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Foreword to the issue dedicated to the “new philology”, focusing on the use of digital methods in literary studies. The author asserts that digital humanities concerns ‘the digital’ only to a limited extent. This is not discipline or paradigm, but rather a movement or a package of shared values that guides researchers from different disciplines in the humanities
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The article describes a victimological paradigm in modern Russian-Israeli literature. The proposed opposition present in the two notions i.e. victim–victimizer is based on Eric Gans’s generative anthropology. The dynamics and possibilities of new form of victimological paradigm are analysed on the basis of chosen literary works in new Russian-Israeli literature.
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The article deals, dash-like, with the development of Jewish subject matter in Russian literature: from taboo to self-reflection because of belonging to Jewry, from euphemisms of XIX and XX centuries to the open and proud declaration made by the conceptual Jew, Arkan Kariv, in his XXI century prose. Exemplified in fragments of writings by Dina Rubina, Friedrich Gorenstein, Valentin Rasputin, Alexandr Melikhov and Jury Karabchievsky, some facets of Jewish theme are discussed. In Kariv’s novels Interpreter and Once in Bishkek, a Jew — outsider, pariah, and self-reflecting intellectual — turns into a brutal leader named Martyn Zilber. A special subtlety of this novels’ structure is given by the fact of palimpsest: the reader understands that behind the Kariv’s writings is the novel by his father, Jury Karabchievsky, as much as behind Martyn Zilber’s father stands Alexandr Zilber, the hero of Karabchievsky’s novel.
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This article examines Anton Chekhov’s short story (Quag)mire (Тина, 1886), which gave rise to a great deal of controversy among contemporaneous critics and authors. Some of their commentaries were pejorative, in spite of the fact that Chekhov himself regarded the story as successful. Since the critics frequently referred to the reader’s thoughts and feelings, the article proposes to analyse the story by virtue of cognitively-inspired literary methodology, with emphasis laid on (cognitive) empathy. Particularly useful is also the Deictic Shift Theory, which involves the reader’s engagement in the tracing of “relocated” deictic centres, as well as the Conceptual Metaphor Theory. Accordingly, Kowalczyk argues, debauchery is a mire can be considered the story’s central conceptual metaphor, while the story’s title, Тина (Tina), literally a (quag)mire, provides a key to its interpretation. In the story, told by the third-person narrator, the reader empathically identifies her/himself with Alexandr Sokolsky, a Russian officer, as if “entering” the deictic field created “around” him. Together with the protagonist, the reader — via a sequence of consecutive deictic shifts — is empathetically familiarized with Susanna, a Russified Jewish woman. Through several actions and utterances, Susanna attempts to question the negative stereotype of a Jew, commonplace in Russia, but fails. Arguably, the reader’s evoking the biblical story of the genuinely virtuous Susanna, implied in Chekhov’s text, entails her/his negative perception of Chekhov’s fictional female. This cultural undercurrent may be deemed responsible for the story’s unfavourable reception by Jewish readers, who interpreted Тина (Tina) in terms of a literary attack on their society. In light of the cognitive-literary approach delineated above, Chekhov’s story in question indeed proves to be anti-semitic.
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In this paper the views of Zinaida Gippius on the status, place and role of the Jews in history, expressed in the diaries, journalistic writing and essays were analysed. A reading of these texts leads to the conclusion that the writer had an ambivalent attitude to the Jews. On the one hand, her position, especially soon after the Bolshevik revolution, corresponding to negative stereotypes, but on the other hand overcome it. The journalistic writing and Gippius’ diaries comes belief in the need for reconciliation and in the possibility of achieving it. The hope for a harmonious coexistence of people connects Gippius with religious movements in Russia, the revival of the Orthodox Church and the opening of the Jews to Christianity.
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The paper delineates the history of Rachel Boymvol — a poetess, and an author of aphorisms, fables both for children and adults, and a compendium concerning Yiddish idiomatics. Her life — from the fascination with communism in the 1930s to facing persecutions in 1940s and 1950s, and emigration to Israel in 1971 — is one of the many fates of Russian writers of Jewish descent. Previously a noteworthy fabulist, published in millions of volumes, this later forgotten author is slowly regaining her place within Russian literature after 2000.
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The article is an attempt of the semantic interpretation of the poem of Inna Lisnianska “Развалилось то, что долго длилось…”. It concerns the role of the Jewish Question in identity formation of the lyrical subject. I was preceded by a rough outline of the Jewish issue in Russian literature. The interpretation demonstrates that the drama of the tumble indicated in the title is opposed by the “elf” of the lyrical subject. That self was formed by the unity of blood, the unity of both cultures and both religions. It was formed by her cry — with all the blood (“всей своей кровью”), where Christian and Jewish elements merge.
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Rubina looks at the unpredictable and difficult every-day reality of “Russian Israel” in the 90s from the perspective of Jewish tradition, culture and religion. She creates an image full of equal amounts of both comedy, irony and even grotesque and philosophical and religious thoughts. The novel develops the idea of the destiny of the Jewish people and the unity of Jews with their own land. The novel’s characters are not looking for their own identity — they know very well who they are and where they belong. The background of the novel are descriptions of the regional political and religious conflicts as well as realities (including geographical and topographical) of Israel and faithfully reproduced cultural climate.
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The character of Russian-Jewish immigrant constitutes undoubtedly one of the major figures in Israeli cinema. The aim of the studies is to focus on two contemporary Israeli films, i.e. Saint Clara (Clara Hakedosha, 1996) by Ari Folman and Ori Sivan and Circus Palestine (Kirkas Palestina, 1998) by Eyal Halfon from the point of view of intercultural relationships. The selected texts of culture seem to show both Russian and Jewish culture as dynamic and ambiguous phenomena, which are characterised by a number of paradoxes, polar stereotypes and prejudices. At the same time, however, the cultures turn out to be similar to each other in their continuous inner conflict between striving for freedom and the need of self-restraint.
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This paper analyses the presence of the Persian political and literaly tradition in Uṣūl al-ḥikam fī niẓām al-‘ālam (Principles of Wisdom on the World Order), one of the most prominent works written by Bosnians during the Ottoman reign. This work is written in Arabic language, then translated to Ottoman Turkish with some Persian verses added to it. There are 23 poetical fragments in Persian language in Uṣūl al-ḥikam fī niẓām al-‘ālam. The translation and transcription of Persian verses are given in this paper. 16 out of 23 authors of Persian verses are identified. Hasan Kāfī al-Aqhisārī cites the best works of Persian classical literature. He is familiar with Golestān, Bustān and Gazaliyyāt by Saʻdī Shirāzī. Uṣūl al-ḥikam fī niẓām al-‘ālam is enriched by poetical fragments by Nezāmī Ganğawī, the other great Persian classical poet. Beside Saʻdī and Nezāmi, there are verses that belongs to Molā Hosayn Wāʻez Kāshefī, Ebn Yamīn and Amīr Hosrow, the Persian authors who are not familiar even now in our public. All preislamic and Islamic Persian heroes are taken as models of justice, wisdom, courage and experience. These examples are used to show the Ottoman Muslim sultan the importance of virtues and to teach the sultan how to reign properly. It is an amazing fact how the knowledge of ancient Iran passed to Arabic culture then came to the Ottoman tradition and finally found its way to the far away Bosnia.
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In the graphic memoir I Was a Child of Holocaust Survivors (2006) Bernice Eisenstein examines her identity as a second generation survivor, tells stories about her parents, and depicts the community of survivors in Toronto. Eisenstein’s memoir is most often described as a graphic novel. However, the book is a specific combination of words and drawings, and can be hard to categorize. In my paper I focus on Eisenstein’s complex relationship with her father presented in the novel, and argue that the way she writes about him and draws him is anchored in his unsaid Holocaust experience. I read Eisenstein’s portrayal of her father in reference to the concept of postmemory, and suggest that Eisenstein was heavily affected by her father’s experience of being a Holocaust survivor. Her deep connection to the past is demonstrated in I Was a Child of Holocaust Survivors through drawings, selected memories, and references to numerous works of culture. I discuss how Eisenstein draws her father and how she commemorates him in images – not as a victim, but as extremely strong personas: movie star, gangster or sheriff. I analyze the role of shtetl culture in the memoir as another way of linking present with past. I suggest that the books and movies about the Holocaust which Eisenstein references in the memoir create a basis for changing the confusing, or even unexpressed traumas, into an understandable story.
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The French writer André Stil (1921-2004) is now almost forgotten, but he was the first and only Westerner to receive, in March 1952, a Stalin prize of literature. He was then the editor of the main communist newspaper in France, L'Humanité, and a candidate member in the Central Committee of the French Communist Party. This was the first time that a Stalin prize was awarded to some non-Soviet writers and the last time that it was awarded under this appellation. A question arises: why was this prize, extremely prestigious in the communist world, attributed to André Stil, and not to Louis Aragon or Paul Eluard, communist writers of incontestable literary talent? Articles and speeches of that time give an unequivocal answer: because André Stil represented then, better than anyone else in France, the literature and the writer, as conceived by Soviet ideologues. Therefore, analyzing the reasons, the context and the consequences of this specific Stalin Price means exploring the attempt to transfer and promote in France the model of writers, advocated by Andrei Zhdanov.
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The purpose of the work. The research is related to cultural understanding of variability of light and darkness mythologema modification in the light of solar symbolism of the Christian spiritual tradition. Research methodology is to use axiological (to identify the value component of light and darkness and the semantic range of their transformations), semiotic (to characterize light and darkness as carriers and broadcasters of cultural codes) methods and hermeneutical analysis (to interpret space of myth as a special cultural practice). The scientific novelty of the work consists in the study and analysis of axiosphere of hagiographical literature of the Orthodoxy and determination of its culture forming mechanisms. This study allows examining light and darkness in the context of the value system of the myth which should be considered as a separate type of cultural memory. Conclusions. Understanding the mythologema of light and darkness in the profile of solar symbolism enables separation of formative arteries of numinous continuum of the Christendom. Engaging cultural tools allows to distinguish light and darkness as mythopoetic constructs in shaping the dogmatic foundations of the Christian culture. In the light of hagiographic narrative they serve as evaluating metaphors the axiological potentiality of which form the ethical and humanistic orbit of hagiographical literature.
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The article provides a technique to study and identify Slavic (Ukrainian) manuscripts of the total array manuscripts Ukraine and Greece. Pending the results of the study involved etnosemiotychnyy method through external design manuscripts using ornamental painting. Addressing the issues of concurrency and features of the spiritual culture of Ukraine and Greece XVII-XVIII centuries. And examining manuscripts of the two countries, we cannot clear the facts connected with the outside manuscript. Externally finish the book can be done first, and often even final conclusions on its association with a sample of a cultural tradition, religion, ethnic group, nation, chronological limits (century) hierarchy. The main proponents of external decoration of manuscripts are elements of painting (portrait miniature), iconography (separated LA T-K. In a separate category because of the pronounced differences in this case) ornamental painting. For this study selected ornamental painting as a vivid exponent identify features and differences manuscripts Ukraine and Greece. Based on the above, we can see that the theme of this research is relevant and scientifically appropriate. For this study the method chosen semiotically decorative and semiotic-symbolic comparisons. A goal and objectives are: proof of the theory of semiotically decorative and semiotic and symbolic elements etnosemiotyky as comparisons to identify and determine the manuscripts as belonging to a particular ethnic group, nation, chronology and hierarchy. To work selected Greek and Slavic (Ukrainian) manuscripts, which have the same Orthodox religious basis and do not require a separate study on religious affiliation. Although in the evolution of ornamental art, especially in the XVI-XVIII centuries., Clearly traced Western "Catholic" influences. Thus the novelty of this study is to examine the ornaments manuscripts Ukraine and Greece at an angle semiotic study of decorative and semantic meaning. Nationalism and nation are together people who are determined by a common language, psychological structure, territory, material life and culture. Etnosemiotyka – for Y. S. Stepanov – a young science that is developing rapidly. It so far that there is no generally accepted hypotheses. As in Western Europe and in USA conducted much research as part ethnography, entitled "Cultural and social anthropology". But the purpose of this study is not a review of anthropological ideas and research should be based on semantic-symbolic quests specifically ornamental painting portrait miniatures. The result of these studies should be the detection of manuscripts belonging to a particular ethnic group, nation, chronological boundaries and hierarchy. Therefore, to further study outlines three distinct areas: 1) ethnic, 2) chronological; 3) hierarchical. 1) ethnic line of research manuscripts. In the study of ethnic directly manuscripts immediately necessary to determine the range of ethnic groups who apply to intelligence. With the theme and purpose of the research shows that the main objects of this work is Ukraine and Greece. But remember that Ukrainian manuscripts are surrounded by Slavic codes. This powerful and Serbian manuscript heritage, the XVI century. headed among other traditions, especially on Mount Athos. This is Bulgarian manuscripts, often with controversial Ukrainian claims to traditional. It also Russian, Moldovan and Romanianvolashski and manuscripts that make up a large array of Balkan-Slavic cultural heritage called SLOVIANS'KA manuscripts. To investigate the ethnic directly manuscripts should clearly realize that such ethnic group. For this there is a need to turn to the historical situation in which Ukraine and Greece were also Slavic world around them, and the social conditions of their united and distinguished. One of the first is a geopolitical factor that was of great importance for the development of life of these peoples. It nablyzhuvav them together and pushed, distinguished between these nations. By purely ecclesiastical hierarchy manuscripts added distribution snappedcular term "Royal". Interestingly, purely ecclesiastical manuscript. This akafistnyk and even music (from the Byzantine notation). The manuscript is decorated with gold leaf. All the titles and the gold mark. Those poems that served the king – zolotofonni. Musical signs painted red vermilion and also filled with gold. The manuscript belongs to a certain king Filofteyu. The manuscript is kept in the National Library of Greece. This manuscript outwardly very different from other archetypes and has its own hierarchical niche. Semiotics (from gr. Σεμειον – sign an intimation) examines the signs and significance of the system as a means of preservation, transmission and processing of information in human society, in nature and in man himself. The combination of decoration and form the character ornaments which adorned the manuscript as Greek and Slavic writing. Decor – (from French. Décor, from Lat. Decorare – decoration) – a set of elements or characters that adorn the building or object (in this case the manuscript). In the study of handwriting Fund of Ukraine and Greece via etnosemiotychnyh techniques able to identify three areas of study: 1) Ethnic, by signs and decor signs symbols that shape and pattern is an expression of a particular ethnic group; 2) Chronological direction using the external design ornaments and manuscripts of one ethnic group different ages. Result. Clearly traced the evolutionary processes of ornamental painting toward complications, skill, volume, etc; 3) Hierarchical line of research, in which all the manuscripts, the external factor design. To proponents of existing hierarchical direction, namely, parish, monastery, cathedral, episcopal added bright new look – a royal manuscript. So etnosemiotyka, through ornamental, exterior design manuscripts, received a new research method Greco-Slavic Writing Foundation.
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There are individuals who know how to do particularly apparent overwhelming "Zeitgeist" and so, figuratively speaking, to identify the "national character." Such personality of Denmark was – a theologian by training, pastor by profession, philosopher, historian, poet and educator N.F.S. Grundtvig. His personality, significantly influenced the development of Danish society in the first half of the XIX century and continues to define the society today. N.F.S. Grundtvig played a crucial role in the development of democracy of Denmark. His main idea was to preserve and develop Folkelighed, Danish word, the root of which is folk and which means "people" (nation, people). Folkelighed means everything that has to do with people (nation), including – the identity, culture, history and values. His highest ideal is to provide the society that meets the typical Danish conditions and traditions of the people, based on the equality of people. The means of achieving this ideal N.F.S. Grundtvig considered to be school, education and public education. Ever since childhood N.F.S. Grundtvig was distinguished by outstanding ability to study: when he was four, he could read and write, and when he was six years old he already knew Latin. Later Nikolai Frederik Severin showed remarkable interest in all national, Danish, folk. Being a child and a young man, he listened to all the stories, which included any information about his people with great curiosity. According to eyewitnesses, since his childhood N. Grundtvig thought a lot about a person's love to God. His first favorite books were old historical works from the library of his father, books on church history and biography of Luther. As noted by his biographers, when he was 11 he began to study books in Scandinavian mythology, and that inspired him to work that was associated with studying, researching, and then with glorification of great Danish history.
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The role of cultorological science in phenomenologic-hermeneutic process is studied, in accordance with which the poetical translations are done. The principles of defining and interpretation, which are the basis for poetical translation samples creation, are in the focus of the research. It is also stated the relation between such sciences as phenomenology and hermeneutics. In terms of contemporary cultural studies that synchronizes interdisciplinary research at the intersection of linguistic, visual and anthropological turns poetic translation appears as a form of interpretation of the text, that is - as the dialogue of cultural meanings, which is also the interpretation appropriate hermeneutic procedure being denoted by signs meanings. The concept of "interpretation" sense of transformation embedded interactive forms and content of the text according to the culture of the recipient (acculturation). There translated text entry semiosfery in another culture. Other in dialohistytsi concept, the concept semiosfery in culture semiotics, hermeneutics in the interpretation of the concept can be used as a methodological framework for disclosure of cultural and semantic nature of translation activity as a form of cultural dialogue. The combination of cultural and philological approach can help in solving problems - methodological (clarification of "philological" nature of cultural studies as a discourse semantic analysis) and subjectsemantic (semantic clarification cultural nature of translation as an act of culture as a gesture of intercultural dialogue as interpretation). Thus, philological empirical material (literature) is ground for application of cultural techniques, ensuring the implementation of the translation work as a symbolic act of intercultural interaction. Feasibility of using the philosophy of culture and culture as the foundation of poetic translation research methodology determined by the specifics of its subject, which is the value-semantic aspect cultural activities; meaning of being human - information, emotional and expressive values that are objectified in the relevant cultural sites both in their signs. Signs of acquiring additional values are converted to symbols and symbolic make symbolic polyphonic complexes that are interpreted as "text". Poetic translation - interpretive work is the subject of culture as a representative of the text, which, in turn, hides the cultural subjectivity "face" (in the sense levinasivskomu) Other. The concept and interpretation of the text could be taken as the central concept of the dialogic approach to analyzing the phenomenon of translation as interpretation and understanding of the meaning of culture. These categories certify organic link cultural studies and philosophy of dialogue and at the same time, with the scientific area as phenomenology and hermeneutics. For the "dialogue" as a dialectic sense of self and otherness of the text in its literal translation from the Greek «dialogos» («dia» - a through movement, penetration, «logos» - word, speech, sense) means "the interpenetration of meaning." Carriers cultural meanings are people and texts alike may participate in the dialogue. According to leading Ukrainian modern philosophers dialohisty (VA Malakhov, EV Bilchenko etc.) dialogue - is a complex polymorphic formation, which is divided into forms and types depending on the carrier semantic systems. Intertextual dialogue - the interaction of signs, including verbal interaction (discourse), which originates from the Greek adversarial principle ("agon") and is now represented by developments in post-structuralism linguistic and semiotic discourse. Views on families as the core (structure), with which the story develops (broadcasting) vary in the degree of expression structuralist approach to internal form of expression and the degree of mobility (in "pure" structuralism - sememe like the Lacanian unconscious / Register Real, "a structured, as it "- static). Based on the fact that any translation is created using a harmonious combination sememe and morpheme that reflect the culture of the identity of the individual positions as part of the culture at some point in its development, we can look at the concept of words as the moment another cultural affairs translation. Hermeneutics is based on significant positions of speech and language in human life. Given the fact that hermeneutics is inextricably linked with the word in its broadest sense, it can be concluded that it is also completely permeated with the philosophy of culture and as a result, such a science as cultural studies. The word itself can be considered as a phenomenon of language, and hence category and is a science as phenomenology. Thus, phenomenology, despite all their differences of hermeneutics, can be considered from the standpoint kulturolohiyi.Takozh should pay attention to this cultural element as time (era) in which the translator-interpreter creates its translation. Dependence culture of the time is indisputable, because culture, like any born, develops, degraded, dying and this process takes a certain time period.
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The aim of this paper is to examine the language of Karaite literature, mostly translations from Hebrew, developing in the 18th–19th centuries in the Crimea. Linguistic features of most works of this literature are typical of Crimean Turkish with many North-western Turkic or Kipchak properties. Among the most important authors and translators there were such distinguished intellectuals and spiritual leaders as Abraham Firkovich, Joseph Solomon Łucki, Abraham Łucki, Mordecai Qazaz, and Eliyahu Qazaz. Because of the mixed character of this language and the lack of strict standards, its definition and attribution is still debated. Until all works will be examined, it seems reasonable to speak of the individual language preferences of some leaders who created and practised it, rather than of the literary language of Crimean Karaites in general.
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In her paper Hagiografi e v 10. a 11. Století, Marie Bláhová of Charles University in Prague examines the early history of the development of this genre. First, she discusses what hagiography is and when and under what circumstances this branch of the Latin literature was born. The author points out to the ancient roots of hagiography (the second century). Next to the history and the causes of the emergence of hagiography, the paper presents the development of its forms and changes in the choice of types of holiness, which could be included in such works since the late antiquity until the eleventh century. Marie Bláhová has presented readers with a wide panorama of centers and individuals distinguished in creating and rewriting hagiographic literature, noting their role at the time of birth of a given work and its subsequent dissemination. This panorama is made up of activities of both various centers and literary circles in older Europe, i.e., Empire, England, France, Italy, and in Central Europe, namely Hungary, Czech and Poland.
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