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The article outlines the variety of trickery vocabulary in Epitome de Tito Livio, written by Lucius Annaeus Florus in the 2nd century A.D. Among the Latin nouns that are equivalents of Greek trickery terms, it is necessary to mention especially dolus, fraus, consilium, ars, furtum and sollertia. Their use demonstrates Florus’ skillfulness and ability to show the arcana of ancient history, tradition and culture in an interesting way. In his texts, based on dichotomies – e.g. between virtus and fortuna as well as between just and unjust wars – there are numerous passages in which it is possible to find examples of trickery vocabulary. He established that both the Romans and aliens were ready to make ultimate sacrifices in order to defeat their enemies. They used weather conditions, surprise, military position and their own ingeniousness to achieve victory.
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The peculiarities and multilevel identification of the “home” concept in the poetic context of Nil Ghilevich’s oeuvre are discussed. It is noted that the topos of home as the author’s individual mental-linguistic model is ambivalent. Not only does it reflect conceptual and sultural elements that are connected with the presentation of national linguistic picture of Belarusians world but it also describes moral and cultural values and ethnic features of the region the author comes from.
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The text has six segments, or shortcuts. In the first of them I talk about what it meant the separation from philosophy of an important thinker of Romania from nowadays: Gabriel Liiceanu. As I speak, still here, also about the exegesis of this author to Cioran's work, which he thinks he discovers a code just like the philosopher understood and experienced insomnia as he gives us a hermeneutics of depth and of the binomial Cioran-Job. The second Shortcut is still about Cioran. An anthology of texts- manuscripts compiled by an admirer of the philosopher, entitled: private Nihilist, but were the sources of texts are not at all revealed. The lack, therefore, of a critical apparatus, not without the intention assumed by the anthologist. In the other paragraphs I discuss four editorials, two of them refering to the sciences of communication, signed by Minodora Sălcudean and Adelin Petrisor.
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The critic and essayist Ion Dur recently published a new book: The Critique of Judgment of Taste, Eikon Publishing House, 2017, 338 p. with a tripartite structure - "The Journalistic Exploits of a Balkan Zorba", "Readings and interpretations" and "Dairy Brouillons. One’s Days according to Job "- tome, as the author himself says - "ratifies axiologically various texts through a series of readings and interpretations " (p. 12).
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The phenomena of polysemy and homonymy in terminology, which emerge as a link between shades of meaning of words and concepts constitute models which are almost the same in both Albanian and Greek languages. They also express the same mechanism for the generation of terms based on common words. Cases if deviation from same models that guide the work that needs to be done, to break the polysemy or homonymous structures of the term, when it is loaded with concepts, introducing another unit (as newly created or found in the language).
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Melancholy in Pascal’s Pensées is a disease associated with the heaviness of the human fleshly bonds. Man turned away from God to contemplate his own image, whether through vanity, introspection, or distraction in the world’s company. It is only the grace of God, bound with the search for truth, that can save him. From then on, the fragment is perceived as a balm destined to heal the wound through reason, while waiting for the conversion of the heart.
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Cicero is the first to propose to translate phantasia by visum : this translation emphasizes less the importance of appearance and light than that of vision, and more precisely of the object seen. Drawing on the concept of enargeia (evidentia), the act of looking at someone plays a key role in oratorical action, for the speaker as well as for the listener.
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The paper is an analysis of an intertextual relationship between “The Landscape Chamber”, a story by Sarah Orne Jewett of 1887, and Poe’s “Fall of the House of Usher” in terms of Gérard Genette’s theory of the literary palimpsest. As it turns out, a number of details in Poe’s gothic tale have their functional equivalents in Jewett’s realistic story even though the gothic underpinning of the latter does not seem explicit. Poe’s ahistorical romantic apocalypse is translated in “The Landscape Chamber” into a gendered interpretation of New England’s post-Civil War history as a period of cultural crisis possibly to be overcome by the succession of generations. Paradoxically, Jewett’s story demonstrates the continuity of the US literary tradition by a revisionist misprision of a “strong” writer’s exemplary hypotext.
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What is the ethics of the psychoanalyst? And is there one? Lacan evokes only the ethics of psychoanalysis and specifies his idea by the well-saying (bien-dire), but in this case he means the well-saying of the analysand, and not how the analyst manages to produce it. One of the answers that Lacan offers to us and which I retain, even if it seems not to be one, is: with their style. In what way is it an answer and how to understand this formula? And what is this savoir or connaissance with which the psychoanalyst can and therefore must answer?
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The article is devoted to the issue of the relationship between poetry and prose area of Wioletta Grzegorzewska’s literary activity. Nominated for the most important national literary awards and the Man Booker International Prize Guguły (2014) are here interpreted as the work located at the intersection of poetry and prose, in which accumulate two most important qualities of Grzegorzewska’s creativity: a unique sense of observation and sensual imagination. They join in idiom, which the reader will recognize easily, no matter what solution formally propose its author.
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Vjerovatno niti u jednoj drugoj zemlji moderna kultura ne nadovezuje se tako neposredno na srednji vijek kao u Bosni i Hercegovini, sa početkom uprave Austro-Ugarske monarhije. Posljedica toga jeste jedna revolucija koja se odvija u najdubljem miru, koja je, međutim, tako silovita i neodoljiva kao nijedna krvava do sada, i pred kojom ne odolijeva ništa što se opire duhu vremena.
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English version in: Bruno Schulz jako filozof i teoretyk literatury. Materiały V Międzynarodowego Festiwalu Brunona Schulza w Drohobyczu, ed. Wiera Meniok, Drohobycz 2014, p. 61-64.
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Priča o naju je jedna od najveličanstvenijih i najljepših alegorijskih priča u cjelokupnoj perzijskoj književnosti. Ona je opis stanja zaljubljenika u Uzvišenog Boga, onoga koji se oslobodio svoga jastva, sladostrašća i samoljublja i čije biće, uronulo u beskrajnu ljubav Božiju, tuguje u čežnji sa ponovnim susretom sa Voljenim. Hazreti Mevlana na najljepši mogući način, kroz alegorijsku priču o naju, pokušava pojasniti duhovna stanja salika na putu njegovu sjedinjenja s Voljenim. Ta priča je vanredno uspješan pokušaj eksplikacije teško pojmljivih apstraktnih značenja, stanja i istina i njihova pretakanja u jezik razumljiv svakom čovjeku. Najnama sa svojih osamnaest stihova, jedinih koje je Mevlana svojeručno zapisao, predstavlja suština i srž cijele Mesnevije.
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Jorgos Panagi rođen je 1987. godine u Limasolu, na Kipru. Studirao je klasičnu filologiju na Aristotelovom univerzitetu u Solunu. Živi i radi u Berlinu. Za svoju jedinu zbirku priča Mitovi dobio je Državnu nagradu Kipra za najboljeg mladog autora 2014. godine.
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