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The figure of a Jew is one of the most common literary concepts in the works of Russian post-modernism. It arouses particular interest among artists from conceptual circles. A characteristic feature of Jewish characters of this type is bias, expressed primarily in the selection of strictly defined features, traditionally attributed to Semitic people. The abandonment of in-depth psychologization and the creation of a universal model of the Jew makes it possible to use this concept in a literary game, the main aim of which is to deconstruct certain phenomena of political and social life. The analysis carried out by the author of the article allows to observe the artistic and philosophical concepts used for this purpose, as well as the broader plan of the current social view of Jews and the Jewish cultural context. The figure of a Jew is one of the most common literary concepts in the works of Russian post-modernism. It arouses particular interest among artists from conceptual circles. A characteristic feature of Jewish characters of this type is bias, expressed primarily in the selection of strictly defined features, traditionally attributed to Semitic people. The abandonment of in-depth psychologization and the creation of a universal model of the Jew makes it possible to use this concept in a literary game, the main aim of which is to deconstruct certain phenomena of political and social life. The analysis carried out by the author of the article allows to observe the artistic and philosophical concepts used for this purpose, as well as the broader plan of the current social view of Jews and the Jewish cultural context.
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The Torah texts (the book of Genesis) are the base for the appointing and describing of the thirteen degrees-stages of Joseph’s raising as the characteristic and full from that is typical for the Judaic mental tradition. Then this tradition is described as a model to be compared with the examples from the Prophets (Mordecai, Daniel) as well as with other texts including the literary ones and the well-known historical facts.
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Jakub’s Books by Olga Tokarczuk talk about Józef Frank (1726–1791), the creator of “probably the most significant phenomenon of public life in which the Jewish communities participated in the beginnings of the modern era”. The writer, thanks to his hero, considered the successor of the leaders of the largest messianic movement, Sabbatai Zvi and Baruchja Ruso, guides the reader through the multicultural and multiethnic Polish Republic in the turbulent 18th century.
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This article is devoted to Menachem Kipnis: a Polish cantor, journalist, satirist, columnist, songwrit¬er, photographer, and person fascinated by folk tales and Jewish folk tradition. Depicted in Kipnis’ stories, epon¬ymous Chełm happens to be a place existing first and foremost in imagination, which is abundant in grotesque and absurd representations of everyday life of its citizens. As it is argued in the article, this is the realm founded on folk superstitions, whose inhabitants seek wisdom: the value they deem to be of greatest importance.
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In this article, the elements of domination in the works of Russian novel, story and playwright Nikolay Vasiliyevich Gogol of Ukrainian origin were discussed. In this study, which is carried out within the scope of all the works of Gogol, content analysis technique from qualitative research methods is adopted. In the article, the issues that are subject to domination are discussed in the context of the relations that emerged as an extension of asymmetric power relations. In the investigations carried out within the scope of the study, it was determined that the elements of domination that stand out in Gogol's works are becoming clearer in terms of personal wealth, position/authority and nobility. In addition, it was revealed that the dominance of the domination reflected in the family relations. In conclusion, this article emphasizes the negative aspects of the elements of domination and states the conditions and conditions under which the elements of dominance may be needed as a requirement of certain conditions or organizational structures. The need has been highlighted and the need for additional studies approaching from the point of view of this study has been emphasized.
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The subject of this paper is the transformation of poetics of Cupid and Psyche plot in its national and historical modifications in French and Russian literatures of the 17th–18th centuries. The methodology of the analysis is based on mythological studies (K. Lévi-Strauss, J. Frazer, A. N. Veselovsky, A. F. Losev) and genre studies (M. M. Bakhtin, S. S. Averintsev, E. M. Meletinsky, etc.). This paper examines the genre of J. de La Fontaine’s and his follower Ippolit Bogdanovich’s versions of the plot and the interrelation of various literary styles in their poetics. The genre of the French and Russian versions absorbs the elements of Classicism, Baroque and Rococo which are combined in syncretic unity. The transformation of the tale of Cupid and Psyche leads La Fontaine and Bogdanovich to the creation of a hybrid genre in which the initial version of the plot is exposed to travesty and revaluation.
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In this publication I discuss a 1927 article written by Elizaveta Skobtsova in which she pro-vided her programme of immediate and long-term remedial actions to be taken urgently by the Russian emigration community in order to mentally prepare for the fight against the evil residing at the Kremlin in Moscow. The author established specific initiatives, suggested their respective performers and deadlines. Some actions were meant to be taken individually, while others required organisational support in the form of seminar discussion groups. First as Elizaveta Skobtsova and later as Mother Maria, by means of setting her own example the Paris nun proved the accuracy of her attitude and the aptness of her assessment of the historical, political and religious situation of those days.
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The author compares the descriptions of the two opposite religious experiences engendered in the period of destruction of the Warsaw ghetto, and the two images of God connected to it. One experience emerges from the consolation sermons of rabbi Kelman Szapira from Piaseczno, in which the immense suffering of the murdered Jews corresponds to the image of God, who suffers. The other experience is contained in the poem of Kacenelson Pieśń o zamordowanym żydowskim narodzie, particularly in the song 9 Do niebios, where the poet, after the vehement accusations against “the heaven” breaks the Israel’s covenant with God, and the murdered Jewish children take his place. The frame for comparison is the motif of transcendental tragedy, which originates as a result of the transformations of the antithetic images of God, combining in one schema of events, derived from the tragedy, the images of “God-tragedy”, blamed for the disaster, and “tragic God”, identified with the faultless suffering.
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The article discusses the hypothesis of the St. Petersburg historian Yevgeny Lyakhovitsky, who questioned the traditional pattern of development of Old Russian writing (ustav – poluustav – skoropis’). He considers the poluustav artificial construct invented by scientists. The discussion participants talk about five questions: 1. What should be put into the concept of “type of letter”? 2) To what extent does the scheme: ustav – poluustav – skoropis’ adequately reflect the evolution of Old Russian writing? 3. Is the polarizationof the ustav and poluustav valid as the early (XI–XIV) and later (XV–XVII) book letters? 4. What factors influenced the changes in Old Russian writing? Was it the influence of other cultures, changes in the old Russian book culture or something else? Is it possible to make direct connections between the evolution of letters and historical factors (the theory of the «Golden Age» and «damage to the letter» in crisistimes?) 5. How does the development of Cyrillic writing correlate in Ancient Russia and the Yugoslav countries? Did the evolution of writing go the same or in different ways? The participants in the discussion cite various hypotheses in which general principles can be singled out: the traditional scheme for the development of Old Russian writing (ustav – poluustav – skoropis’) is a conditional construction, created by scholars. However, to abandon it is necessary to bring new empirical and theoretical studies. Determining the characteristics of the writing types, the concept of «damage to the letter» are often subjective. At the same time, the study of writingtypes is not a purely paleographic problem. A letter is an indicator of cultural, social, economic processes. When analyzing such evaluative categories as the “Golden Age”, it is hardly productive to involve the development of a letter in dependence on the ideas of cultural progress. The evolution of writing in the Russian and South Slavic book context proceeded in the same way, but under the influence of various factors, and in the end there were different results.
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The genre of tragedy was described in Aristotle’s Poetics, which had a formative influence on the subsequent European theory of literature. Interest in antiquity and its influence on modern European culture was manifested throughout Dostoevsky’s work. He read ancient authors and and thought about classical education a lot. Belinsky also pointed out the combination of the tragic and the comic in the writer’s works. The first attempts to describe the development of the ancient theory of tragedy in Dostoevsky’s novels date back to the beginning of the 20th century. The writer adopted the concept of Aristotle. He construes tragedy as representation of a catastrophic event with terrible consequences. Dostoevsky himself, following Aristotle, understands the tragic hero as an ordinary person whose sufferings cause compassion from the audience and spiritual purification — catharsis.
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Как утверждает Юлия Гартвиг, поэзия всегда должна быть о чем-то. Чеслав Милош, в свою очередь говорит, что поэзия должна искать и должна ошибаться. Очень трудно уточнить суть поэтичес-кого языка. Для этого нужна соответствующая позиция и творца и читателя. Называя ее синэстетической, объединим в новую ценность смысл и эстетику. И в этом дело. Уже в 1922 г. Евгений Замятин выступил со статьей о синте тизме в литературе. Не все его решения правильны, особенно те, в которых он не доценивает формальных экспериментов синтети ческого типа. Творчество Бродского, Гартвиг, Милоша доказывает, что поэзия может сказать больше, чем нам кажется. Поэзии свойст вен синэстетизм, поэзия действует на все чувства, всем чувствам передает информацию. Язык поэзии должен быть и формой и со держанием. Синэстетизм является характерной чертой творчества Иосифа Бродского и Юлии Гартвиг, он раздвигает рамки их поэ тического языка, помогает высказать невысказанное.
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