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Një nga “përdredhjet” më interesante që kanë ndodhur në ekranizimin e një romani,është ai i filmit "Vdekje në Venecia" të regjisorit Luçino Viskonti. Unë jam nga ata që ipërmbahen mendimit që filmi Gattopardo, i të njëjtit regjisor, është një film që arrin të kapë në mënyrë të përsosur kuptimin e thellë të romanit (madje edhe më shumë se origjinali). Por te "Vdekje në Venecia" ndodh diçka e çuditshme.
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“The True Story of Old Man Frost” is basically an attempt to combine a popular description of the history of the country for children and teenagers with artistic narrative; the basis for the latter are the elements of the so-called prose calendar: Christmas and yuletide stories. Using the external attributes of such prose (e. g., the action coincides with a certain time of the year) and adopting its values (the priority of home and family), the authors create internally consistent “myth” of the main new year’s character who becomes a connecting link between generations and a sign of the harmony in society. At the same time, one can notice a certain evolution in the interpretation of the main elements of the calendar prose. The main event at the beginning of the story is the miracle of transformation of the hero, an ordinary person, into the Father Frost, a magician, who gives presents and makes desires come true. However, the motif of helping the poor and disadvantaged, common for the Christmas stories of the 19th and early 20th centuries, is hardly used in “The True Story…”. That allows suggesting the evolution of the content of this kind of prose. As a result, “The True Story of…” can be attributed to the genre of a Christmas fairy tale that combines elements of flash calendar fiction and of a great novel.
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The aim of the research. The study deals with the reconstruction of Ukrainian futurism founder Mikhayla Semenko’s literary milieu. The representatives of this literary movement accepted his ideas and were engaged in the development of the Ukrainian model of futurism formed and existed within 1914–1937. Methodology of the research is based on the application of personalization theoretical potential as the main principle of culturological analysis, as well as biographical method with the purpose to reconstruct human and creative destinies of a range of famous Ukrainian futurists. Scientific innovation of the study lies in reconstruction of the process of development of a range of futuristic organizations in Ukraine. The study emphasizes the fact that the considerable part of M. Semenko’s supporters conducted inconsistent steps, ‘travelling’ around different literary groups. Conclusions. It is shown, that inside the field of Ukrainian poetry, futurism theoretic platform was of a great interest for a range of prose writers actively involved in both creation and further improvement of a new art trend aesthetic and creative fundamentals.
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Michel Beheim, a prominent 15th-century German author and musical composer – who was at the Siege of Nándorfehérvár (1456) in the entourage of King Ladislaus V (the Posthumous) of Hungary – wrote one of the first song-poems in reaction to the Fall of Constantinople in 1453. Entitled Von den Türken und dem adel sagt dis, these verses, translated here into English for the first time, have previously been neglected in scholarship. Beheim’s perspective is particularly important, documenting as it does an emotional reaction to a defeat that spawned invective-filled rhetoric, crusading propaganda, castigation of the Christian nobility for a failure to come together, and an interpretation of the Turks under Mehmed II as a scourge of God. Beheim here, and in his subsequent body of anti-Turkish works, including his detailed depiction of the Crusade of Varna (1443 – 1445), contributes to the shaping of a late mediaeval and early modern negative Türkenbild.
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This essay offers an analysis of “the two-finger” illustration which Bhāviveka discusses in the Vaiśeṣikatattvaviniścaya chapter of the Tarkajvālā, the auto-commentary on his Madhyamakahṛdaya[ kārikā], wherein he introduces and criticises the theories of the Vaiśeṣika school. Going through the early Vaiśeṣika literature, I have noticed that these two-finger (dvyaṅgula, two fingers in a unit form, or finger-pair) illustrations only occur in Candrānanda’s Vṛtti, and in a very clear and straightforward manner. As I will point out, it is a mystery and indeed somewhat perplexing that the references to this illustration in the Tarkajvālā are not at all immediately intelligible. This circumstance will be addressed in this essay, where also an interpretation and a solution will be offered. In addition, the relative chronology of Bhāviveka and Candrānanda as well as their contemporaries in around 6th-century India will also be discussed.
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This study presents the basic theoretical assumptions which are important for defining postmodern realism. In the introductory, theoretical part we are considering the concepts of realism and postmodernity and their manifestations in Spanish literature. We present the theoretical overview and description of the characteristics of postmodern realism. Then we define the selected corpus, which consists of two novels of Javier Marías, A Heart So White and Tomorrow in the Battle Think on Me. The objective of this study is to observe and discuss common features of postmodern realism in the selected corpus, such as fragmentation, hybridity, intertextuality, referentiality, self-reference, and also to find common themes and characteristics of the main characters so as to analyze the relationship between fiction and the author. In order to make them fully presented and explained, the analysis of these common features relies on examples from the works themselves. At the end, we can conclude that there are characteristics of postmodern realism in the novels of Javier Marías and that we shall consider him as a representative of this tendency in Spanish literature.
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The aim of the present study is to show that the poetic language of Slovo o polku Igorevě can be traced back to the common Indo-European poetic thesaurus. The study focuses on the hymn-like fragments of the Slovo: Yaroslavna’s lament and Sviatoslav’s golden word. The novelty of the approach is the special attention to the sequences of morphemes in the texts that can be distinguished as reflections of the Indo-European hymn (besides Slovo’s fragments, also Ukrainian folklore texts, Homeric prayers, Homeric hymns, Orphic hymns, and Old Latin charms were analyzed). The grammatical comparison showed that each compositional part of the hymns has its own characteristic morphological features of common Indo-European origin. Furthermore, morphological devices are chained in series that are stable and function as base for the composition of the hymn. The use of morphological formants should have been determined by oral tradition because from the range of semantically close formants of a distinctive language only one is chosen, cognates of which are used in other analyzed traditions. It leads to the conclusion that orality and authenticity of the Slovo’s hymn-like fragments are supported by the common Indo-European morphological chains.
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According to Book 6 of the Nicomachean Ethics, the primary task of phronēsis (practical wisdom) is to deliberate about the things that are good in general for each person. However, phronēsis concerns not only individuals but also the community: practical wisdom is a political virtue as well. In my paper, I argue that the intellectual excellence called sunesis (comprehension) by Aristotle opens up the social dimension of practical wisdom, and thus provides an important means for the political application of phronēsis (EN 6. 1142b34−1143a32). To support my argument I interpret two further passages where sunesis appears in a clearly political context: in relation to legislation (EN 10. 1181a18) and to political deliberation (Pol. 4. 1291a28).
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The unity of the structure of the 3rd eclogue is given by the close connection of the ecphrasis, the invocations and the riddles relating to each other, that contributes to revealing of the hidden contents. In the allusions included in these three pairs are recalled the didactic poetry with its Hesiodic traditions, the Theocritean bucolics, the neoteric poetry as well as the elegy. Th is variety of genres is present also in the different style-levels of the eclogue, completed by some comic-mimic characteristics, because of that the third eclogue can be related with the sixth within the whole book.
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Vergilius Aeneisében két kozmológiai témával foglalkozó hely van: Iopas éneke az első ének végén (1, 740–746) és Anchises beszédének első része a hatodik énekben (6, 724–751). Iopas, az énekes figurája Homéros hasonló alakjaiban találja meg előzményét (Od. 1, 325 Phémios; 8, 43 Démodokos). Dido udvarának énekese a várakozásokkal ellentétben nem hősi dalokat zeng, hanem a napról, a holdról, az emberek és állatok eredetéről, a csillagképekről, a nappalról és az éjről, a tűz és a víz eredetéről tanít kitharája kíséretében.
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This article is a continuation of a study published in AOH 66/1 (2013), pp. 25–45 entitled “What makes a good poet according to Someśvaradeva? Poetic merit, demerit and the ethics of poetry in the Surathotsava and the Kīrtikaumudī”. It provides the texts and the first English translations of several verses concerning ethics (Surathotsava 1.1–1.64 and Kīrtikaumudī 1.1–1.47) by the 13thcentury poet Someśvaradeva, which had formed the basis of the analysis in that study. The edited texts here improve upon the older published versions, and, in the case of the Surathotsava, utilise textual variants and glosses to difficult puns not given in the printed text, by additionally taking into account two manuscripts.
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In 13th-century Gujarat, the court of the Caulukya emperors in Aṇahilavāḍa-Pāṭan offered patronage and employment to a highly learned group of individuals. These men also wrote poetry and drama in their spare time – for their amusement, as a mark of culture and to comment upon the events of their times. Within this group, Someśvaradeva, royal chaplain to the Caulukya monarch Bhīma II and his Vāghela successors Lavaṇaprasāda and Vīradhavala, was renowned for having written a composition in only one and a half hours. He offers us in his writings a wealth of historical information on his political circumstances, along with subtle reflections on the ethics of poetry. Who is a good poet? Who is a bad poet? Is a good poet a virtuous individual (sajjana)? Is a bad poet a rogue (durjana)? Who are the models of poetic propriety? Such are some of Someśvaradeva’s concerns. These frequently satirical commentaries on standards of poetry and the ideal poetic disposition appear in the preambles to his two epic poems, the Surathotsava 1.30–64 and the Kīrtikaumudī 1.7–46. Despite their sophistication, they have hardly interested most scholars working on these texts. The article analyses these passages in detail for the first time, and examines the ethics that Someśvaradeva, and the poets of his company, felt underlay the art of poetry.
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L’objectif de l’article est de rendre un dernier hommage au professeur Borzsák par une esquisse de sa francophilie. Dans un premier temps nous souhaitons nous concentrer sur sa formation francophone, sur des ateliers intellectuels des années de l’avant-guerre hongrois, qui lui auraient pu transmettre cette attachement à la culture française. Dans la suite, nous essayerons de découvrir l’homme par ses lectures, c’est-à-dire retrouver les oeuvres francophones qui l’ont considérablement marqué, particulièrement celles de Stendhal, son auteur fétiche.
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„Plutarchos, akit az ókor legkiválóbb egyiptológusának nevezhetnénk...” – jellemezte a Peri Isidos kai Osiridos szerzőjét Dobrovits Aladár hetvenhét évvel ezelőtt. Persze jó néhány más antik szerző tiltakozhatott volna ez ellen is, Hérodotostól (vagy akár már a platóni Timaiostól) kezdve. Ugyanígy sok auctor vitathatná el Plutarchostól a „legkiválóbb hebraista” minősítést is. Igen számosan írtak ugyanis már őt megelőzően a zsidó népről, vallásról, kultúráról görög vagy római olvasóknak, görögül vagy latinul. E szerzők vonatkozó részleteit gyűjtötte össze a teljesség igényével Menahem Stern, az utóbb arab terroristák által meggyilkolt izraeli tudós, aki a judaisztikának és a klasszika- filológiának egyaránt nagymestere volt. Gyűjteményének2 két vaskos kötete közül az első 91 antik szerző zsidó tárgyú adatait tartalmazza 576 oldalon. Ezek közül Hérodotos az első, és – véletlenszerűen – éppen Plutarchos a legutolsó. A második kötet, amely viszont csak 70 szerzőtől közöl szemelvényeket, ám ezt már 690 oldalon (s ebből csupán kettőt vesz el az előző kötetre vonakozó addenda és corrigenda!), Tacitusszal indul, s a Kr. u. 6. század első felében élt neoplatonista filozófussal és Aristotelés-kommentátorral, Simplikiosszal zárul.
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