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PRVA CIGARETA; KOJIM BRKOM MIČE SKAKAVAC - Tvrtko GAVRAN
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Po prvi puta pišem brojku nove godine: 1937. Prošao sam kroz Staru godinu bez ikakvih osjećaja, bez očajanja i, čini mi se, bez nade. Mnogo sam pio, ali bez ushita. Proslava Nove godine kod Mircee bila je prilično bezbojna. Prije bih puno svečanije prelazio iz jedne godine u drugu. Još jedan znak starenja? U četvrtak navečer - posljednjeg dana u godini - posjetio sam Naea, kojega nisam dugo vidio. Slučaj bez ikakve simbolike. Pitam se ne gubi li Nae sasvim kontrolu nad sobom. Napadaj megalomanije, sujete koju su raspirili porazi ili naprosto faza akutnog misticizma? Nekoć sam ga, u sličnim situacijama, smatrao osebujnim; sada pak postaje zabrinjavajuć. Čitav mi je sat, koliko sam ostao kod njega, govorio samo o vanjskoj politici: - Eh, sviđa li ti se kako su nas preveslali Srbi?
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The article explores evil as a medium, proceeding from Joachim Paech’s differentiation between the medium and its manifestations. In this light, evil is viewed as a phenomenon that can be expressed in only certain media forms and which therefore assumes different form-specific levels of meaning. Paying attention to different manifestations of evil makes it possible to analyse different intermedial aspects of works of art, making use of the notions of the overt and covert. The manifestation of evil in a perceptible and definable manner enables us to recognise, avoid or even overpower it. However, its covert and ambiguous manifestations are more powerful. Thus, the concealing of evil is characteristic of narratives that allow evil to manifest itself without direct reference to or overt representation of it. The visual representation of evil as an image, be it through mental description of images or physical images on the screen, reveals two contrastive regimes. One of them could, following Roland Barthes,be called obvious (obvie). Th is regime is characterised by the use of traditional rhetorical devices and its emphasis on symbolic expression.The second regime could be labelled obtuse (obtus). In this case, the focus is not on the meaning of the image, but its materiality. The article applies this theoretical apparatus to the analysis of two Estonian novels, The Misadventures of the New Satan (Põrgupõhja uusvanapagan) and Old Barny or November (Rehepapp ehk November) and their respective screen adaptation. It focuses on the image ofthe devil and, more broadly, the manifestations of evil. The analysis suggests that the first pair primarily displays the use of the obvious regime, accompanied by the obtuse; the second pair reverses the perspective. The aestheticisation of the obtuse emerges as the central feature of Old Barny or November as well as the visual design of its screen adaptation. The analysis also touches on the differences between the devil and the ogre (vanapagan in Estonian) and the more or less symbolic representations of the material elements associated with evil.
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This article discusses the issue of how kleos works in Pindar’s epinician odes. Firstly, it deals with the relationship between Pindaric and epic, and specifically, Homeric kleos. It tries to answer the question why Pindar was rather reluctant to extensively use the Iliad and the Odyssey in his odes and much preferred the cyclic poems. I am providing a close analysis of the closing line of the Pythian 3 in view of Homeric concepts of kleos and a poetic formula of kleos aphthiton. Next, I am discussing Pindar’s relationship with earlier lyric poets, mainly on the basis of passages from Ibycus’ 282a (S151) and Simonides’The Platea Elegy, also briefly mentioning Stesichorus. I am trying to display how their understanding of the mechanics of poetic kleos influenced Pindar.
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This paper provides a commentary to Bacchylides’ fragmentum dubium 63 M. and offers some further considerations about its interpretation. 1) The Muses, daughters of Mnemosyne, are the patrons of chant and present their sweet song to mankind. But few men have ever been gifted poetical knowledge, and the poet’s duty is to be their servant, herald and prophet: he must give their words voice and disclose, through Memory’s intervention, the past, present and future events. 2) Few other words are still readable: they seem to delineate a mythical conflict on horse or chariot. Which one?
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In chapter 14 of the "Advice to the Bride and Groom" Plutarch recommends a wife should behave like a mirror, faithfully reflecting her husband’s moods and attitudes. In this paper I compare this piece of advice with other mirror-similes which have been related to human beings (as lovers, friends, flatterers, and models to follow) in ancient Greek and Roman literature, especially in Plutarch’s works. I conclude that the ideal Plutarchan wife has been situated, perhaps unintentionally,„between” friend and flatterer, because the mirror-simile in the Advice… symbolizes not only the true unity of man and his wife, but also the strict hierarchy amongst them.
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Apotropaic behaviours in the Roman system of beliefs required the use of various forms of offerings in order to achieve the expected sacral goal. We may assume, that a full effectiveness of such actions was asserted only by human sacrifice. Along with the development of religious practices theRomans substituted human sacrifice, however, in times of serious danger for the Roman community, they would reach for the early sacral experiences. In the system of Roman beliefs extremely important appeared to be the rituals at the turn of the year, which represented the periodic change of the tempus sacrum. Many of the rituals of the turn of the year played the role of lustrative rites, which were extended into practices of liberating the community from sacral miasma and received those rites which represented the destruction of cosmic order and its recovery to the state of primordial chaos. These types of ceremonies might have required a human sacrifice.
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The ancient Greek tradition talking about the relationship between man and the world so often, has been becoming for ages the basis for the efforts of explanation of man’s place in the universe. Such an effort is visible in the literary works of Zbigniew Herbert and Albert Camus. The purpose of that sketch is to demonstrate the Promethean myth reception in the works of both writers in a way that provokes thoughts about literary parallels that unites those two writers. In Prometheus, asking about the human conscience, memory and solidarity, as in Camus, as well as in Herbert, the author,Joanna Roś, sees some kind of a symbol that would connects „parallel lifes” of Zbigniew Herbertand Albert Camus.
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The review, written by Norbert Schmidt, focuses on the history of the drama in German language on the Romanian area from the 18th up to the 20th century, an anthology compiled by Horst Fassel.
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