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The article analyzes the image of St. Methodius as it was documented in the Cyrillo-Methodian jubilee publications during the 20th century, understood here as “formative texts” (according to Jan Assman). The main question is why the figure of the older brother is not a site of memory. A cursory review of the material confirms that the interpretation of St. Methodius is always dependent on the current situation, but it also reveals that, regardless of the changing socio-political conditions and worldviews, he remains solely the mission’s facilitator. The article argues that there cannot be an autonomous place for St. Methodius because, in the cultural memory, the brothers’achievement is reduced to the creation of the alphabet. As an assistant dealing with church affairs, he does not fit in the (post) Enlightenment (modern) model of man as a genius artist (as does his brother). In conclusion, the author assets that the secularization of the Cyrillo-Methodian cult manifests itself on a deeper level: it is a modern cult par excellence, since its emphasis is not on catechization but culture, and on national culture in particular.
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The main objective of this article is to announce a newly discovered copy of the Old Bulgarian funeral canon in the sixth tone, which was known to scholars previously from one Middle Bulgarian and two Serbian service books (trebnici). The newly found manuscript copy was discovered in a service book from the first half of the 16th century, currently held in The Princes Czartoryski Library in Cracow (Poland) as Czart. 11788, and differs substantially from the previously known copies, since it contains a considerably larger number of troparia. The article provides the incipits of all stanzas of the canon according to the available manuscript witnesses. Based on new information from Czart. 11788, the author offers some reflections on previous attempts to reconstruct the canon’s acrostic, and on possible reasons behind the significant differences among the four copies. Much attention is devoted to searching for a putative Byzantine source of the Old Bulgarian canon, which, despite all the effort invested, has yet to be identified. The article contains a checklist of Greek funeral canons in the sixth tone, derived from printed and handwritten sources.
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The article presents the names of the Theotokos in the Eulogy of the Birth of Mary, Mother of God, by Andrew of Crete according to the copy by Mardarius of Rila (RM 4/5) dating from 1483. The names are presented in the order they appear in the Eulogy. The author analyzes the names from a linguistic point of view and points out their usage in other Slavonic texts and their particular interpretation in the context of the Eulogy. The Greek equivalents to the Slavonic names are provided together with their biblical proof texts. Andrew of Crete used biblical symbols of the Theotokos. He combined symbols from the Old Testament and the New Testament, thus demonstrating their continuity. The Slavonic editor translated the names, but also showed his own preferences. He rarely used Greek terms without translation and prefers to find Slavonic equivalents. The Slavonic Eulogy includes some of the most frequently used Theotokian titles as well as some specific designations which rarely appear as symbolic names for the Mother of God.
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The 2022 Polish critical edition of Józef Wittlin’s World War One novel, Salt of the Earth, features a footnote where the editor unequivocally identifies the main protagonist’s military unit as the Austro-Hungarian 55th Infantry Regiment, based on the initial letter of the unit’s Colonel-in-chief ’s name mentioned by the author. This aligns with the 1991 edition, which previously identified him as Nicholas I of Montenegro. With publications on the Austro- -Hungarian army now more widely accessible, the new editor enumerates the regiment’s characteristics and briefly outlines its history. However, other pertinent details scattered throughout the novel, such as the unit’s recruiting district (Śniatyn in Eastern Galicia), its garrison town (Stanisławów), and facing colour (orange), are completely disregarded.This article aims to demonstrate that, when considered collectively, these clues lead to the conclusion that Wittlin’s portrayal of the unit is entirely fictitious. The writer not only fails to mention the regiment’s number (replacing it with “X”) but also presents its mutually exclusive formal characteristics. It can be inferred that the author either could not present the unit consistently or, more likely, intentionally did so to prevent readers from associating it with any actual place and people. This conclusion is drawn from scrutiny of official printed sources in German, along with fundamental Austrian and Polish publications.
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Rezensionen 87 Dejan Djokić: A Concise History of Serbia 88 Christopher Nehring / Hendrik Sittig (Hg.): Blurring The Truth – Disinformation in Southeast Europe 89 Christian Voß / Sabina Ferhadbegović / Kateřina Králová (eds.): Memory Cultures in Southeast Europe since 1945 91 Florian Bieber: Pulverfass Balkan – Wie Diktatoren Einfluss in Europa nehmen 92 Hasan Hasanović: Srebrenica überleben 93 Enver Robelli: Ratko Mladići dhe banaliteti i së keqes – Një kronikë mbi luftën e Bosnjës dhe karrierën e një krimineli (Ratko Mladić und die Banalität des Bösen – Eine Chronik zum Bosnienkrieg und die Karriere eines Kriminellen) 95 Agilolf Keßelring: Die Bundeswehr auf dem Balkan – Zwischen Krieg und Friedenseinsatz 96 Stefan Troebst: Gewaltmigration, Globalisierung und Geschichtsregion(en) in europäischer Perspektive 97 Reiner Hoffmann / Peter Seideneck (Hg.): Der lange Weg zur Demokratie – Von Berlin über Budapest nach Prag und Danzig 99 Andrej Blatnik: Platz der Befreiung 100 Zoltán Szalai / Balázs Orbán (Hg.): Der ungarische Staat – Ein interdisziplinärer Überblick 101 Wilhelm Andreas Baumgärtner: Der gescheiterte Kaiser – Siebenbürgen unter Joseph II.
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The thesis of this paper is connected to those poems that activate a semantic renewal of a different kind of “real” and explore the poetic imaginary of the coronavirus, focusing on how Rodica Braga translates the fear, chaos, shock and bewilderment caused by the pandemic into her poetry. In a close reading analysis we will investigate how the pandemic, with all its effects, has reconstructed reality through a “new normality”, identifying, also, the paradigm shifts that this concept has encountered . We will also focus on how the confinement led to a different kind of reflection of reality and life in writing. Also, in the subsequent interpretative exercise, we will analyse the presence of the author, at a figurative level, in the semantics of autofi ctional lyrical discourse and observe with the help of relevant examples from Rodica Braga's poems how a broad interpretation of this concept can be useful for understanding the acting roles and avatars adopted by the “I” in the author's works.
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