acclaimed translation by Tadeusz Żeleński (Boy), published several times since 1932.The author delves into the poetic translations authored by Seweryna Duchińska, néeŻochowska (1866) and Lucjan Siemieński (1878), and the prose translation by KazimierzKról (1903). She describes the circumstances surrounding their creation and portraysthe environments in which other Polish translations of The Song of Roland were created,and how they were aiming at particular readers. She analyzes the scholarly, literary andsocial goals of these editions, as well as their translatory, artistic, editorial and ideologicalprinciples. She explores their connection with the development in the 19th century ofknowledge of heroic and chivalric narratives, and considers the cultural significance ofthe chivalric ethos in the Middle Ages and later.
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The author quotes the annual speech of the general secretary of the Association of School and College Leaders John Dunford to address a growing concern in the British education. More and more the schools are forced to “teach to the test“ in order to achieve Government set goals, to satisfy Ofsted inspections and to climb league tables. As a result of that teenagers rely on small number of textbooks scripted by the exam boards and not on wide variety of sources at the expense of proper understanding of key subjects.
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About “Belyovski’s Uezd”, or Literature as Overcoming of Exile. Summary Key words: Literature in exile, national culture, traditions, models of literary development. In the article «On “Belyovskii District”, or Literature as Overcoming of Exile» by A.I.Chagin the problems of literary development in exile are being examined through the literary experience of the first “wave” of Russian emigration after the October revolution of 1917 (the 1920 – 1930s). Touching upon the discussions in émigré literary criticism of that time concerning the problem of opportunity for a national literature to exist in exile, the author demonstrates how faithfulness to the traditional roots of the national culture (to “Belyovskii district” – to a spiritual image of motherland, according to the allegoric expression by I. Bunin) gave to Russian émigré literature strengths not only to survive, but to unite as well in comprehension of its historical mission, its task to preserve, to save the national cultural, literary tradition. This idea lived in Merezhkovskii’s famous words: “We are not in exile, we are in message”. Appealing to the idea of succession, considering itself as a keeper of the traditions of Russian spirituality was connected for Russian émigré literature in many respects to opposition to the new situation in the sphere of culture in Russia at that times. In particular, obvious tendency of rejection of the classical tradition in Russia in the 1920s was considered by many émigré writers as “the new eclipse of Pushkin’s sun”. Besides, the author of the article cites the extracts from the speeches by D. Merezhkovskii and Z. Gippius who raised sharply the question of absent freedom of speech in Russia and asserted that it was emigration which “has given for the first time a free speech to Russians” (Z. Gippius). The author emphasizes the idea of relativity of these – absolutely natural – judgments, these apprehensions of destiny of Russian culture at the far motherland and reminds that two incomparable points were equalized here: a freedom of speech as one of the laws of a state – and a freedom of creative work, i.e. a freedom of spirit which is connected, certainly, to a freedom of speech and depends on it, but isn’t restricted with its limits; in fact it is born, first of all, by a scale of a personality, of a talent. And in spite of the fact that the writers in soviet Russia had to assert their freedom of spirit in absence of a freedom of speech and all the rest kinds of freedom – still we know that the representatives of the elder generation О «Белёвском уезде», или Литература как преодоление изгнания (such as Korolenko, Akhmatova, Mandelstam, Pasternak, others) hasn’t sacrificed their freedom of spirit. There is one more significant reservation in the article which is connected to the situation with a freedom of creative work in Russia abroad.
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For a profound understanding of the Cervantes’ “The Ingenious Gentleman Don Quixote of la Mancha”, from the viewpoint of genre characteristics, it is necessary to trace the traditions of epic narrative leading to the formation of the main peculiarities of this classic of Western literature, considered to be the first modern European novel. The best approach to the Cervantes’ novel is when it is considered as an extremely heteroglossic text, as an organic synthesis of all the genres fashionable in late Renaissance or early Baroque era, including the carnivalized folkloric forms and motifs. Not only the world outlook and code of values of the Knight of the Sad Countenance but as well the whole fabric of Cervantes’ novel in closely interwoven in the intertext of Renaissance literary system. The traditions of different genres, first of all chivalric and pastoral romance in prose and verse and picaresque novel are organically interrelated and linked to the central theme. The forms of parody and satire in Cervantes’ novel, demythologizing attitude to the chivalric can be regarded as a transformation and further culmination of the ironic tone first revealed in Matteo Boiardo’s romance “Orlando Innamorato” and much more evident in Ludovico Ariosto’s heroic-comic romance epic “Orlando Furioso”. Ariosto’s form and style inspired Cervantes by its play spirit, by constant hovering “between the mock-heroic and pathetic” (J. Huizinga. HOMO LUDENS. A Study of the Play-Element in Culture. Redwood Burn Ltd , Trowbridge and Esher, 1980, p. 181).
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On the Mount Athos 86 Georgian manuscripts are preserved. They are dated by X-XV centuries and are not fully investigated. Among them – hymnographical – liturgical collections – Tropologions, Menaia, Triodions, Parakletikes, Heirmologia are represented. In these collections the vast repertoire of Byzantine hymnography is preserved with the Georgian hymns. Georgian manuscript – Ath. 85 is discussed in the article. The manuscript represents Hirmologion – collection of the Hirmoi. According to the colophons the manuscript was created at the end of the X or in the beginning of the XI century by the persons who were in touch with Tornike Eristavi - the famous Georgian Commander-in-Chief, who has successfully fought for defence of Byzantine Royal Court and gained the Victory. In these colophons Jojik Eristavta Eristavi is mentioned with honour. This person is almost unfamiliar to Georgian History. According to these colophons Jojik Eristavi was one of the authorities at the same age. It is remarkable that Jojik Eristavi represents one of the personages of the poem “Tornike Eristavi” created by Akaki Tsereteli in the XIX century. According to the poem he has actively fought in the war against Barda Scliaros – against Byzantine Royal Court. Georgian Army had a great expectations about him. He was the one who solved the war Faith. The precise discription of historical reality is given in the Akaki Tsereteli’s poem.
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(Stephane Sananoisdze – Chqondideli) Summary Key words: Stephane Sananoisdze – Chkondideli, hymnography, St. Stephen the first martyr. Georgian hymnographers of the 10th century create “Golden Age” in the history of Georgian hymnography. Among them there is Stephane Sananoisdze whose creativity has been less studied in scholarly literature. According to Academician K.Kekelidze, Stephane Sananoisdze must have lived and created in the 10th century or in the last quarter of this century (Kekelidze 1960: 180). The name of this hymn-writer is mentioned with great respect in the decree of Ruis- Urbnisi Church Council. Under Stephane Sananoisdze’s name two hymns included in Michael Modrekili’s collection of hymns “Iadgari” (978-988) have been preserved. The first of them is devoted to the festivals of our Lord: the Baptism of Christ and commemoration of the saint martyr Abo Tbileli and the second one - to Stephane the first martyr. The hymns were published by P. Ingorokva (Ingorokva 1913: 135-142). As is seen, Stephane Sananoisdze was also engaged in translational activity. Several of his translations are indicated in scholarly literature. They are: “Akathistos” to the Virgin, “The Life of Theoktiste of Lesbos” and Gregory of Nyssa’s “The Praise to Saint Stephen the First Martyr”. These translations have not yet been published and studied. According to the data of a well-known 11 th -century Georgian scholar, Ephrem Mtsire, Stephane Sananoisdze also had other translations which have not yet been revealed. According to the data came down to us, we must suggestion that Stephane Sananoisdze was an extremely important figure, less known today. His creative works require monographic study. In our view, while determining Stephane Sananoisdze’s period of activity the following circumstance is to be taken into account: Stephane Sananoisdze’s hymn preserved in Michael Modrekili’s “Iadgari”, which is dedicated to the Baptism and St. Abo, the following title is supplemented: “The Blessed Stephane Sananoisdze - Chqondidi . Christ, great mercy to their soul”. According to this title by the time of compilation of the collection (978-988) Stephane Sananoisdze had already died. This fact does not change the circumstance that he must have been a scholar of the 10th century. This is also evidenced from the language of his hymns – classical, perfect old Georgian which is typical for great Georgian hymn-writers of the 10th century. Stephane Sananoisdze’s hymns rank among the most perfect specimens of the old Georgian ecclesiastic poetry. They represent a blend of author’s deep theological education and artistic skill. Another obvious sign characteristic to a great artist is compositional wholeness of his hymns and sequence of thought - multifaceted understanding of one theme.
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At the end of the 1920s, in the period of propaganda of ideologically motivated vulgar realism and aesthetic empiricism in Soviet writings, K. Gamsakhurdia publishes a fable type short-story with marked title – “The Book of Wisdom and Lies”. Repeating the conceptual title of the 18th century Georgian classic writer Sulkhan-Saba Orbeliani’s book of fables, the writer implicitly defends the status of invention (lies) and creative fantasy. S. S. Orbeliani’s fable “Italian Artists” serves as a direct source for Gamsakhurdia’s text, whose author not only shares the theory of mimesis but as a writer of late Renaissance (baroque) criticizes aesthetic empiricism from Aristotelian standpoint. “The game” of artists embraces the parodying elements of imitation principles as well, therefore revealing complaint towards the “untruthfulness” of mimetic art. Gamsakhurdia had perceived “Italian Artists” from the standpoint of criticism of mimetic art, which was essential for modernist writers. This serves as means for building bridges between two epochs, followed by modernistic interpretation of classical texts: as artists do play, and play is an irrevocable sign of crisis (Theodor Adorno, Walter Benjamin), modernist Gamsakhurdia detected the negation of mimetic, imitative lies in classic texts and tied it with the collapse of lies and western theories about the crisis of myth. In support of modernistic aesthetics, Gamsakhurdia worked out a witty strategy: under the political-ideological pressure he used the authority of classical heritage –under the mask of S. S. Orbeliani’s book of fables published a modernistic manifesto nourished with Nietzsche’s and Wilde’s anti-mimetic, non-realistic conceptions. Gamsakhurdia’s “The Book of Wisdom and Lies”, depicting the longing towards national roots of modernism, serves as fact for defending creative freedom under totalitarian regime.
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The article deals with the attitude of Paul CELAN, an Austrian poet, to Czech lands. Even though CELAN never visited Bohemia or Moravia, he was closely related to the region through the lives of his parents: his mother spent several years there in exile and his grandmother (agnatic) was buried in Kyjov (Moravia). Celan reflects the fact for example in his poems Es ist alles anders [Everything is Otherwise] or Wolfsbohne [Blue Pea]. The way CELAN is related to KAFKA, and through KAFKA to Prague, is complex – the fact is demonstrated for example in the poem titled In Prag [In Prague]. Prague is a frequent topic in CELAN’s correspondence with Franz WURM, a Prague-resided poet writing in German, from the end of 1960s and the occupation of Czech lands by the armies of the Warsaw Pact on August 21, 1968 appears as a topic in three CELAN’s poems. The study is concluded with the reception of CELAN’s work in Czech lands through numerous translations published in journals and mainly through the anthology titled Sněžný part, arranged by a Czech translator, Ludvík KUNDERA, and published in 1986.
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