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ENTHRALLED BY MYSTERY. ECKHART, HEIDEGGER AND THE POET MUJICA IN AN INTERDISCIPLINARY DIALOGUE

Author(s): Silvia Julia Campana / Language(s): English Publication Year: 0

Mysticism and poetry make up an inseparable pairing and, in these times of absence, they reveal the deep desire of man to go beyond the immediate, the existential, the superficial. The Argentine poet Hugo Mujica opens, from his poetic saying, a door towards the abyss and the desert, towards the limit of language and silence. We can glimpse in his poetry Heidegger’s legacy and, together with the philosopher, the Master Eckhart is also dragged from his going to God without god. From the interdisciplinary dialogue between philosophy, theology and poetry, we will approach to decipher this influence that transforms the saying of the poet-philosopher and updates his word in the desert and plunges us into the mystery of the unspeakable.

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THE IMAGE OF THE JUNGIAN SELF IN THE WORK OF ST. TERESA OF ÁVILA

Author(s): Ján Knapík / Language(s): English Publication Year: 0

This paper focuses on the figurativeness of the language of mystical experience in the context of Jung’s theory of collective unconsciousness. It analyses the autobiographical work of St. Teresa of Ávila and tries to identify images that mirror the archetype of the whole, or the Jungian Self (das Selbst). The main objective of the paper is to reveal the life-giving potential and spontaneous nature of symbols created by the unconscious and to highlight their scope and importance in human life.

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TRANSCENDENT EXPERIENCE OF ST. LAURA MONTOYA Y UPEGUI

Author(s): Monika Brezováková,Zuzana Civáňová / Language(s): English Publication Year: 0

The paper focuses on the life and written work of the Colombian Catholic mystic St. Laura Montoya y Upegui (1874–1949), known also as Mother Laura. The life of this mystic was marked by a mystical experience from her early childhood. In the work she left us, especially in her autobiography entitled History of the Mercies of God in a Soul [Historia de las misericordias de Dios en un alma], she tries to talk about her unique experience, although this task is not easy. She tends to speak about her mystical experience with God mainly through specific images of her own inner world. The aim of this study is to bring these images closer to the reader, analyse them and reconcile them with the aesthetic qualities of the narration, which helps to form more complete and complex image not only of the mystical experience, but also of the work by St. Laura.

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PARADOX AS AN EXPRESSION OF THE INEXPRESSIBLE IN SEDULIUS’ PASCHAL SONG

Author(s): Róbert Horka / Language(s): English Publication Year: 0

In the middle of the Fifth century, a relatively mysterious Christian poet, Sedulius, wrote his epic composition named Paschal Song. In terms of contents, it is notably a description of Christ’s miracles according to the four Gospels. The poet is facing the reality of something that transcends the common human experience – according to what was defined by the Council of Ephesus and Chalcedon regarding the real divine and human nature of Christ. For such reason, even his poetical language is adapted, in order to describe something that contravenes common reality. A useful and suitable means for reaching this purpose is the frequently employed paradox. The reader/listener can get closer to the indescribable, unprecedented, and inexpressible mysterious nature of Christ. In this way, the author creates a very specific and elegant mystic – and his epic composition becomes a meditative text.

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Les dix plaies de « L'Insolation » de Rachid Boudjedra

Author(s): Rym KHERIJI / Language(s): French Publication Year: 0

“The ten wounds of The sunstroke by Rachid Boudjedra: immersion in "a bottomless sewer"” attempts to interpret the process that begins when reading this novel. Assuming that the choice to read such and such a novel is in itself a threshold that the reader crosses, this threshold appears significantly particular when it comes to a book that stands out in the literary landscape. Reading is taking on the features of a perilous adventure where the exploration of a universe which evokes the “mud” (Musset), the “defilement” (Bataille), “what disturbs” (Kristeva) while arousing them becomes itself "a violent and obscure revolt of the human being against what threatens him" (Kristeva). Writing constructs this process and reading reproduces it, in turn creating patterns that allow immersion in a "bottomless" abyss while resisting vertigo. We therefore tried to establish a communication network, resonances in the musical sense of the term, with another fable, the one which, in the Bible (just like in the Koran for that matter), evokes the divine punishment that falls on Egypt and the Exodus of the Jewish people. This reconstruction confers on the reading one of its characteristics: the "catharsis" (Aristotle). Can we cross the threshold of The sunstroke while remaining unharmed? Doesn't evil breed evil? What remedy for foul mud? This study attempts to answer these and other questions that arise when it comes to an incandescent work.

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Cavıdşünaslığı İnkişafında Heydər Əliyevin Rolü

Author(s): Sevil Qiyas Qızı Həsənova / Language(s): Azerbaijani Publication Year: 0

1970-ci ilin sonu 1980-cı ilin əvvəlləri H.Cavid irsinə münasibət birmənalı olaraq dəyişilir. Dahi sənatkarın yaradıcılığına və şəxsiyyətinə qarşı diqqət və qayğı hiss edilir və layiqli qiymət verilməyə başlanır. Bunların baş verməsinə səbəb ümummilli lider H.Əliyevin 1969-cu ildə respublika rəhbərliyinə gəlişi olur. Beləliklə, H.Cavid irsinə maraq və məhəbbətin görünməmiş dərəcdə artması ölkəmizdə cavidşünaslıq elminin daha da geniş və ətraflı inkişafına yol açdı. Respublikada ədibin irsini öyrənmək və xatirəsini əbədiləşdirmək üçün müəyyən işlər görülürdü. 1974-cü ildə AzərbaycanYazıçılar Birliyinin İdarə Heyətinin qərarı ilə H.Cavidin 100 illiyi ilə əlaqədar məsələyə baxılaraq, ədibin yaradıcılığının geniş tədqiqinə və təbliğinə ehtiyacı nəzərə alaraq yubileyə hazırılq işləri aparılırdı. 1982-ci ildə H.Əliyevin gərkin əməyi nəticəsində H.cavidin məzarı qarlı Sibirdən Naxçıvana köçürülmüş. 1996-cı ildə H.Əliyevin qayğısı nəticəsində Naxçıvanda H.Cavidin məqbərəsi tikildi, Bakıda ev muzeyi açıldı. Bütün bunlardan sonra cavidşünaslıqda yenidən bir canlanma yarandı. Hal-hazırda H.Cavid irsinə qayğı yüksək səviyyədə dövlət tərəfindən davam etdirilir

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Türk Kültürü Bağlamında Ehl-i Haklar’da Miraç Miti

Author(s): İbrahim Karaca / Language(s): Turkish Publication Year: 0

Ahl-e Haqq belief and Ahl-e-Haqq community continue to exist in the western regions of Iran today. Ahl-e Haqq belief, which has many common features with the Alevi-Bektashi communities living in Anatolia, has created its own unique value system. The subject of this study is the myth of Miraj, which has an important place in the belief of Ahl-e Haqq. The miraculous myth is a frequently discussed topic, especially in the Alevi-Bektashi communities in Anatolia. We encounter the miraj myth that existed in Anatolia among the Ahl-e Haqqs in Iran as well. The myth of Ahl-e Haqq, which is told among the Ahl-e Haqqs in Iran, is a reflection of the belief of emergence within the system of values. Along with the myth described here, Hz. It is proved that Ali is the appearance of God. In Anatolian Alawism, the mirac myth forms the beginning of the cem ceremony by establishing a connection with the forty community. Shamans in Turkish culture rise to the sky by cutting their ties from this world in ceremonies. In these ascents, they generally perform their ascent by means of a bird. Similarly, Hz. While Mohammed ascends to the sky, he ascends to the sky on a horse called Burak. The aim of this study is to evaluate the myth of ascension in the Ahl-e Haqq values system in the context of Turkish culture. For this purpose, an ethnographic field study based in Iran's Tehran, Tabriz and Kermanshah was conducted between 2017-2019. The data obtained from the field study was the source of this study. In addition, the words, which are among the first-hand sources obtained from the field, also served as a source for the study. The data obtained were evaluated in terms of cultural history.

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100 Years of Japanese Studies at the University of Warsaw

Author(s): Ewa Pałasz-Rutkowska / Language(s): English Publication Year: 0

This paper was written to commemorate the 100th anniversary of Japanese Studies at the University of Warsaw. The author presents the history of the academic program and the people who created it. The beginnings date back to 1919, when, after Poland had regained its independence, Bogdan Richter, a graduate of Oriental Studies in Leipzig, launched Japanese language classes as a part of a language course at the University of Warsaw. Thanks to a donation from Baron Mitsui Takaharu, the Seminar on Chinese Studies was created in 1934. Its formation offered a possibility to conduct lectures on Japanese culture, and over the years those classes expanded into a proper university program. Formally, Japanese Studies were established after WWII by Professor Wiesław Kotański. He was the first Japanologist in Poland – a linguist, religious studies scholar, translator of Japanese literature and, above all, a tireless researcher of sources of Japanese culture. The development of Japanese Studies at the University of Warsaw was also greatly aided by all the subsequent employees – both researchers and teachers of the Japanese language. The most important among them is Sensei Okazaki Tsuneo, who has been teaching at the University of W arsaw for fifty years.

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History of Japanese Studies at the University of Warsaw

Author(s): Iwona Kordzińska-Nawrocka / Language(s): English Publication Year: 0

The first volume of texts resulting from the international conference celebrating 100 years of Japanese Studies at the University of Warsaw opens with two texts paying homage to the history and tradition of researching Japan in Poland.

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The History of Developing Japanese Language Education

Author(s): Okazaki Tsuneo / Language(s): English Publication Year: 0

In my article, I give an overview of how attempts towards developing Japanese language education have changed over the years. For that purpose, I describe the last fifty years of teaching Japanese at the University of Warsaw from the perspective of my own, personal experience. I also try to demonstrate that the teaching environment has changed significantly after the 1989 transformation in Poland. Among others, I describe two examples of activities that let our students be continually exposed to the Japanese language and people and help them improve both their language skills and knowledge of Japanese culture: the Language Camps and the exchange program with Japanese residents in Warsaw that has been taking place for over twenty years. Finally, comparing the times before and after the 1989 transformation, I point out the crucial differences between the learning environment and available opportunities in the past and nowadays.

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How to Measure “Unique” or “Universal”?

Author(s): Inaga Shigemi / Language(s): English Publication Year: 0

Is Japan contributing to world civilization? If yes, then to what extent? Is this contribution beneficial or negative? In order to examine these questions, the paper addresses three cases of cross-cultural transfers analyzed from a comparative perspective. First, we will examine the adoption of Western linear perspective as an example of a technological transfer in the Far East. Second, we will look at a legal issue in the field of international diplomatic negotiations. Finally, the third case discussed will deal with the intricacies of inter-religious understanding. The first case dates back to the second half of the eighteenth century, the second – to the end of the nineteenth century, while the last one became a topic of conversation in the mid-twentieth century. We hope that these three examples will help to elucidate the worldwide geopolitical circumstances as well as historical vicissitudes in which Japan’s contribution to worldwide civilization can be measured. Applying a comparative approach and analyzing both the positive and the negative sides of the issues discussed will help us make a critical assessment of Japanese studies in the international dimension.

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The Art of Retelling and the Universality of Literature

Author(s): Katarzyna Sonnenberg-Musiał / Language(s): English Publication Year: 0

As illustrated by "Noroma ningyō" ["Noroma Puppets"] (1916), Akutagawa Ryūnosuke was very much aware of the tension between the historical and the universal as far as the reception of art is concerned. The article focuses on three of his short stories: "Kumo no ito" ["The Spider’s Thread"] (1918), "Hankechi" ["The Handkerchief"] (1916), and "Butōkai" ["The Ball"] (1919) in relation to the question of how he responded to this tension. It argues that while the use of archetypal themes and motifs may illustrate Akutagawa’s belief in the universality of literature, his playing with perspectives and the antithetical structure of some of his works simultaneously question the possibility of a common understanding between different readers across cultures.

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Unique or Universal?

Author(s): Inoue Takashi / Language(s): English Publication Year: 0

Amidst uniqueness and universality there tend to arise sparks, conflicts, and intricately intertwined secret relationships. Taking up four Mishima Yukio novels – "The Forest in Full Bloom" ("Hanazakari no mori"), "Confessions of a Mask" ("Kamen no kokuhaku"), "The Temple of the Golden Pavilion" ("Kinkakuji"), and "The Sea of Fertility" ("Hōjō no umi"), I substantiate this theory while also referring to works by other authors. "The Sea of Fertility" is the most unique and, simultaneously, the most universal of the discussed works, as it contains many diametric oppositions and predicts the nihilistic reality of our world nowadays. However, at the same time, it also encourages us to find the best way of living our life meaningfully.

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"Mizumura Minae’s Novel" Shishōsetsu from left to right (1995)

Author(s): Matthew Königsberg / Language(s): English Publication Year: 0

The paper discusses "Shishōsetsu from left to right" (1995), Mizumura Minae’s shishōsetsu or ‘I-novel.’ Taking a closer look at the book – which through its very title purports to belong to a specific and unique Japanese genre – the paper poses the question of whether Mizumura’s work is indeed an ‘I-novel’ and thus unique to Japan, or whether it would be more accurate to classify it as an example of realist literature. The question is approached by first “verifying” the autobiographical information given in the novel and then by comparing the time structure of the work to that of conventional shishōsetsu. It is shown that the work diverges from conventional ‘I-novels’ in the way that the narrator presents the material. In addition, the work is shown to have a theme, namely, loneliness in American society. Finally, in dealing with the polylingual text, the question is raised as to what extent the use of English is mimetic, or if it is possibly – along with photos and other ‘non-mimetic’ devices in the novel – at times more akin to techniques of postmodernist literature.

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Passion and Form, Modernity and Tradition in the Unique Language of the "Midaregami" Poems of Yosano Akiko

Author(s): Anna Zalewska / Language(s): English Publication Year: 0

Yosano Akiko (1878–1942) gained fame as a poet, both in tanka and modern shintaishi form, as a wife of Yosano Tekkan, also a prominent poet and literary magazine editor, and as a feminist, pacifist, and social reformer, author of many texts published in the "Seitō" ["Bluestocking"] magazine. In order to better understand the uniqueness of her poetic art, I take into consideration her language and the peculiarity of the versification of her poems. Although throughout her lifetime she produced many thousands of tanka poems, her most successful and most discussed collection of poetry was the first one: "Midaregami or Tangled Hair", published in 1901. Being the first poet, and moreover a female poet, to use words like ‘breasts’ in tanka, she scandalized and received harsh criticism from some literary figures of her time. Others criticized her for creating poems which were hard to comprehend. In the first half of the twentieth century, her poems appeared to be full of passion and eroticism, her women were active and conscious of the beauty of their bodies and their sexuality. Yosano Akiko is still remembered as a scandalist and a creator of the most assertive, passionate poetry, but how is this passion created? In this paper I attempt to analyze modernity and tradition in Yosano Akiko’s poems.

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Universal Rule of Infinite Variety?

Author(s): Arkadiusz Jabłoński / Language(s): English Publication Year: 0

It is common in the grammatical descriptions of Japanese to neglect the morphological properties of the nominal elements of the language. This may probably be related to the Sino-centric tradition of ideographic (sinographic) writing and results in emphasizing the isolating and analytic properties of the Chinese languages it originates from. In this paper, certain detailed consequences of this approach are presented. They include, in the first place, the lack of differentiation between lexical and grammatical elements in grammatical descriptions. Little interest towards the concept of paradigmatic nominal word units, uneven recognition of agglutinative properties of language in the nominal and verbal elements of Japanese as well as description of peripheral phenomena instead of general rules may be considered the immediate consequences of the status quo. Bizarre or contradictory theories resulting from it, also presented in the paper, embody a characteristic preference for unsystemic grammatical description among the grammarians of Japanese, described in terms of emphasizing alleged infinite variety over universal morphological rules.

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The New Nō Drama (Shinsakunō) for the Appeasement of Spirits and Process of Reconciliation

Author(s): Jadwiga Rodowicz-Czechowska / Language(s): English Publication Year: 0

Studies of nō texts very rarely focus on plays written contemporaneously. Even though more than 400 newly created nō texts (shinsakunō in Japanese) have appeared, one can hardly find any information about them. By looking through the lists published by Hōsei Daigaku Nōgaku Kenkyūjo and browsing available data on the internet, as well as reading texts written by foreign authors (Cheong, Marlatt, Beichman), one can see how strongly the format of nō is related to processes of appeasement and reconciliation with a difficult past. The term shinsakunō is usually used for texts written since the beginning of the Meiji era until now. This term is not used for plays written in languages other than Japanese by non-Japanese authors, even if they are created in the exact same nō format. Yet it is precisely this format that allows one to deal with trauma, both individual and social, in a poetical way on stage. In Western theater, spirits appear on stage almost exclusively in works of fantasy. But in the nō format, they can meet the living thanks to this longestablished convention. In this respect, the uniqueness of nō forms serve the universal human need for appeasement of a bad or painful past.

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"Kanadehon Chūshingura" in Kabuki Theater – A Universal Reflection of Japanese Uniqueness

Author(s): Iga Rutkowska / Language(s): English Publication Year: 0

Kabuki, one of the most important classical Japanese and world traditional theaters for almost three and a half centuries (from the beginning of the seventeenth century until the end of the Pacific War) was a very popular mass phenomenon in Japan. This contemporary theater, which represented the life of the entire society – people’s dreams, wishes, and problems – has always been strictly connected to politics and social changes, as well as to Japan’s reception in the West. The form has changed (and is still changing) together with politics, times, and culture. This article discusses issues related to the uniqueness of Japanese culture and its universal reflection in kabuki theater based on the example of "Kanadehon chūshingura" ["The Treasury of Loyal Retainers"] drama, a hit of all times.

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Kurosawa Akira’s Adaptations of Shakespeare Influenced by Nō Theater

Author(s): Hiranoi Chieko / Language(s): English Publication Year: 0

This paper discusses the use of elements of nō, a unique genre of traditional performing arts in Japan, in the movie adaptations of Shakespearean plays directed by Akira Kurosawa (1910–1998). Kurosawa was one of the most distinguished movie directors in Japan. He created two adaptations of Shakespeare plays that were highly acclaimed worldwide, "Throne of Blood" (Macbeth) and "Ran" (King Lear), both of which are set during the civil war period in Japan. Kurosawa effectively introduced a variety of elements borrowed from nō theater, such as showing nō masks to the actors for them to be used as a basis for their facial expressions during the movie and adopting certain stylized movements in some scenes, especially in "Throne of Blood". Some elements of philosophy and motifs characteristic to nō theater are also present in his adaptations. For example, in Ran he introduces the perspective of people withdrawing from secular conflicts and battles while at the same time depicting the nightmare of ghosts rising from battlefields. In "Throne of Blood" the motif of the impermanence of worldly things is emphasized. These Kurosawa depictions of Shakespearean plays are relatively faithful to their original plots. However, each of the two films shows a different approach when it comes to the characters portrayed. In "Throne of Blood", the major characters seem to roughly coincide with the equivalent characters in the original work. However, in "Ran" Kurosawa changes the three daughters present in "King Lear" to the three sons of the protagonist, and consequently he also introduces the sons’ wives. The question is, how is this change necessary for or effective at conveying the director’s interpretation of "King Lear" and presenting his adaptation? This paper shows, using the above-mentioned examples, how incorporating elements of traditional Japanese theater makes Kurosawa’s movies unique in the world-universal context of Shakespearean adaptations.

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Culinary Continuity

Author(s): Sean O’Reilly / Language(s): English Publication Year: 0

What is the link between a country’s past and its present, and how can anyone possibly verify that link? The answer is time travel, allowing direct firsthand experience of both eras, and thus making it possible for the traveler to confirm the existence of foods which taste the same throughout time, forming what I call “culinary continuity.” The concept of certain foods as universal and unchanging, linking past with present via the convenient plot device of a time slip, came into the mainstream with the 2010 film "A Boy and His Samurai" ("Chonmage purin"), featuring a time-traveling samurai who slips forward in time and then brings his crème caramel skills back to the Edo era with him, retroactively (and paradoxically!) introducing the universal delicacy to Japan. But the film did not connect with audiences. The 2017 hit "Honnōji Hotel" adjusted its formula to make a more successful continuity argument, fueled this time by the putatively ‘unique’ flavors of kompeitō and abura mochi, in the process offering a dangerously de-villainized view of Japan’s cultural history. The savagery of the bloody past is stripped away, replaced with saccharine-sweet sentiments like “I want to create a world where everyone can live in peace and smiles.” In the absence of meaningful criticism, the film’s 1.5 million viewers might well be convinced by its (mis)use of culinary continuity. I analyze Honnōji Hotel’s reimagining of history, arguing that the film’s box-office success relative to A Boy and His Samurai happened because of this food-fueled appeal to unique flavors of long-ago Japan, and its ‘de-clawing’ of warring states Japan and its greatest ‘hero’ Nobunaga. Contemporary Japanese audiences appear to reward films which focus more on unique-to-Japan culinary continuity linking Japan ’s glorious past and peaceful present.

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