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O Matiji Divkoviću postoji opsežna literatura nastala tijekom zadnja dva i pol stoljeća, počevši od prvoga zapisa Alberta Fortisa 1774. godine, pa do najnovijeg vremena, odnosno prilogā nastalih u povodu 400. obljetnice tiskanja knjige Nauk krstjanski i Sto čudesa (2011.). Divkovića su, nakon Filipa Lastrića, bibliografski predstavili isključivo s popisom njegovih djela, između ostalih, Ivan Frano Jukić (1850.), Ivan Kukuljević Sakcinski (1860.), Jako Matković (1896.), Julijan Jelenić (1925.). Obuhvatan popis literature o Divkoviću priredio je Anto Slavko Kovačić objavivši ga u Zborniku radova o Matiji Divkoviću u povodu obilježavanja 350. obljetnice autorove smrti (Sarajevo 1982., str. 343–361), a potom u Biobliografiji franjevaca Bosne Srebrene (Sarajevo 1991., str. 108–113). Kako je od Kovačićeva popisa prošlo više od dva desetljeća, bilo je potrebno ažurirati popis novim bibliografskim jedinicama. Sve zapise iz Kovačićeva popisa unijela je, provjerila kronološki preuredila Sonja Martinović iz Nacionalne i sveučilišne knjižnice u Zagrebu. Popis literature znatno su nadopunili te dodali bibliografske jedinice od 1982. do 2013. Dolores Grmača i Marko Karamatić. Metodološka inovativnost ovoga popisa literature ogleda se u kronološkomu slijedu jedinica kojim je zamijenjen abecedni, primijenjen u Kovačićevoj bibliografiji (1982.); bibliografska prohodnost čini se na taj način zanimljivom i na recepcijskoj razini. Ćirilične naslove donosimo u latiničkoj transkripciji.
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O Matiji Divkoviću postoji opsežna literatura nastala tijekom zadnja dva i pol stoljeća, počevši od prvoga zapisa Alberta Fortisa1774. godine, pa do najnovijeg vremena, odnosno prilogā nastalihu povodu 400. obljetnice tiskanja njegovih djela: Nauk krstjanskiza narod slovinski (tzv. veliki Nauk) i Sto čudesa aliti zlamen’jablažene i slavne Bogorodice, Divice Marije (1611–2011) te Besjede svrhu evanđel’ja nedjeljnijeh priko svega godišta i Nauk krstjanski s mnozijemi stvari duhovnijemi i vele bogoljubnijemi (tzv. mali Nauk) (1616–2016). Divkovića su, nakon Filipa Lastrića, bibliografski predstavili isključivo s popisom njegovihdjela, između ostalih, Ivan Frano Jukić (1850), Ivan Kukuljević Sakcinski (1860), Jako Matković (1896), Julijan Jelenić (1925). Obuhvatan popis literature o Divkoviću priredio je Anto SlavkoKovačić objavivši ga u Zborniku radova o Matiji Divkovićuu povodu obilježavanja 350. obljetnice autorove smrti (Sarajevo 1982: 343–361), a potom u Biobliografiji franjevaca Bosne Srebrene (Sarajevo 1991: 108–113). Kako je od Kovačićeva popisa prošlo više od dva desetljeća, bilo je potrebno ažurirati popis novim bibliografskim jedinicama.
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This article is merely intended to summarize the four principal viewpoints of the systems of Classical Hindu thought on the supreme scriptures of Brahminical Hinduism, i.e., the Vedas. It does not give nor delve into the long-winded arguments advanced by the schoolmen of each of these systems that seek to justify their positions on their doctrine of scripture and its associated and ancillary issues
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The present paper follows the journey of the Romanian verb “a bate” (to beat, to hurt, to fight etc.) through the depths of language, uncovering its many uses. Bridging cultural and linguistic distances, it also explores the contextual requirements and changes that happen in Hindi when wanting to obtain the same meanings as those conveyed by the Romanian verb. In addition, it reflects on how a social media post that starts out as a topic for ridicule may become a source for semantic analyses.
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Rabindranath Tagore’s dramatic techniques employ a rich tapestry of symbolic language, where imagery serves as a vehicle for both narrative progression and the expression of complex social critiques. Set against the backdrop of rigid caste hierarchies prevalent in society, the play presents the transformative journey of Prakriti, an untouchable woman who confronts the deeply ingrained social prejudices of her time. Through its poetic language and richly layered imagery, Chandalika goes beyond a mere narrative of social critique to become a profound meditation on human dignity, identity, and freedom. Through a detailed analysis of these imagistic elements, this study highlights how Tagore’s visual language not only enriches the dramatic experience but also invites a deeper understanding of the socio-cultural issues addressed in the play. The paper argues that Chandalika serves as a powerful example of how metaphors of liberation, when intertwined with visual symbolism, can transcend the constraints of conventional drama to deliver a potent message of human dignity and self-worth.
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Calcutta (Kolkata) is usually considered the cultural capital of India. The extraordinary cultural effervescence of the city, the numerous descriptions of the metropolis in the literary writings, memoirs or films place Calcutta among the most inspirational cities in the world. I have visited Calcutta many times and I am always impressed by the city’s ability to reassert itself, and to give a voice to all its residents. During festivals, the city is like a fairytale; it vibrates with people’s lives and is part of the festivities. But during the rest of the year, Calcutta charms visitors and takes over their lives, making them return again and again. This is how I see, experience, love and read the city of joy, beyond the words in which it is often described.
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This essay explores the interactions between customary law and state governance, revealing the complex relationships among power, identity, and law in contemporary India. It highlights the evolving nature of customs and the challenges faced by both dominant and marginalized communities. The analysis focuses on the Jat community's demand for the inclusion of sagotra marriage prohibitions in state law, illustrating how this demand exemplifies formal legal pluralism that reinforces their dominance in local politics. In contrast to marginalized groups seeking recognition of their norms, Khap Panchayats work to uphold traditional authority amid changing social dynamics.
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