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Recenzja książki pt. “Rozmowy o Biblii” Anny Świderkówny oraz jej książek: “Ewangelia według św. Mateusza” (w nowym przekładzie) i “Bóg Trójjedyny w życiu człowieka”
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The author analyzes the evangelical parables by showing the particular features of the genre, their composition and dramatic construction, as well as the role of dialogue and the richness of the methods of style.
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The purpose of this article is to present at the base of historical and linguistic research, the translation of the verse from the Epistle of St. Paul, the single verse but very important and very difficult to translate. The content of this verse has a profound meaning from a theological, philosophical and social point of view. It turns out to be the essence of St. Paul's theology. From St. Jerome the various translators of the Bible strove to convey this message of St. Paul in the most faithful and at the same time the most communicative and comprehensible way for all. It is especially the Slavic and Old Czech translators who are most concerned about making this text comprehensible. This problem is treated in a different way in German, French and English translations where their authors resort to the transcription, once made, of the words of the original text or the most frequent linguistic layers. Such a trend can also be observed in contemporary Polish translations.
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The article is a comparative analysis of Polish and Russian translations of Psalms. It can be seen that the Russian translation represents the closest form of parallelism. The author also deals with the terminology of salvation. It turns out that Polish and Russian translators pay a lot of attention to making their style sublime.
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The article contains the analysis of antitheses and antonyms that function as a style feature in contemporary homiletic texts. Contemporary texts are compared with Old - Polish and Renaissance sermons where antonyms are the main method of persuasion.
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Referring to the definition of the sacrum, the author explains how we understand the phenomenon of sanctity in the theater. It turns out that the phenomenon of theater works as the place between creation and representation. The action of the theater is linked with the rite and the liturgy. In the rest of the article, the author analyzes the links between poetic and religious drama.
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Dramski tekst Deportacija savremenog crnogorskog autora Željka Vušurovića, pripada žanru tzv. dokumentarne drame, a dokument od koga se polazi u dramskom oblikovanju predstavlja jedan od najtragičnih događaja kraja prošlog vijeka - deportaciju i smrt Muslimanima, čija je sva „krivica“ počivala na narodu i vjeri kojoj su pripadali!
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Ako umjetnost, ili još bolje, dramsku književnost, shvatimo kao fenomen ili oblast djelatnosti ljudskog duha koja uz estetski mora tragati i za najvećim dometima kad je u pitanju, na različite načine tretiran etički diskurs, vratićemo se na početak, tj. na raspravu između dva diva ljudske misli, Platona i Aristotela, o tome koja je zapravo uloga pjesništva (dramske umjetnosti). Platon je bio uvjeren da je pjesništvo loše jer se služi lažima i udaljava nas od suštine, tj. svijeta pojmova i ideja, dok je njegov učenik Aristotel vjerovao da je umjetnost zapravo metafizička suština stvarnosti i da podražavanjem iste tvori prasliku onoga što je zapravo esencija stvarnosti koju na drugačiji način teško možemo dokučiti.
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The article, written in the form of an essay, is the first attempt to analyze in detail the complex ethical and axiological subtext and anthropological symbolism of the feature film "Goodbye, Doves" (1960) by Yakov Segel, one of the iconic cultural texts of the Khrushchev thaw period. The aim of the research is to comprehensively study the phenomenal nature and noumenal meaning of the model of humanism typical for that time. The research methodology is based on hermeneutic ascent from the analysis of contexts, in which the word man is used twelve times throughout the film, to the essence of humanism of the era of liberation from the totalitarian heritage. The final part of the article describes a sharp change in the anthropological paradigm from the newenlightenment to the postmodern in the late sixties of the twentieth century. On the basis of comparison of two anthropological paradigms and two approaches to understanding of the essence of a man, the noosphere and the semiosphere, the author concludes that the direct consequence of the accession of the postmodern worldview model in the sphere of humanitarian knowledge was the crisis of modern humanism, from the Renaissance to the sixties of the 20th century.
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This article tries to highlight some of the main characteristics in the interaction between literary and media context. As a consequence of this aim, it selects two authors and their literary works, which have a certain impact on the genesis of literature and at the same time occur in the digital space. On the one hand, we have Dubravka Ugrešić and her own accumulation of means of expression from the media, and on the other hand, Milorad Pavić and his contribution to the so-called hyperliterature and his influence on the electronic writers. The article analyses the two main forms of influence that mass media has on literature in the early stages of the postmodernism, and which can be seen in the literary work’s language through the means of language, that come from the mass media sphere and are being assimilated by the literature, along with their new connotations, structure, form and their presence in the culture.
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The Internet and its applications in new forms of media offer a new existential dimension for man, dimension that we call virtual reality, cyberspace or online existence (unlike the real, offline existence). Along with online existence come also new thinking and approach to human’s existence. It is chiefly a question of relation between existing online and offline. This is also what this contribution concentrates on. There are three partial goals: - 1. what distinguishes identity or continuity between online and offline; 2. remaining difference between these two kinds of existence; 3. trends that can be spotted in this relationship. To fulfil these three goals, qualitative methods, especially hermeneutic, be used.
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Presented paper brings new information about hitherto unexplored manuscript of significant scribe and cantor Ján Juhasevič Skľarskyj (1741-1814). The fifth known irmologion of Juhasevič was written (copied) in the village called Nevické in the years 1800-1801. The paper focuses on the description of its form and repertoire. In the addition to the basic musical and textual comparison the article puts emphasis on the system of writing tradition and liturgical musical praxis in the Carpathian region.
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The goal of the paper is to show that Lower-land Vojvodina (Northern Serbia), which was inhabited in the second half of the 18th century by Slovak evangelicals of the Augsburg confession for economic and religious reasons, was an enviroment where specific literary culture was created being mainly based on religious and educational literature. It focuses on one of the significant manifestations of this sort of literature, i. e. catechism production, which features two characteristic lines: the original domestic catechism (Matej Ambrózi Jádro náboženství křesťanského ku prospěchu evangelických konfirmantů/The Core of Christian Religion to the Benefit of Evangelical Confirmands, 1844) and the adaptation of a translation of a foreign (German) catechism (Leopold Abafi – Heinrich Wendel: Výklad malého katechismu D. Martina Luthera/ The interpretation of Dr Martin Luther´s Small Catechism, 1870). The second part of the article deals with occasional print by Michal Godra (1801-1874) Carmen pastoricium (Novi Sad, 1841). The paper focuses on the first of two eclogues titled Beata Bacska. Ecloga I. (Blessed Báčka, eclogue I.), which is composed of 97 lines written in hexameter. The article includes a transcription of the Latin text, a prosaic translation into Slovak and the interpretation of its themes and motifs.
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Danish attacks on the British Isles in the 9th century had considerable political consequences for the seven Anglo-Saxon kingdoms reigning independently at the time. ‘The Great Heathen Army’, as the Anglo-Saxon called it, began a series of invasions in Britain and their advance was unstoppable until all Anglo-Saxon kingdoms but Wessex were conquered. Emerging as the rulers of only surviving Anglo-Saxon kingdom, Alfred and the subsequent monarchs of Wessex began a slow process of unifying the subjugated Anglo-Saxons under their banner and they desired to be acknowledged as the kings of England, rather than Wessex. By adapting traditional heroic values to contemporary political needs, literary works of this period similarly attempt to channel former tribal loyalties towards the monarch and propagandize absolute devotion to the survival and construction of ‘England’. This article discusses the ideological role literature played in late Anglo-Saxon era during the formation of England.
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Translation is never just a neutral communicative instrument to connect different linguistic communities or a disinterested process of transmitting messages. The act of translation has an additional ethical value in its function as a model to regulate the interaction between individuals and cultures. The bond of translation, according to Paul Ricoeur, with the inherent narrativity of the acts of recollecting and forgiving further reinforces the dialogicality that characterize translation as an act of exchange. He considers translation as a paradigm due to its mediating role between a diversity of languages and as a controlling metaphor in constructing a European ethos that calls for mutual recognition. This paper aims to investigate the employment of the potentialities of translation as an ethical act in mediating adverse cultural claims and reducing resistant cultural behaviours. Thus, the ultimate question to be addressed in this study is whether translation has the capacity to serve as a universal model in surpassing the limits of the nation-state to promote a more plural and democratic civil society.
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Although Gustave Flaubert’s Madame Bovary (1856) and Joseph Conrad’s Lord Jim (1900) are highly distinct novels in many respects, they are strikingly similar in the way they portray their protagonists. Both Emma Bovary and Lord Jim are hopeless romantics with a major tendency to set up highly unrealistic dream worlds for themselves. Both novels are widely interpreted as seriously critical of their protagonists, whose wide capacity for imagination eventually causes their ruin. This paper acknowledges the validity of this reading but argues further that these novels have a highly ambivalent approach towards the dichotomy between reality and imagination. The paper first looks at the similar characterization of the protagonists in both novels. It then proceeds to an analysis of the distance between the narrator and the protagonist in each novel in order to demonstrate the undecidedness marking the narrators’ attitude towards the protagonists. In doing all this the paper aims to show how both novels leave the problem of reality versus imagination unresolved, pointing perhaps to the possibility of a third alternative involving the reconciliation of these opposing forces.
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Edward Bond is a major voice in contemporary political theatre. He has played a great role in shaping the landscape of British theatre. His career spans over sixty-five years and he has written more than fifty plays as well as poems, penned drama theory and drama notes. Lear (1971) is seen as one of Edward Bond’s most important plays by many critics. With Lear, which is the rewriting of Shakespeare’s King Lear, Edward Bond seems to express his hidden instinct to overcome Shakespeare and to make Lear mythology more useful for his age. In the play he questions the possibility of social change, explores oppressive systems of the contemporary world, discusses the social role of the artist and gives hope with optimism for salvation of the human being. The aim of this paper is to examine Edward Bond’s ambition of rewriting Shakespeare’s King Lear in order to reveal the political and social ills of contemporary societies, and to investigate his effort to cope with Shakespeare and to evaluate his criticism of Shakespeare in the play.
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In this study, “Gazaawat al Khalid ibn al-Walid, registered at number 06 Mil Yz A 1930 in Ankara National Library Manuscripts Collection, written by Haji Mehmed Effendi in Hijri 1051 during the middle of Ramadan was examined for subject and language. Gazaawatname is the word produced combining the Arabic gazwa with the Persian naama, a general term for works where wars fought against enemies are narrated. Gazaawat is the plural form of gaza. Gazaanamas tell a single war, while in gazaawatnaama, wars and series of attacks are mentioned. These works are considered an important resource for history researchers as they tell events belonging to a particular period of time in detail. The tradition of gazaawatnaama begins in the Turkish literature in the 15th century and develops dramatically in the 16th century. Gazaawat al Khalid ibn al-Walid covers the subjects regarding the holy wars of Hadrat Khalid ibn al-Walid during Hadrat Omar and the conquest of the Persian region of the Muslim armies under the command of other Ashab al- Kiram. While the work bears the linguistic features of the 17th century, it also contains archaic elements from Old Anatolian Turkish. This work is the copyright of the Haji Mehmed Effendi written on its first foil, which is understood to have been written with a different script later. This work is made up of 79 pieces of foil and one foil is missing, and its copyist is not written. Each page is 17 lines. It was written in the form of verse-prose. Some words contain vowel points. In this article, the introduction of Gazaawat al- Khaled ibn Walid, possessing characteristics of the Old Anatolian Turkish will be made and some data will be provided about its linguistic features.
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The paper is based on a strict distinction between the notion of a person referred to by a fictional name, as uttered within a text of narrative fiction, and the notion of a fictional character. The literary functions of such a text require the reader to interpret the occurences of a fictional name as records of utterances of that name by the narrator, referring to that individual which has been assigned that name at the beginning of the chain to which these utterances belong. This, according to the author’s view, provides proper basis also for interpretation of various kinds of extratextual use of fictional names. A literary character is, on the contrary, an element of a construction of a literary work and is identified by a set of requirements (e.g. of the kind mentioned above) imposed by the text’s literary functions on the reader. The author attempts to justify the assumption that the referential function of fictional names so understood is to be interpreted as directed to the actual world (rather than to an artificial world created by the writer), to specify the (rather limited) role reserved for pretense within this approach, to explain the implications of this account of fictional characters for the dispute between realists and anti-realists in this field etc.
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