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In article stylistic features of the homonyms reflected in language of the Azerbaijan poetry are considered. The author on an extensive material investigates poetic and stylistic forms of expression of homonyms. The samples resulted from the Azerbaijan poetry brightly shows poetical-communicative force, a lexical-semantic originality of the homonyms used for expression of an art plan of the author.
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The article deals with the phrasedogical units related to the notions of life death which are met in the poems of Azerbaijan people’s poet Samed Vurgun. The artıcle also presents a gerat number of examples wich are takeb from the poet' poems such as “The Revot”, “The Komsomol Poem”, “Aygün”, “Mugan” etc. poetical phraseological units are given much attention in the article.
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Gothic fiction in Argentina, represented by such famous authors as Borges, Cortazar, Bioy Casares or Silvina Ocampo has its followers in the 21st century. In our paper, we present one of the contemporary authors, Pablo De Santis, born in Buenos Aires in 1963. His novel “Los Anticuarios” (“The Antiquarian”) is about vampirism in the Buenos Aires of the 1950s. Following the tradition of Gothic literature, the main character is involved in the lugubrious story of vampires known as the antiquarians. Although these long‑lived creatures have adapted to living in our times, they must still feed on blood. However, they prefer a substitute in the form of an elixir which allows them to dominate their victims’ minds. Besides, being victims of unrequited love themselves, just like classic vampires, they have a predilection for female blood.
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The tragic end of the Templars turned them into a myth that has left a deep mark on the contemporary narrative. Currently, seen as innocent martyrs, the Templars acquired features, as wanted San Bernardo, of celestial militia, fighting the forces of evil. However, the legends that bind tight and unorthodox beliefs have shifted even historiographical versions, and the Templars also become dark and intriguing characters. Before the massive appearance of the Templars in Spanish narrative of the end of the millennium, the Galician filmmaker Amando de Ossorio made some films about the warriors‑monks, giving them horror film features and binding them to the family of vampires, mummies and zombies. The treatment they were given by the Galician filmmaker, despite the originality and some of the literary reminiscences, is to be inserted in the continuous process of mystification of the Templars.
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The article consists in a comparative reading of three novels: Um rio chamado tempo by Mia Couto, Le pain des corbeaux by Lhoussain Azergui and Paw królowej by Dorota Masłowska. In spite of the difference of the historical circumstances of Mozambique, Morocco and Poland, these three books meet at an intersecting point: the emergence of an intelligentsia that uses literacy and writing as an instrument to deconstruct the post-colonial concept of nation and to operate a trans-colonial renegotiation of identity. By the notion of trans-colonial, I understand the opposition against new kinds of symbolic violence that emerged after the end of the colonial period; here this new form of oppression is related to the concept of national unity – an artificial construct that leaves no place for a dualism or pluralism of cultural reality (two shores of the Zambezi river, Arab and Berber dualism in Morocco, “small homelands” in Poland). The young heroes of the novels grasp the pen in order to break through the falseness or the taboos created by the fathers, establishing, at the same time, the relation of solidarity with the world of the grandfathers. The act of writing becomes an actualization of the ancestral universe of magic. The settlement of accounts with the parental generation concerns the vision of nation built upon the resistance against the colonizer (it also refers to the Polish cultural formation, based on the tradition of uprisings and resistance against the Russians).
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The article is a twofold attempt: at re‑reading the category of a topos after the Shoah and at interpreting the particular record of the oral history in the context of the liminal metamorphoses the notion of the topoi – crucial in European culture and literature – has undergone. In the first part of the text, the author recapitulates the studies on the aforementioned category – from Aristoteles to the twentieth century scholars (Curtius, Lausberg, Ziomek, Abramowska, Panas); in the second part, she tries to apply it in interpretative practice.
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The author questions the perception of Ivan Turgenev as a “non- Christian writer” and studies the problem of the prodigal son motif functioning in a series of his novels. In his novels, Turgenev pictured different phases of the archetypal story, originating from the Gospel parable of the prodigal son. In the novel Rudin he depicted the phase of spiritual wanderings of the hero who had lost touch with his native land — Russia. In his next novels (Home of the Gentry, Fathers and Sons and Smoke), after leading his hero in circles and sending him back to his paternal home, Turgenev reconstructs the model of human behavior, represented in the parable, thereby recognizing the immutability of the idea formalized in the Gospel. The motif of the return to Russian land gets its completion in Turgenev's last novel Virgin Soil, in which the author paradoxically connects the Westernist idea with the Gospel imperative. Solomin, the son of a deacon, sent by his wise father out to Europe “to get education”, studies in England, masters the European knowledge and returns back “to his native land” to establish his own business in inland Russia. Thus, a series of Turgenev's novels, in which he portrayed different phases of social life, are interlinked with the motif of the prodigal son, who is represented by novels' main characters.
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The author endeavours to develop and discuss the concept of a topos which would respond to the needs of the future dictionary of the topoi of the Holocaust. She starts with the summary of the historical understanding of the notion in Aristoteles, Cicero and Quintilian; then, she takes a closer look at the twentieth century conceptualisations, among others in Janina Abramowska and Berthold Emrich. Finally, the author discusses the descriptions of the topoi of the Holocaust in Sławomir Buryła, Władysław Panas and Paweł Wolski, examining how the category of the image and imagery functions in their works. The author assumes that imagery, realism, affectivity, emotional impact and being prone to changes in meaning are the distinctive features of the topoi belonging to the thematic area of the Shoah. In the second part of the article, the author analyses Szmul Wasersztejn’s account of the Jedwabne massacre, firstly extracting all the possible topoi from it, and then describing in detail the topos of the barn. In the final part of the article, the author proposes the analysis of three different examples of its use: in Michał Pilis’s “Łąka umarłych”, Kevin Vennemann’s “Blisko Jedenew” and Marcin Wrona’s film, “Demon”.
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The article presents the grotesque as an autobiographical strategy of talking about the experience of concentration camps. In his autobiographical testimony, Szymon Laks describes the music in Birkenau as the part of the Nazi system of exploitation of prisoners. In his memories, music in the concentration camp is deprived of humanistic values, and becomes a symbol of the violence, hierarchy and absurdity of the camp life. For Laks, the grotesque and self‑parody become the only means of speaking about the experience of the concentration camp. Laks chooses the literary tactics of inhuman accustoming, similar to the works of such writers as Tadeusz Borowski and Piotr Rawicz.
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This study analyzes the main period of the Ukrainian literary language history by the end of the 19th century. It outlines the formation of the Old Eastern Slavonic redaction of the Old Bulgarian literary language and other languages and their variations, which have formed and functioned in Old Rus' and, later, in the lands, inhabited by Ukrainian population. The paper describes the language situation and the specificity of the historical and cultural development of the Ukrainian people within the Grand Duchy of Lithuania and Polish-Lithuanian Commonwealth as well as the creation and the fate of the language phenomenon “prosta mova”. The study also discusses the decline of the Old Ukrainian language and the formation and evolution of the new Ukrainian literary language within the historic-cultural context of the time. The study highlights the negative impact of the lack of autonomy and statehood on the processes in question as well as the systematic and purposeful persecution of the Ukrainian language.
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The present paper, which is a part of a larger study, attempts to determine the significance of the first Bulgarian translation of “Robinson Crusoe” made in the 19th century. Joachim Campe – the author of the most famous adaptation of the novel – “Robinson der Jüngere” – develops some of Daniel Defoe’s religious thoughts and ideas and transforms the work for children’s guidance and instruction. The paper places emphasis on the use of religious motifs for achievement of that goal. It also draws attention to the achievements made by the first Bulgarian translator Raino Popovich and presents some lexical and syntactical analyses as well as reflections in letters, notes, paratexts. It considers the fact that his translation remained in manuscript and had no ability to influence reception of the work.
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This text is part of a bigger research, which examines the irrational principles within the origins of human thought and the world of literature.The object of this part of the research is Gorgon Medusa, more specifically the signs of irrational principles present in her mythology, the purpose being a new attempt at exploring the messages within, which shed light on forgotten aspects of existence.There are many interpretations and presentations of Medusa, but the special emphasis is placed on archaeological finds in Bulgaria. The figure of Medusa can be further interpreted as the embodiment of the irrational itself, connected with the secret knowledge of life and death as well as the human nature – the basic problems in literature.This text is part of a bigger research, which examines the irrational principles within the origins of human thought and the world of literature. The object of this part of the research is Gorgon Medusa, more specifically the signs of irrational principles present in her mythology, the purpose being a new attempt at exploring the messages within, which shed light on forgotten aspects of existence. There are many interpretations and presentations of Medusa, but the special emphasis is placed on archaeological finds in Bulgaria. The figure of Medusa can be further interpreted as the embodiment of the irrational itself, connected with the secret knowledge of life and death as well as the human nature – the basic problems in literature.This text is part of a bigger research, which examines the irrational principles within the origins of human thought and the world of literature. The object of this part of the research is Gorgon Medusa, more specifically the signs of irrational principles present in her mythology, the purpose being a new attempt at exploring the messages within, which shed light on forgotten aspects of existence. There are many interpretations and presentations of Medusa, but the special emphasis is placed on archaeological finds in Bulgaria. The figure of Medusa can be further interpreted as the embodiment of the irrational itself, connected with the secret knowledge of life and death as well as the human nature – the basic problems in literature.
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The paper presents stylistic figures and contact synonyms in three hagiographic texts about St. Katherine, written in Croatian vernacular. With contact synonyms every single example of the excerpted material is commented separately, by its own, with a view to its phonetic peculiarities, with which it participates in a rhythmic isosyllabic structure. On the ground of the excerpted material, the author tries to make general conclusions about regularities in the choice of lexis, which to be put in contact synonym phrase, for every single text.
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The article provides an explanation of the notion of cultural heritage and regional literature. It presents the need and the purposes of the protection of regional literature i.e. the literary heritage of a local community and it demonstrates the means to preserve the memory of the aforementioned heritage i.e. the establishment of a bibliography. With the use of the method of analysis and criticism of literature two examples of bibliographies were described – “Bibliografia Chorzowa” and “Bibliografia Bytomia”. The article discusses the classification of the type of bibliography which these works represent and adduces a definition of such a type of bibliography. The purpose of the establishment of these bibliographies, their scope and arrangement were also described. There is information about the type of documents which both bibliographies register and the period which the publications mentioned therein represent. Also the forms in which both bibliographies are published – a non-serial publication, an electronic document, a database. The places in which these bibliographies may be consulted were indicated.
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The ancient river name Κυμαῖος, attested in two inscriptions describing the boundaries of the Cretan cities Hierapytna and Lato, referred to a seasonal stream which is today called Kseropótamos (Mod. Gk. Ξεροπόταμος, literally ‘dry river’) or Fruzí Potamós (Mod. Gk. Φρουζή Ποταμός, literally ‘Fruzis’ river’). It is impossible to derive the ancient hydronym from the Greek appellative κῦμα (gen. sg. κύματος) n. (t-stem) ‘wave, billow’ because of formal reasons (it is not ‘a seething river’) as well as some problems connected with Ancient Greek word-formation (no traces of a t-stem are visible in the river name under analysis). The derivation from the Ancient Greek noun κύμη f. ‘a kind of cabbage’ is the most probable explanation. River names derived from plants were widespread in both ancient and modern times.
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In this paper I discuss the problem of the role of female in Aristotle’s theory of inheritance described in De generatione animalium, book IV, chapter 3. Although in the books I-III Aristotle presents his well-known view that the male contributes form and the principle of movement whereas the female only matter, in the much discussed chapter IV 3 we are told that the offspring is shaped by the „movements” (kineseis) of both parents; these „movements”, contained in the „semens” (spermata) are derived from various potentials (dynameis) of organism’s nature, and function as specialised vehicles for transmitting the parts of the parent’s heritable form during the act of reproduction. In the paper I try to prove that the term spermata in this chapter denotes both male and female reproductive residues, and the matter contributed by the female (katamenia) contains potentially the nutritive soul with a set of „movements” responsible not only for the development of the female sex and the inherited accidental, material features, but also of the universal, i.e. the common form of the species.
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The present paper strives to analyse the works and ideas of three authors F. M. Dostoevsky („Legend of the Grand Inquisitor“), Simone Weil (The Need for Roots), and Stojan Steve Tesich (On the open road) in the light of their struggle for reviving man’s primordial forms of conscience and consciousness which will help humanity regain ability to resist religious and ethical mutations of the present era. These authors believe that the official religious institutions of Christian church, having cast away Christ’s gospel of brotherly love, have sided with “Him”, (as voiced and testified by Dostoevsky’s Grand Inquisitor) the Satan himself, who tempted Christ in the desert by offering him rule over “kingdom of earth” in exchange for Christ’s submission. Scientific humanism coupled with Christianity’s betrayal of eternal values posited by Christ has stripped man naked of the religious context which gave his life meaning, leaving him/her free falling in the abyss of nihilism. Weil suggests, which is one of her major ideas in The need for Roots, that the cure to the moral plight of modern European humanity resides in its ability to bring back “the spirit of truth”, love and grace into modern Christianity, which is in its present state devoid of these evangelical virtues. Weil and Dostoevsky’s ideas are shared by Steve Tesich, a Serbian-American screenwriter, playwright and novelist, whose play On the open road is based on Dostoevsky’s „Legend of the Grand Inquisitor“.
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This paper will analyze the works of B. Wongar and J. M. G. Le Clézio with an attempt to present and critically examine the reasons which led them to engage in (post)colonial subjects and emphasize the similarities in the assessment of the (post) colonial society and culture of domination about which Wongar and Le Clézio write in their literary texts. Their works to a large extent present a severe critique of the modern world. These authors try to indicate how western culture, under the guise of „globalization“ and „multiculturalism“, continues to develop the practice established in the age of the great imperial conquest. The article also discusses what encouraged these authors to the voluntary exile from civilization and cultural matrix of the West and turning them to other cultures. The paper points out the complementarity of their literary texts, particularly in the selection of topics, and also examines the possible parallels, considering the fact that they belong to the synchronous moment, although acting independently of one another. A comparative analysis of their work includes a reference to the corpus of texts of postcolonial literary criticism. This, of course, includes a wider anthropological view, because this kind of literature involves more extensive cultural perception. In the case of these authors, literature isn’t just descriptive and artistic mode, but type of activism, which is to defend the achievements of primary cultures of ancient heritage of knowledge, and that just disappear, or indirectly by technocratic societies, which date from the first colonization to the present day.
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This essay presents the work of Edward Palmer Thompson, British historian whose involvement with history is inseparable from his study of literature (of romantic poets above all) which records fragmented personal stories of the oppressed (Blake would say ‘minute Particulars’) that official history of the winners ignores, silences and excludes from active participation in the challenges we face today. At the moment when the so called New World Order is trying to impose itself as an option without alternatives, Thompson’s deep involvement with the history of ideas is hugely important. His concern with traditions that are alternative to the dominant discourse of the world order currently in power, keeps these traditions alive and makes it possible for them to re-enter the battle of ideas that will shape the twentyfirst century. That is the reason why his studies of history and culture deserves to be presented to our public, and better known.
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The article is devoted to the literary representation of the wolf, and the texts analysed include Hermann Hesse’s “Steppenwolf” and Mark Rowlands’ “The Philosopher and the Wolf”. In both texts the wolf becomes the mirror in which the man’s inner life is reflected, and the authors search for the answers to existential questions in the wolfish nature. “And so the Steppenwolf had two natures, a human and a wolfish one. This was his fate, and it may well be that it was not a very exceptional one.” Those words of Hermann Hesse refer to the complicated, split personality of the main protagonist and the complex nature of every man. Harry is partly a man, who desires social respect and the comforts of the middle‑class life, and shares human ideas and interests, and partly a wild beast, who mocks these vain and absurd desires, and remains untamed and impulsive. Mark Rowlands’ wolf is not only part of the author’s inner self, but a wild animal, with which the American philosopher spent 11 years of his life. The wolf companion changes completely the man’s way of thinking, becoming an inspiration for philosophical considerations over the nature of love, death, happiness and humanity, the purposefulness of human actions, the sources of despair and hope, the nature of the fear of death. The wolf ’s company makes it possible for Rowlands to find his human nature, makes him eventually become a different person: of partly human and partly wolfish nature. In both cases the wolf (being either part of a man’s personality or a real wild companion) determines the protagonists’ lives and helps them understand themselves.
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