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Combining the book art with other contemporary forms of culture has led to the emergence of a synthetic version thereof – toy-books. A children’s play edition, lying at the intersection of art and social practices aimed at the youngest readers, remains so far out of view of most scientists. In the article there has been studied the potential of a toy-book as a multifunctional and universal tool of perception processes activation, which encourages reflection and development of a child. Also the processes of formation of the integration of the game book form and means of communication of the recipient with the book object has been explored. The heuristic of the toy-book functional features has been analyzed. The connection of a child’s perceiving channels with the components of a book have been considered as impact factors. It is emphasized that the occurrence of integration within the playing children’s book publishing is the unity realization of objectively existing connections between the components of toy-books, its material and structural basis, the structure of language and information-oriented game by the book incarnation experts. The relationship and interaction of the individual independent elements of the book and their functions, the ability to move them to a new quality with new goals and objectives contribute to the formation of the integration model of toy-books. Analysis of the integration of toy-book categories (integration product, integrational system, and integrational technology) from the perspective of heuristics revealed a universal component of the book form. It is proved that only in the presence of these categories a toy-book forms an integration model. Book-toy is a materialized product of the integration of different technologies, whose manufacturing process combines the various branches of production from the development of author’s ideas to the finished sample. As the product and result of the production integration, book-toy is a universal integrity with a variety of connections and dependencies between the components of the material structure of the book, which together form an ordered system of core components for the gaming books, such as information content, semanticity, interactivity, and aesthetics, giving the book informative, high-quality, functional and communicative performance. On the examples of a variety of structural forms of toy-books, it was shown that at every stage of its material existence, this publication and its components contain heuristic potential. As an integration system, the book compiles various knowledge areas, in particular, humanitarian, forming a polycentric artistic type of integration with a few dominant lines (literature, visual arts), which are organically enriched with elements of other substantial lines (education, music, arts and crafts, design) . Designed for the youngest recipient, the system best meets the physiological, mental and aesthetic needs of young readers, affecting the formation of their cultural, aesthetic and intellectual potential and contributing to the formation of the heuristic structure of personality. Took-toy is noted to be a prime example of the integration of different art kinds, such as: spatial (visual forms), time (literature, music) and synthetic (acting, computer animation, virtual reality). This type of integration in the form of a game book introduces the interactive art activity of a child in various forms (reading, listening, staging, artistic creativity, playing music, etc.). As integration technology toy-book is a means of implementation and effective learning of the game information which is implicit in the material structure of the book edition aimed at the young recipient. Play book integration technology is also a tool to improve the educational process for the introduction of specific knowledge and practical problems in the process of training, development, entertainment and socialization of young citizens of the society by strengthening all the sensing information channels of children by means of heuristic tools: functional and communicative characteristics of game book design, specificity of the information-sign language structure and interactivity of the inherent processes of perception. On examples of some children’s gaming publications, which are introduced in the construction of interactive features and add-ons with different functions and physical properties, there was shown the relationship of semantic teaching assignments books with the formation of psycho-physical, educational and practical features of children of different age groups. It is proved that toy-book as a model of integration is a holistic multifunctional informational and game educational complex with the highest form of interaction between all of its heuristic constituents (informational, structural, aesthetic, and semantic). This model of communication promotes overcoming the fragmentation and patchiness of knowledge of a child, helps mastering a complex of life values and contributes to formation of a system-holistic view of the world.
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Addressing the issues of Ukrainian-Greek relations XVII-XVIII centuries and directly manuscript heritage (which is an expression, the genetic code of the nation) there is a need of specific aspects of the research presented problems. Such knowledge is essential for understanding of the main provisions of parallelism and features of the spiritual culture of Ukraine and Greece, namely the state of handwritten heritage identification and rebirth of new or half-forgotten names of monks, compilers, copyists, translators, miniature, engravers and others. Greek hierarchs took manuscripts of the Greek monasteries and brought a gift at ambassadorial missions or during joint of religious assemblies or councils. These offerings dearly prized hierarchy and power receiving side. After all, except the internal filling valuable texts gifts folios often had valuable salaries, with the addition of precious stones and enameled, golden cover, or paste, etc. Not left behind and educators that brought the manuscript for educational purposes. Translators used to create instances of the original foreign-language copies of the so-called transfer-cripples. Scribes accessed manuscripts as to the sources, in which the samples were corrected foreign language, such as the Slavic books. Handwritten codes often became a mean of trade. Greek merchants took with them valuable manuscripts and sold them as a commodity. And representatives, such as the Greek minority in Ukraine, bought the manuscript for the needs of the church service, for training, or in memory of the homeland. Greek monks themselves often deliberately sold manuscripts foreigners. Reasons for such sales were several: to protect the manuscripts from destruction of the sanctuary that were threatened by Islamic or Catholic conquerors; to rescue books from numerous fires, often arise in Greece towards preserving the handmade treasures; to earn funds for the maintenance of monasteries, due to exorbitant payments of taxes to the Turks led to impoverishment, and often destroy these monasteries. If this is Greek, the original handwritten memo, you should know what level reaches the value of this monument as a cultural value. If that was formed on the model of the Greek new book then again, are there issues such as goal pursued by the compiler, creating new code? The most popular reason for which the manuscripts were created was that they were often copied for an order. The original Greek literature was rewritten by scribes as a gift or for personal needs of the customer. And usually, the original Greek manuscripts left Slavic lands, together with the Greeks, leaving only copies and translations on the place of origin. Based on the above information and a preliminary study of two codes vat. Gr. 39 ya. 213 and Vat. Gr. 717I it can be argued that this monuments of local origin. Lenten lean created for church practical needs and has been rewritten from the original Greek in Kiev. A compilation has the character of books-translations and even the author is the first part – Nicholas Cabasilas. So, Kiev’s manuscripts created in Kiev, for Kiev’s needs, fall as a donative to Moscow (with a warning about a curse on the extinction event), disappear and reappear in Italy in the Vatican Library. One ordered manuscripts belonging to the handwritten school monuments of Moscow, employing Ukrainian interpreters, compilers, copyists, is a code of 1597, now preserved on Mount Athos in Panteleimon Monastery, which is the originator Yerofei Kukuzelis . To study the work Yepyfaniya Slavinetsky as an interpreter and compiler of Greek manuscripts we refer to 2 volumes of Greco- Latin Slavic Code – Leksikonu 1766. Indeed in the Slavic and Ukrainian practice directly, there are two types of Greek manuscripts: 1) the original Greek manuscripts, and 2) the manuscript of local origin. Parallel development of the manuscript heritage of the Ukrainian and Greek culture was the fact that, that due to the common religious rites Ukraine was interested in borrowing and the studying of the Greek language, letters, liturgical texts, etc. According to the model of Greek books were created Church Slavonic and multilingual mixed handwritten version translated as, educational and liturgical literature. The special features of spiritual and cultural development of Ukraine and Greece belong to the local impact of handwritten books that were rewritten by Ukrainian scribes. These effects made translated and rewritten codes different from the original. These differences are often seen as elements of heresy or damage to books, but this is another manifestation of the understanding and presentation of the texts that were carried out according to the Slavic (Ukrainian) perception of Greek literature. This work presents Ukrainian names, engaged in translation, copying, ordering of Greek books of the local origin.
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This article comprises two sections. The first analyses John Milton’s Paradise Lost in terms of the frontier dividing Providence and Chaos. Chaos is represented in violent images of the colonial world, the English Civil War, and Scientific Revolution cosmology. Providence intends to justify the ways of God in history. Milton’s retelling of the traditional Biblical Fall allegorises the 17th century Scientific Revolution, English society overwhelmed by market forces, and early modern nation-building wars. The second section analyses the English Civil War, focusing on Providence and Natural Rights. The Natural Rights defence of pluralism was the work of political refugees, attempting to curtail atrocities done in the name of Providence. Providence, meanwhile, was a political weapon, amidst new forces of capitalism, dynastic rivalry, and nationalism. This article examines Milton’s poetic visions, and the institutions and actions that characterized his political life in the English Revolution, and their interconnection.
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The paper examines synthetic connection of different epochs, countries, genres and types of art in the modern creative cognition and comprehension of social phenomena basing on the experience in creating and realizing the movable art exhibition of Antoni Miro in Ukraine and Lithuania. Two postulates serve as a starting point for this article. Firstly, that the art of XX-XXI cc. has been traditionally oriented to the search of synthetic forms of expression – from the synthesis of remote art traditions (dialogue of cultures) to synchronistic dialogue of styles, interspecific interactions. The term of "synchronism", coined by C.G. Jung, is used here as coincidence of senses in creative process. Secondly, that the art, paraphrasing the modern Lithuanian philosopher L. Donskis, often discovers better problems of the modern world than philosophical works anticipating them in many sense. The subject of investigation is the art exhibition "Power of Imagination" based on the works of Catalan artist Antoni Miro – his graphic series "Wind of People" and illustrations (works from the series "Paint Painting") to the book "Power and Imagination" by Leonidas Donskis. This movable exhibition was held in Ukraine (Lutsk, Dnipropetrovsk, Vinnytsia and Kyiv) and Lithuania (Kaunas). The series "Wind of People" ("Viento del pueblo") is dedicated to the artist’s friend, the eminent Spanish dancer, Antonio Gades (1936-2004). 24 lithographs correspond to 24 lines of poem of the famous Spanish poet Miguel Hernández "Wind of People" (1937). The poet from the town of Orihuela firstly published this poem, on October 22, 1936, three months after the coup d’etat by the general Franco and the beginning of the Civil War in Spain. The same year when Miguel Hernández published his poem, Antonio Esteve Ródenas, who later took a stage name Antonio Gades, was born in a small town of Elda, on November 14, 1936. "El viento del pueblo" encompasses a series that perfectly synthesizes the simultaneity of three languages – poetry, dance and painting. There are three axes of the exhibition, the forth axis is the philosophical work by L. Donskis illustrated by A.Miro’s works. The modern art using various languages and removing traditional borders between types and forms by uniting them as a whole (in terms of literature, painting, performing art or cinematography) acquires additional power, the power of moral imagination. The series "Paint Painting" by A. Miro could be considered on a level of famous twentieth-century dystopias by Yevgeny Zamyatin, Aldous Huxley, George Orwell, and Anthony Burgess, analyzed by Donskis in his book. All authors used similar devices of expression in different genres: allegory, allusion, grotesque, hyperbole, quotation, social satire. If mentioned authors of literary dystopias "seek what such twentieth-century thinkers as Hannah Arendt, Simone Weil, Lewis Mumford, Isaiah Berlin, and Leszek Kołakowski sought in their social and political philosophy", images of A. Miró anticipate to some extent conclusions of Manuel Castells, Francis Fukuyama or Noam Chomsky. The series "Paint Painting" has also a number of analogies in XX century. The best of them is Joyce’s Ulysses, which needs profound commentary. In the same way, any picture by Miro could be provided with extended comments or separate article. If the Argentine writer Jorge Luis Borges is known as "the librarian of world literature", then the Valencian artist Antoni Miro could be rightfully called "the treasurer of world painting". The art exhibition "Power of Imagination" showing in Ukraine has united three famous Spanish artists, a poet, a dancer, and a painter, with a well-known Lithuanian philosopher and literary critic, presenting that high synthesis of arts which allows expressing deeper the world of changeable and liquid modernity. Summarizing, one could say that synchronism is not a sole principle appropriate to the art of XX-XXI c., inherited from previous epochs, but the pivotal characteristic of modern art, which using different types, genres, languages and technologies (including the most advanced) easily overcomes physical and conditional borders uniting representatives of various cultures, times and peoples in creative cognition. The analyzed exhibition "Power of Imagination" is a striking instance: the idea of its realization resulted in the creative act of the coincidence of diverse senses, aspirations and feelings. It indicates the future direction for research of modern art seeking to challenge the bounds of canvas and space of galleries.
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The Author focuses his attention on the analysis of culturological analysis of poetical translation as a process of dialog of cultures. At the same time the Author has chosen the semiotic approach to dialogicity as an interpenetration of senses. The Author affirms that from culturological point of view poetical translation is a form of text interpretation presupposing dialogic transformation of the translated text into the semosphere of the Other's culture. Thus the Author of the article considers it possible to combine culturological and philological approaches which appears necessary for solving two problems. The first problem is to define the "philological" nature of culturology as a discourse of text semantic analysis as well as definition of cultural and semantic nature of translation as an act of culture, a sign of intercultural dialog and interpretation. For the purpose of reaching goals set in his article the author changes emphasis of viewing the notion of archetypes (culurological concept proposed by C. Jung) and looks at them from point of view of literature science. The Author defines three initial notions: "sense" as a definite sense, "text" as an exterior form of sense wording and "interpretation" as a method of reading. These very notions are those directing coordinates for definition of polisemantic notion of dialog taking place between the reader and the text. In its turn this dialog is the basis of germeneutical interpretation. The Author presents specifics of hermeneutical dialog in the discourse of poetic translation. This specifics consists in definition of semantic matrix of culture lying behind the spiritual diversity of the author's being. V. Tsybulko defines three levels of this matrix (the "Tree of Culture"). These levels are: the signs and symbolic level (verbal and non-verbal texts of culture, spiritual values); the communicative level (hidden sense of these texts) and the genetic level (cultural prototypes – archetypes). On the ground of these levels two stages of an adequate translation are defined (in the broad semiotic sense of the word "translation"). The first stage is understanding of senses of the original text and the second stage is transformation of senses into the context of the target culture.On the ground of cultorological concept proposed by C. Jung about selfness of the text and availability of archetypes in it V. Tsybulko notises that it is important to view archetypic nature of lyric poetry not just on culturological level but on culturological and temporal level. Viewing the dialogical nature of poetic translation on the ground of such notions as Me, the Other and the Third (the result of their interaction) V. Tsybulko emphasizes the necessity of translator's choosing sememes bringing his Self closer to the Self of those the translation is aimed at. It is necessary for omitting the gulf of cultural tradition. For describing the role of poetic translation the Author of this article uses such notions as the "Universal Presentive Code" (UPC) which presupposes presentive relations and the "Universal Existential and Semantic Code" (UESC) presupposing spiritual and semantic communication. The last notion is a key one for dialog taking place within the phrames of poetic translation.In the result of analyses of semantic translation hermeneutic procedure V. Tsybulko defines two approaches to the process of text interpretation which have appeared in the up-to-date culturology. One of these approaches can be defined as the classic approach ("immanent" approach) in this case the source text is the basis for creating translation from point of view of the language science. The second approach is "transformational" approach. In this case significant changes are brought to the source text which entails its complete deconstruction. The Author of this article brings these approaches into correlation with philologic trends of "Alienation" (here the immanent approach is meant) and "Domestication"(transformational approach to translation as dialog is meant). In judgment of the Author of this article during poetical translation dialog of cultures takes place in case with transformational translation. This article is a part of its Author's dissertation research ("Poetic Translation as a Phenomenon of Cultural Senses Interpretation") and it contains a number of questions he is going to answer during his further scientific work. V. Tsybulko's article "Poetical Translation as Manifestation of Dialog of Cultures" meets requirements of the State Commission for Academic Degrees and Titles and can be recommended for publication.
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In this article I offer an overview of the ways in which the term realism has been understood and used in Hungarian literary criticism, from the introduction of the term into Hungarian discourses in the middle of the 19th century to the post-1989 period, when the term had to grapple with the legacy of its appropriation by the Socialist regime. I examine three specific junctures in the critical trajectory of Realism: the introduction of the term in the 1850s, the uses and abuses of the term by Marxist ideologues, and finally the aversion towards the term that emerged in the post-Socialist era. In addition to examining pivotal moments in the history of this critical concept in Hungarian literary discourse, my inquiry also offers a critical perspective from which to consider an enduring anxiety concerning the achievements, past and future, of Hungarian literary culture, an anxiety that finds expression in a symptomatic concern with the ways in which tendencies in Hungarian culture do or do not relate to cultural developments outside of Hungary.
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This article addresses the complexities of the distinction between “high” and “low” literature. I offer a brief survey of the development of so-called Unterhaltungsliteratur, or light fiction, in Hungary, followed by a presentation of the essays and articles on this topic in the Hungarian literary journal Nyugat (1908–1941), which the passing of time notwithstanding retain much of their relevance today.
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The Hungarian Avant-Garde periodical Magyar Mûhely has been published in Paris since 1962, from the mid-1960s on with the collaboration of Hungarian emigrants living in Vienna. The paper deals with the periodical (layout, cover design, typography) and with the published contributions (works of art, illustrations, photo documentation on the one side, texts on the other: literature, theoretical essays and documentary material) focusing on their materiality. The process of production as well as of the reception of Magyar Mûhely seem to be describable correctly if its diverse media formats (periodical, text, picture, hybrid formats, such as, for example, picture poems) are understood in their materiality. The special variant of the avantgardistic aesthetics embodied in Magyar Mûhely, that it provided a platform for experiment and innovation as well as for the “other”, correspond with the fact that it was published by people on the margins for a marginalised, emigrant public. The paper discusses these aesthetic, organizational and political issues focusing on works of geometric art and visual poetry printed in the periodical.
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The aim of this paper is to propose a cross-cultural approach to contemporary Hungarian-German minority literature comprising texts written both in German and in Hungarian in order to give an adequate description of the Hungarian-German minority’s literary scene. Also, the significance of this specific minority literature within the context of culture and heritage conservation and its true identity-forming potential can be analysed that way. First results indicate that Hungarian-German literature can help to (re)gain an authentic minority consciousness, but this requires not only a revaluation of the Hungarian-German literary institutions but also the capability to reinvent Hungarian-German literature on the part of the youngest generation of minority writers.
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Through their formal conversion to Christianity the German tribes belonged to the community of Christian civilization. In the consciousness of the ‘new people’, however, Christian beliefs existed in combination with pagan myths, thus forming a specific ethos, a kind of pagan and Christian syncretism, which can distinctly be traced in various fields of their culture. Great masses of people retained their magical-mythological view of the world for centuries, although it was gradually extended to include Christian elements. Pagan-Christian syncretism had developed among the Anglo-Saxons earlier and it was transplanted, together with the well-tried methods of conversion, to the Germans. In their healing activities Christian priests and monks had to rival with pagan magicians as a heritage of the past. For a time in the beginning (for centuries!), the newly baptized people regarded their priests and monks as magicians. The magic spells of paganism were turned Christian by clerical leaders of the new religion, who substituted such important figures of Christian religion as Jesus, Maria and a variety of saints for pagan gods and goddesses. The Second Merseburg Incantation was reworded in a Christian spirit and had the Lord’s Prayer as well as Ave Maria attached to it. Thus these prayers lost their original functions and became part of a series of magic texts. Knowing the Lord’s Prayer was an essential condition of conversion to Christianity. Formal representatives of the Christian Church inculcated it in people’s memory by attaching it to earlier incantations, for example the Second Merseburg Incantation. All this took place within the framework of the flexible mission strategy. The pagan-Christian text variations of this incantation existed not only in oral form among the people all over Europe, but were also included in medieval codices and therefore can be collected even today. The present article discusses the pagan-Christian, Hungarian text variations of the Second Merseburg Incantation in their widest context of German culture.
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This article revisits the complex oeuvre of the Timurid historian Sharaf al-Dīn ‘Alī Yazdī. Yazdī is most famous for two chronicles that he wrote: The Ẓafarnāma, which mainly includes a biography of Timur, and the Muqaddima, a work devoted mainly to the history of Chinggis Khan and his descendants. However, recent studies have demonstrated that Yazdī left behind three other historical works or parts thereof: the Dībācha, the Second Maqāla, and the fragments of the Fatḥnāma-yi Humāyūn found in the Dīvān-i Sharaf. In this article, I argue that Yazdī could not finish his historical project and all the extant works written by him are fragments of a larger historical project. I also attempt to shed light on how they are related to each other, and propose a tentative chronology for the composition of each fragment.
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The fragment we are publishing here is preserved in the Chinese Academy of Cultural Heritage (the former China Institute of Cultural Relics). It is the 53rd leaf of an Uigur manuscript that contains the beginning of an unknown commentary to the Yuanjue jing. Other leaves of the same manuscript of the Hedin Collection in Stockholm were studied by K. Kudara in 1992.
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The paper shows on the example of Vājīd, a poet once popular but neglected in colonial and nationalist historiography, that rich treasures of Indian literature still await unearthing and philological work. The extraordinary popularity of Vājīd (fl. 1600) in Hindi before the advent of western modernism is shown by the high number of manuscripts containing his works and by the fact that he was considered to be the best exponent of the poetic form arilla. Hardly anything of his more than hundred and twenty works is published today and he is scarcely mentioned in modern literary histories. The paper examines early sectarian and secular sources on Vājīd’s life, compares them with Vājīd’s poetry and with early manuscript material, follows up his modern reception and presents the range of this poet’s works.
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The Dede Qorqud Oġuznameleri are a collection of heroic stories in a Middle Oghuz variety with Eastern Anatolian linguistic features that distinguish this text pronouncedly from contemporaneous texts in Ottoman Turkish sensu proprio. This contribution examines the expressions of modality attested in this text. It establishes an inventory of the morphological and morpho-syntactic items expressing modal notions such as event modality, epistemic modality and the moods, and addresses diachronic as well as typological issues. All types of modal expressions found in the text are illustrated by examples.
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Review of: 1. “The Cambridge Companion to Greek Lyric.” Edited by Felix Budelmann. Cambridge University Press, Cambridge 2009. XXI+457 o. by: Adorjáni Zsol 2. Jean Alaux: “Origine et horizon tragiques.” Presses Universitaires de Vincennes, Collection Intempestives. PUV Université Paris 8, Saint-Denis 2007. 192 o. by: Pataki Elvira 3. “A Codex Iustinianus 12. könyve.” The administration of the Roman Empire in the Justinian codification. Fordította: Kelemen Miklós. Budapest 2008 (Acta Wenzeliana 6.) 98 o. by: Illés Imre Áron
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The rebirth of the Greek culture is one of the unique characters of the renaissance humanism which makes it different from other renaissance movements. In that played the new Latin translations of the Greek classics crucial role which were pre-determined for the whole period by programming activity of Leonardo Bruni. This study analyses both the method (‘how?’) and motivation (‘why and what?’) of this revival. Firstly, the modern translation method of Bruni is interpreted which finds the essence of the text in its sense, presenting the historical-philological background of the method in the view of the contemporary intellectual schools and its complex linguistic aspects. Secondly, it discovers those literal motives, actual reasons and personal incitements according to that the Greek authors and works were chosen to be translated and purposefully ordered.
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A typical characteristic of the epic technique of Lucanus is the lack of the god apparatus. In the last century several explanations on this phenomenon were born. Many of them do not really speak about the lack of the god apparatus, but rather about the way the author uses in this transcendent aspect of the epic narrative rather the totally impersonal fatum, sometimes philosophically (fortune), sometimes Fortune as a divinity instead of the traditional gods. Modern theories explain the phenomenon with the novelty of Lucanus’ poetic perspective. The lack of the god apparatus though is only one of those symptoms which all can be interpreted via rhetoric work methods, meeting the rules of rhetoric narratio.
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