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Osim Ilijade i Odiseje, pod Homerovim imenom sačuvan je i zbornik Himni. Najstarije, nama u celini poznate, grčke himne pisane su u heksametrima. Obeležene su, zajedno sa mnogo mlađim pesmama, kao: ΄Ομηρικοι υμνοι – homerske himne i sačuvane su u zborniku koji je, verovatno, nastao tek u doba helenizma.
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The Romanian intellectuals and their political commitment become one central issue in focus of Manea-Kanterian dialogue (before and after 1990). The different situations of intellectuals's position towards the regime (overt or covert political commitment or, on the contrary, total disapproval) are honestly and objectively approached.
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One hundred years ago T. S. Eliot published The Waste Land, the acme of High Modernism (along with Rainer Maria Rilke’s Duino Elegies and, for fiction, James Joyce’s Ulysses, Marcel Proust’s In Search of Lost Time and Franz Kafka’s composition of The Castle, to nam but these), in which the poet articulated his response to post-WW1 disillusionment.
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During the post-war period, Romanian literature passes, without its will, through a series of mutations that makes the writer adapt his books to the new rules of the game, the ones imposed by the communist regime. Facing censorship, the literary communication has to take other forms: escaping the present, avoiding the literary themes confiscated by the communist propaganda, practicing an allegoric discourse. In the play «Iona», Marin Sorescu, an important poet and dramatist, one of the leaders of the 1960‘s generation, rewrites the myth of the biblical Iona, making his character a symbol of a conscious humanity, living the nightmare of history, forced to assume an existential regime that means: solitude, lack of communication, insular living. But the greatest threat seems to be the cancelling of his individuality. Yet Iona manages to avoid his dissolution; his solution for this is refusing to live his life tragically. In this manner, Marin Sorescu‘s play is representative for the destiny of an entire type of literature written in this period.
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Jan Braun, born on 15th May 1926 in Łódź, studied classical philology and classical archaeology at the University of Lodz (years 1947–1951). His MA thesis (1951) was devoted to the ethnogenesis of the Etruscans. He also worked as junior assistant at the Department of Classical Archaeology, University of Lodz (from May 1949 do September 1950) and later as junior lecturer at the Department of Classical Philology of the same university (from October 1950 to September 1951). In October 1951, Braun left for Georgia in order to complete his doctoral studies. From there he returned to Poland as PhD, specializing in Georgian and other oriental languages, especially the ancient languages of the Near East. In the years 1955–2002, he worked at the University of Warsaw, initially as assistant professor. In 1970, he became associate professor. In 1991, he received the higher doctoral degree (habilitation), and in 1995 he obtained the position of full professor. He studied the genetic relations of ancient and modern languages, including a suggested Basque-Kartvelian connection. During his habilitation colloquium, he gave an interesting lecture entitled “Basic problems of historical-comparative research over the ancient languages of the Mediterranean area” (Warsaw, May 28th, 1991), which is presented in Appendix No. 1 (with some comments and bibliographical references). The paper presents Braun’s main fields of research and his achievements made in Łódź (Poland), Tbilisi (Georgia) and Warsaw. According to Braun’s view, suggested as early as 1951, Etruscan represents an external member of the Anatolian languages (deriving from Luwian), so that it belongs to the Indo-European language family. In his opinion, Basque is a western member of the South Caucasian (or Kartvelian) family.
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Edice textů (1927–1937)
The edition brings a commented selection of texts from reportage publications and travelogues of four Czechoslovak writers, which reflect their experiences gathered during their trips to and stays in “exotic” non-European regions of the Soviet Union between the two world wars. They are: Julius Fučík (1903–1943), a journalist, literary critic and columnist, Egon Erwin Kisch (1885–1948), a Czech-German journalist, reporter and writer from Prague, the Czech-German writer and diplomat Franz Carl Weiskopf (1900–1955), also born in Prague, and the Czech-Jewish writer, newsman and translator Jiří Weil (1900–1959). All of them were organized Communists (Weil was expelled from the Communist Party in 1935), travelling at an invitation of Soviet authorities, and their texts, which were published in Czechoslovakia and Germany between 1927 and 1937, presented a more or less idealized picture of the Soviet reality with a propagandistic air. The selected texts capture the authors’ impressions mainly from Kyrgyzstan and Tajikistan, but also from other regions of Soviet Central Asia, the Caucasus, and the Altai Mountains. Julius Fučík and Jiří Weil were specifically interested in the Czechoslovak cooperative of emigrant workers and farmers, Interhelpo, established in 1925 and operating until the late 1930s off the town of Frunze (now Bishkek).
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This text represents several pages from a diary written by the author during her studies in Istanbul. She notes aspects of the everyday life of the city and reports information on touristic major objectives, the Romanian parish of this city, activities of Galatasaray University etc. Istanbul appears as an animated city, full of history and attractive to tourists.
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In dem Artikel wird eines der wichtigsten Elemente des (reise)literarischen Nachlasses im XIX. Jahrhundert, nämlich das Wirtshaus, dargestellt. Charakteristisch für die damalige kulturelle Wirklichkeit war die Tatsache, dass diese Gasthäuser von den Vertretern der jüdischen Gemeinde geführt wurden. Diese Situation war ein Ergebnis der im XIX Jahrhundert herrschenden Gesetzgebung, die die Ausübung von anderen Berufen als den des Gastwirtes für Juden verbot. Gasthäuser wurden im multikulturellem Polen und später nach dem Verlust der Unabhängigkeit eine Schnittstelle von Interessen folgender drei ökonomischer Instanzen: der polnischen Gutsbesitzer, der jüdischen Pächter und polnischer Bauern. Bei einer Gelegenheit der ökonomischen Verhältnisse kam es auch zu einem spezifischen kulturellen Austausch. Für den polnischen Bauer war ein Wirtshaus nicht nur eine Anlaufstelle, an der er sich nach aktuellen Informationen erkundigen konnte, sondern auch ein Forum, in dem Wissen über die weite Welt ausgetauscht wurde. Die Bilder der ländlichen, von Juden geführten Wirtshäuser, wurde ein Thema vieler Werke der polnischen Literatur. Folgende Autoren sind zu erwähnen: F. Kowalski, S. K. Potocki, W. Wiącek, E. A. Odyniec, J. I. Kraszewski. Das ländliche Wirtshaus in einer typischen Beschreibung ist meistens ein Ort, an dem die Juden die polnischen Bauern ans Trinken gewöhnen und mit Krediten oder anderen Verpflichtungen abhängig machen. In einem kleineren Ausmaß wird auch eine gute Seite des Charakters und nationaler Eigenschaften der Juden gezeigt. Es wird aber darüber geschwiegen, dass die Juden zur Ausübung von Funktion des Pächters von dem damaligen Recht und polnischen Gutsbesitzern gezwungen wurden.
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Review of: Keele maitsest. Luuleantoloogia. Koostaja Mart Velsker. Idee autor ja kaaskoostaja Tõnu Tender. Tallinn: EKSA, 2018. 463 lk.
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The objective of the article is a comparative analysis of the biblical epic La Judit (1574) by Calvinistic poet Guillaume Salluste Du Bartas and the Polish paraphrase written by Rafał Leszczyński (1620), who was the leader of Polish Protestants in Greater Poland. The current state of research on both poems is very modest: the works were discussed exclusively in introductions to the critical editions cited above. In the present article, the two versions have been compared on three aspects: epic poetics, confessional tinge and references to regicide, which was a contemporary issue in both countries in those times. The French poem is composed of six books and comprises 2,837 lines of 12 syllables each, rhyming AABB. The biblical narration was enriched with numerous allusions to contemporary events as well as digressions on both moral and political issues. It is written in a high style enriched with Homeric comparisons, characters’ speeches, descriptions and erudite catalogues. Leszczyński’s adaptation is shorter than the French original: it is composed of five books comprising 1,640 lines of 13 syllables each, rhyming AABB. This reduction owes to the removal of the digressions and contemporary allusions, without touching the qualities of the epic style.
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Se estudia el enfoque que se le dio a la lactancia materna en diversos textosde la temprana modernidad: obras médicas de los siglos XV al XVII del Viejo y delNuevo Mundo y crónicas de la conquista espiritual de América. El corpus textualseleccionado lo unifica su marcado providencialismo y su potestad Divina. Se proponeubicar estas obras desde una tradición que toma en cuenta el eclecticismo y eldinamismo en la materialidad de la cultura escrita: siempre se construye un texto a partirde distintas fuentes para conseguir, de modo activo, algo novedoso. Con base en esto, sedestaca que los autores médicos y cirujanos de esta clase de obras crearon unametatextualidad en dos sentidos: uno propio del quehacer del arte médico y otromeramente literario. Finalmente, se propone entender las funciones de los autoresdentro del entramado al que invita su discurso normativo de estilo áspero, desde el cualdefendieron la idea de un paraíso en el Nuevo Mundo ante el cisma que tuvo la Iglesiaen el siglo XVI.
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‘After preaching, they feasted quite lavishly every day, they chose new lovers almost every night, they spent their time without being subjected to anyone, without worries, without fatigue, without danger’. In his Super Apocalypsim, the Cistercian monk Geoffrey of Auxerre describes in this way two Waldensian lady preachers, delineating an extraordinary condition of female autonomy. The article explores the ‘textual phy-siognomy’ of Super Apocalypsim, a biblical commentary written in the second half of the 1180s, but also high-lights its historical and editorial context. The testimony of Geoffrey of Auxerre, a leading representative of ecclesiastical hierarchies, allows us to analyse lexical choices and conceptual nuclei in order to clarify the speci-fic polemics underlying this description of the subversive life of an order which is represented by the two Waldensian women and the manner in which they experience female freedom. Emphasis is given to the issue of a dangerous ‘upside-down world’ (mundus reversus et perversus); this witnesses the subversive experience of the two Waldensian women. The article also recognises possible surviving traces of a radical evangelism and the attempt to create a new world (mundus novus).
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Michel Del Castillo's novel Death of a Poet was published in 1989, before the collapse of totalitarian systems in eastern countries. It is an autobiographical fiction. The action takes place in 1988. The narrator, Igor Védoz, relates the last events of the fall of a dictator, Marshal Carol Oussek, the "Guide" of an imaginary republic, Doumaria, a country located in the center of central Europe. It’s a reflection on absolute power. The intrigue is built on a detective plot. The investigation carried out by Igor Védoz allows us to glimpse some of the secret mysteries of power in this "Socialist, democratic and peaceful Republic of Doumaria". What does it reveal about the death of this dictator, a victim of himself, within the mysterious arcana of his own power? How is the story built on a police mystery, the discovery of multiple machinations and the secrecy of a fraud?
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Forgotten Issues of Romanian Literary History: War Poetry. Having as a starting point a general reflection on the belonging of Romanian literature to a cultural geography constantly conditioned by history, this study aims to question the reasons why Romanian poetry of the Great War represents for over a century a taboo subject of Romanian literary history, contrary to tendencies in international literary history.
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The paper highlights a different side of the concerns of the writer Lev Nikolayevich Tolstoy (1828-1910), his contribution at the level of pedagogy. One of the world's leading novelists, playwright and essayist, L.N. Tolstoy is also an important reformer of education, with a revolutionary pedagogical theoretical and practical work at the level of the '60s and '70s.The epistemological maturation of the Russian pedagogy occurs through the pedagogical activity and works of the authors K.D. Ushinsky and L.N Tolstoy. The two important Russian pedagogues, with universal impact, mark the moment of transition from the pre-modern pedagogy to the modern pedagogy. K. D. Ushinsky bequeathed the idea of the organic synthesis in pedagogy, and L.N. Tolstoy launched the pedagogical and social theme of freedom, in education and through education.In summary, the epistemological construction of the pedagogy of freedom can be demonstrated by the object of study, normativity and research methodology. The specific study object of L.N. Tolstoy's pedagogy is the free education / instruction as a model of formation through higher culture (Bildung), but it also involves other concepts that define: education (forced through instruction / teaching), general purpose, education contents and free school.The pedagogy of freedom anticipates the current New education (affirmed in Europe during the late nineteenth century – the second half of the twentieth century). The normativity specific to Tolstoy's pedagogy refers to the principle of complete freedom in education / instruction, the principle of organizing education / instruction in free schools, the principle of optimizing the relationship between the “two active factors of instruction: the educator and the educated”.The historical and comparative research highlights the difference between education (constraining through training / teaching) and instruction (free education through higher culture – Bildung).
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Looking for the Denegation. Possibilities of Reading the Social Reality in Literature. Despite a disciplinary history filled with embarrassing determinisms, the sociology of literature still tries to overcome al methodological obstacles, by proposing a mediate reading between the literary work and its socio-historical conditions. The present paper examines two recent examples of this mediate reading: Pierre Bourdieu’s homological model between the author’s position in the literary field and its literary production, respectively Jacques Rancière’s argument for an internal literary structure capable of self-explaining. Irreconcilably different, these two readings present nonetheless a common effort: both of them look for the categories of denegation – unintentional textual structures and silent style choices caused by the author’s habitus and by the social practices and constraints.
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