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Martin Heidegger: Prolegomena za povijest pojma vremena Preveo s njemačkog i priredio: Borislav Mikulić Demetra, Filosofska biblioteka Dimitrija Savića, Zagreb 2000.
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Martin Heidegger: Prolegomena za povijest pojma vremena Preveo s njemačkog i priredio: Borislav Mikulić Demetra, Filosofska biblioteka Dimitrija Savića, Zagreb 2000.
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Art of the end of the XX – the beginning of the XXI centuries, art of postmodernism and post-postmodernism is characterized by a specific system of world perception. The content and form of the art work in contemporary art is deliberately ambiguous. It has led to the situation when the text of the modern work contains a large number of potential meanings. None of these meanings can be dominant. So the text in contemporary art represents only a field of possibilities. The actualisation of the interpretations of the text depends on the recipient (the interpreter).U. Eco, a famous Italian philosopher, writer and social activist was the first who paid his attention to the issue of "the open literary work". Nowadays there is an insufficient number of investigations in which the specificity of "open interpretation" of modern art works, including Ukrainian, is thoroughly analyzed. That’s the reason of this research relevance.In this research, it is proved that the "open interpretation" is based on "the projects of postmodernism."The analysis of scientific literature on the problem of interpretation gives the right to ascertain that the term "interpretation" is formed as a result of a long and complex process of the formation of logical methods that have evolved toward to a consistent increase of the degree of their complexity from a simple description, explanation and interpretation to the clear cut logical operation. However, the use of "clear cut logical operation" with regard to the works of art created during the period of postmodernism and post-postmodernism (or postculture) is not possible for objective reasons, because it's a culture of "rhizomes" , which is characterized by the non-linearity, the absence of structure, multiplicity and discontinuity.The nature of "open interpretation" is a brief description of the most representative projects of postmodernism such as "textual", "nomadologic" and "schizoanalytic".The "textual project" involves (or includes) deconstruction, intertextuality, "pastiche". In this project the text is reconstructed into a structure so that its restoration in the original form is impossible, not important, unnecessary, because the recipient is given an opportunity to "construct" and reconstruct the text according to his own understanding.In the "nomadologic project" postmodernism refuses to consider history as a regular linear process and stresses the random, credible, subjective character of the interpretation of historic events. Therefore, it appears natural for postmodernism to reject the principle of the universality of the historical development of the progress idea.The "schizoanalytic project" is based on the tradition of psychoanalysis. Postmodern art explores and creates a picture of the world that is not "tied" to the rigid models, which means that the work of art becomes "open". "Open" works of art as if invite the recipient to create a work together with its author. A "modern text" contains a large number of potential meaning, none of which can be dominant. In this situation there is a need for an "open interpretation" that allows to expand the limits of the interpreter.
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The review of: Nicholas Ostler, “Empires of the Word: A Language History of the World”; HarperCollins: London and New York, 2005. Prikaz: Nikolas Ostler, “Carstva reči: Jezička istorija sveta”; preveo s engleskog Aleksandar Kavgić, Geopoetika, Beograd, 2008
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The article surveys how Ivan Turgenev’s love myth is deconstructed in Anton Chekhov’s prose works. The latter writer presents the myth more often than not in an ironic mode of narration. While Turgenev’s axiology is literary-centric, Chekhov confronts it with his knowledge of gender psychology and “the understanding of what you write about”.
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The article is devoted to the study of Sterne’s reminiscences in the novel The Letters of a Russian Traveler by Karamzin. They are studied as a globally organized artistic system, linked with the concept of English literature, shaped in Karamzin’s works between 1780 –1790, as well as with the writer’s thoughts on other philosophical and aesthetic problems. «Sterne’s plot» in the novel The Letters of a Russian Traveler by Karamzin develops together with other plots, whose cooperation formed a forward-looking dynamic poetic manner of narration in the book.
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The author considers a group of Russian poetic texts aimed at the political foes of Russia as a state. The author argues that these texts are samples of lyrical genre of invective, which is proved by their semantic structure and the objective of the text as a kind of poetic expression. The structure of the genre and its tradition imply a specific image of Russia, which forms in all of the texts analysed, regardless of the literary epoch and political beliefs of the poets.
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The text constitutes the second part of the publication cycle addressing the problems of translation of the Old Church Slavonic literature into Polish together with the bibliographic date. The first part was devoted to translations from the second part of the 20th century and the beginning of the 21st century. The following article and the bibliography (annex) comprise the period from the beginning of the 19th century until the end of the first half of the 20th century (1806-1948). Old Church Slavonic literary texts, discovered and popularized at the turn of the 18th and 19th centuries and acknowledged as particularly precious literary cornerstones of the oldest Slavic literary output, were translated into many modem languages including Polish. Polish translations from the 19th and the first half of the 20th century mainly focus on three basic texts: Vic Tale of Igor's Campaign, The Nestor's Chronicle as well as on one of the oldest masterpieces of the original Old Church Slavonic literary output St Methodius' Life. The article briefly presents the history of translations of the above-mentioned and also other works. Bibliographic materials in the annex comprise texts translated and published as a whole (or their large excerpts published with the title referring to a given work).
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The understanding of the writer's literary and artistic skills should be based on the identification of individual techniques, through which various language tools are used in his works. In the texts of Mikhail Zoshchenko an important role in this respect is played by lexical repetition. His work is mainly focused on the article. Among other structural elements, the semantic identity, pleonastic expressions, elliptic constructions and synonymous constructions are also considered. Their place and specificity in the writer's artistic system is largely predetermined by the narrative form of the narrative. The article also notes the tasks of further research of the author's style. These include, in particular, derivational structures, folk phraseology, proverbs and sayings, various semantic transformations of words, methods of their metaphorization, substitution of lexemes for others.
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The article is an attempt to summarize the current state of research on the complex relationship between Majakovsky and the power in post-Soviet Russia. The subject of analysis are three different interpretations of a given issue. Some critics perceive the poet as an indomitable singer of the revolution and a totalitarian state, while others regard him as a victim of totalitarianism. The most radical group of investigators accuses the creator of cynicism and hypocrisy. However, humanitarianism and the love of Majakowski's freedom and his complex relationship with the new authorities indicate that this issue should be subject to a more thorough and objective evaluation of literary science.
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This article presents the relationships and dependencies of Russian post-revolutionary poetry with biblical symbolism. In A. Galicz's anti-totalitarian poem on Stalin, the profanation of evangelical motives serves to reveal the cruelty of Soviet reality. In the poetry of A. Achmatova, B. Pastemak and M. Cserveva, the sacredness of biblical symbolism emphasizes the tragedy of human life in a society enslaved by the totalitarian regime.
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The article discusses the conception of the unity of human being, which developed during the archaic culture period, and was conveyed via Lithuanian folk tales. Philosophical analysis of folk tale symbols discloses the existential value of the conception, which is also relevant to the modern culture representatives who seek to experience the unity of personality. The unity of human being is defined through the four world directions which symbolize a person’s developed relation to one’s inner self, society, nature, ancestors and God. The article looks at the conditions and methods leading to a harmonious relation.
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This article surveys the use of succession as a concept in Mediterranean literature from around the time of the New Testament. Ancient Mediterranean writers and readers understood succession with much more variation and depth than is found in modern ecclesiological writings, where “succession” virtually always refers to “apostolic succession” in hierarchical denominational structure. The author demonstrates that literature from the ancient Mediterranean uses succession for a variety of objects and with a variety of degrees of replacement. The article concludes with readings of several New Testament passages where the more flexible understanding of succession is important for understanding the text.
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Theology cannot be separated from culture. Culture is a ground of humanity. Holy Scripture can be considered as a foundation for a theology of culture. Already in Genesis a creative process is going on when the first man gives names for different creatures. In such a way the first man continues the creative job started by God. In the New Testament we also find some places where Apostle Paul uses texts of his coeval writers and their interpretations in his speeches and letters. Already these facts allow talking about theology of culture. According to P. Tillich and A. Maceina, having started a creative process, God did not finish it to the outmost but left man to finish it. That is why a man is so creative. During the process of his creation, man was granted divine creative power. In the course of history, man was designated for creation and employed his creative potency to lay a road leading to transfiguration and transformation. Upon man’s creative intentions – good or bad – depend when transfiguration comes. God and man’s creative intentions raise spirit and anticipate God’s victory and transformation whereas bad intentions remove all that.
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The article uses the theory of interpretative hermeneutics and looks into the question of the boundaries between science and art. Such collision of the boundaries is noticed in the romantic hermeneutics of the 19th century’s. The article considers even a stronger friction of the boundaries between science and art in the 20th century in ontological hermeneutics due to the shift in the trinary of the perciever, the text, and the author, when the attention moves to the text, which opens the surplus of meaning. This surplus is related to the attempt to reach centrepetal interpretative truth that integrally unifies hermeneutic philosophy and art – fiction literature. The article considers philosophy becoming art like, when the philosophical „essense“ is expressed with more precision by literary language; and likewise art becomes philosophical, when the literary language discloses itself in relation with the „essence“ of hermeneutical philosophy. Also the article analyses how philosophy and art are interwoven in postmodern hermeneutics, where it acquires a different meaning, because it no longer strives at centrepetal truth.
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Mournful laments and hymns are attributed to the Catholic practices of popular piety, which formed the Church calendar of year cycle ceremonies, festivals, celebrations and visitations of sacred places. They were disseminated by the clergy of Seinai Lithuanian diocese. Practices of popular devotion and so-called Additional sacred services are for ordinary people. Researches show that the texts of laments, chants and prayers are of the 18th century Polish origin; that they reached Seinai at the end of 19th century and were translated form Polish to Lithuanian by the clergy of the diocese: bishop Antanas Baranauskas, prelate Juozas Laukaitis, priest Petras Marcinkevičius and composer Juozas Naujalis. The devotional practices also contain chants and prayers of unknown authors.
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The article briefly presents the theoretic providences of M. Heidegger, J. Ratzinger and A. Maceina about subsistence, mortality and afterlife. These providences are closely connected with death as poetized by L. Andriekus. Death in Andriekus poetry is not an absolutely senseless thing. The subsistence of the poet subject does not cease after his death. It continues in afterlife. There the poet subject waits for the Great account when all the decedents will be raised in order they can continue travelling to everlasting life in the face of God. Thus this mundane life of the poet subject already is being projected into everlasting life. Based on Christ’s death and resurrection, death becomes a projection to an everlasting life. That is a hope which upholds Andriekus’ lyric subject, who in mundane travelling, prepares for death and confrontation with the beyond.
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The article considers the development of Indian alamkarashastra poetic tradition during the period of its maturity and decline. The main system making part of that tradition was teaching on alam kāra, which means embellishment. The most famous representatives of the period were Vamana and Rajasekhara. The article analyzes their poetic conceptions. At the beginning it unfolds the peculiarities of Vamana aesthetics, its relations with preceding ones; analyzes teaching on the two different types of poets, artistic style, cognition of the laws of metrics, and problems of a plot; discusses Vamana’s theories of creative potentiality and peculiarities of creative process. Later it discusses Rajasekhara’s aesthetic theory, analyzes his teaching on embellishments, artistic style; spotlights his craving for polemics, defiance to tradition, attention shifting from the analysis of formal aspects of poetry to the analysis of the problems of artistic creative work; plumbs the depths of creativity. It pays special attention to his teaching on concentration, inspiration, and discipline.
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The article analyzes the origin of the religious literature and music texts of Žemaičių Calvarias Cross ways (Kalnai-the Mountains in English). It seeks to answer the question of whether the religious literature and music texts of Žemaičių Calvarias Kalnai are original or borrowed. The results of the research indicate that the biggest part the religious literature and music texts of Žemaičių Calvarias Kalnai are translation from Polish material. This shows that they were borrowed.
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The article considers the systematic teaching on alamkars (alam kāra – „embellishment“) which was developed in the early Indian poetics. In this teaching, the main problems of the Indian poetics were formed. The representatives of the school maintained that embellishments are the most important elements determining aesthetic value of every poetic art piece. First of all the article focuses on the teachings about poetic figures, universal caliber, imagination, and style of an author and on the components of his poetic piece, developed by Bhamaha, a founder of the school. Then it shifts to the conceptual analysis of the teaching on artistic imagination, poetic language, embellishments, style, the merits and demerits of poetic art piece by Dandin, an influential member of the school. On the basis of the analysis of the original texts by Bhamaha and Dandin, the problems of the early Indian poetics and the development of early Sanskrit poetics are exposed.
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The peculiarities of the expressionistic aspects and of the artist‘s self-expression was in the center of classical as well as of XXth century Chinese theories of literature. The article deals with the notion of literature, its origins and artistic self-expression in traditional China, and how it was transformed in XXth century by the reformers of the literature and by the theory of the May 4th movement for China‘s modernization. The investigation is concentrated on the concept of emotion (qing), its treatment in early China in classical theories and aesthetics until the XXth century. The analysis aims to prove the thesis about the inseparability of the artist from the world and art work (literature) in the creative process, which has remained in the XXth century. This inseparability has influenced the importation of Western theories of realism, romanticism and aetheticism as well as the notions of individualism and subjectivity in Chinese theories of literature.
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