Светачки лик у контексту: један нерасветљени пример из ексонартекса цркве у манастиру Трескавац

Author(s): Vesna Milanović / Language(s): Serbian Publication Year: 0

The images which are the focus of the paper belong to the oldest of several existing fresco ensembles in the sacral complex of Treskavac resulting from different and chronologically clearly separated ktetorial undertakings and renewals between the 14th and 19th centuries. Dating from the times of King Du{an, these images apparently form part of the original painted decoration of the space whose lateral ends are surmounted by domes, and whose emphasized tripartite shape is a result of 19th century alterations. Massive separating wall areas were introduced into the previously undivided and much more integrated internal composition of the exonarthex, thus not only partitioning the area and making it significantly narrower, but at the same time, unfortunately, hiding part of the authentic medieval frescoes on the east and west walls near the entrances. This paper is based on the findings related to recognising the previously unidentified remaining part of a holy monk figure, presented with an interesting and unusual iconographic symbol in his hand — a branch with leaves and fruit. The author of the text points out that it is the branch of a Paradise apple tree, and that the image is that of an otherwise quite seldom depicted figure of Euphrosynus the Cook. The surviving examples of the monk’s vitae story present him as a meek and humble member of the brotherhood in a desert monastery by the River Jordan, despised and even taunted by the other brothers — but at the same time, in the central episode of the story, provide the image of a special person, chosen by God, blessed with dwelling in the Garden of Eden and enjoying the fruit of heavenly trees. It is interesting and worthy of attention that the Treskavac image of St. Euphrosynus stands apart from the incompletely preserved but relatively numerous and homogenous row of holy monks in the zone of standing figures on the west wall, and that his solitary bust portrait is joined to a particular, “unrelated” group of images, i.e. to a quite different category of iconographic content, on the opposite wall surfaces in the southern part of the exonarthex. Part of the findings presented in the paper resulted from reflections on the saint’s unusual and highly specific iconographic attribute, and revealing a layer of meaning that bestowed on this attribute the dimension of a particular biblical and Christian topos. The other part of the findings relate to recognising and interpreting the specific function of the very position given to the saint’s figure among the mentioned group of only seemingly unrelated or not specially related images in the southern part of the Treskavac exonarthex. Among the most prominent ones is the composition of the Baptism of the Lord, also excluded from the category of contents it otherwise usually belongs to (the Great Feasts cycle), and, in contrast to the usual topography, placed in the lowest fresco zone, in the spot immediately below St. Euphrosynus’ image. In all probability, the relevant group of scenes was to include also the bordering representative depiction of a Serbian ruler with the divine investiture motif, in the southern portion of the eastern wall of the central part of the exonarthex area, as well as the nearby contents belonging to the wide-ranging and complex Menologion cycle from the upper zones of the building. Formally the most prominent and most noticeable illustrations are for the March days of the Cycle — the Annunciation to the Blessed Virgin Mary (with a pictorial allusion to the Holy Spirit’s power coming down from Heaven) and the Martyrdom of the Forty on a frozen lake (with the detail of placing crowns of heavenly glory on the naked bodies of the martyrs) — situated in the calotte above the southern part of the exonarthex that bears a monumental image of Christ Emmanuel at the centre. Although at the same time also part of a special whole in the central part of the exonarthex, south of the main entrance to the church, the content of the fresco depicting King Du{an’s investiture with a crown from an angel’s hand and the motif of receiving his power Dei Gratia, it was with good reason that its south, now hidden end, abutted on the depiction of Christ’s Theophany at the Jordan in the adjacent area of the wall, whose contents form part of the structure of the frescoes in the mentioned bay under the calotte. All the findings and observations on the selection and relations of the images given here and supported by arguments serve to confirm and shed more light on the special segment in the content of the painted programme from King Du{an’s times — thematically cohesive and integrated through a unique symbolism, and not lacking in specific and indicative analogies in the monuments from this epoch. The concept of the programme, stressing different aspects of the soteriological and eschatological implications of the baptismal theme and the Christian notion of the era of “the grace of God” — where the sacrament of baptism is seen as the “gates of the New Heaven” — at the same time also justifies the identification of the said part of the space with the original position of the existing, and at a later time dislocated, authentic medieval stone agiasma of Treskavac.

Nationalism and Hegemony

Author(s): András Bozóki / Language(s): English Publication Year: 0

In this chapter the cultural politics of the Orbán regime will be interpreted in the context of the regime as a whole. In post-2010 Hungary, cultural policy cannot be viewed as one of the governmental sectors separable from the prime minister’s concept of power and symbolic politicking. The autocratic worldview and nationalist political culture represented by him are closely related to what his underlings perform under the rubric “cultural policy.” The essence of cultural policy is expressed by the notion of nationalism. This approach does not much tolerate alternative worldviews and artistic expressions; it seeks to achieve hegemony, if not cultural monopoly. Representatives of the regime do not enter debates on cultural and political values—they simply disregard the opposing views and aim to represent their own hegemonic approach which is identified with “the nation.” The cadres appointed as chiefs of a sector act according to the prime minister’s expectations.

Periodizacija književnosti franjevaca Bosne Srebrene. Matija Divković kao paradigma

Author(s): Iva Beljan / Language(s): Croatian Publication Year: 0

Polazeći od pretpostavke da je pitanje periodizacije književne građe povezano s razumijevanjem njezine prirode, uloge i vrijednosti, u radu se analiziraju načini na koje je ovom problemu pristupala povijest književnosti kad je riječ o književnosti franjevaca Bosne Srebrene. Kao paradigma se pritom uzima Matija Divković, kako zbog toga što je najbolje obrađen franjevački pisac, tako i zbog toga što je njegovo djelo ujedinilo poticaje različitih književnih tradicija i različitih književnih razdoblja. Nakon analize postojećih periodizacijskih koncepata, njihovih polazišta i rezultata u proučavanju i vrednovanju ove književnosti, analizira se i uobičajeno sagledavanje franjevačke književnosti 17. i 18. stoljeća kao tematske, žanrovske i stilske cjeline, a potom se nastoji naći koristan okvir proučavanju franjevačke književne tradicije.

Napóleon, Isten ostora

Author(s): Béla Bartók / Language(s): Hungarian Publication Year: 0

Korlátlan önkényuralomból a félalkotmányos rendszerbe.

Author(s): György Bebesi / Language(s): Hungarian Publication Year: 0

Miroslav Džaja i njegova kronika

Author(s): Drago Bojić / Language(s): Croatian Publication Year: 0

U ovom prilogu kako to i sam naslov pretpostavlja riječ je o životu i spisateljskoj djelatnosti fra Miroslava Džaje u prvom dijelu, i o njegovoj kronici pougarskog kraja i župe u drugom dijelu. Džajin cijeli životni vijek obilježen je raznovrsnom spisateljskom djelatnošću, prije svega onom povijesno-znanstvenom, a jedno od vrednijih ostvarenja dugog istraživačkog rada jest i pougarska kronika, kako u znanstvenom tako i u literarnom smislu.

Fra Marijan Šunjić – apostolski vikar i pisac

Author(s): Petar Jeleč / Language(s): Croatian Publication Year: 0

Fra Marijan Šunjić is an unavoidable figure for each researcher of the history of Bosnia and Herzegovina. The main features of his character were good education, tenderness and decisiveness in implementing drafted plans. While studying in Vienna and Rome he achieved very high results and he could have stayed there, but he came back to his Bosnia and Herzegovina burdened with different problems. Šunjić was touched and moved by the situation and he decided to dedicate his entire life to easing these difficulties. Knowing several foreign languages, skillful in befriending and communicating with foreign diplomats were all very facilitating in the success of his work. In order to give people a place for prayer and education, he built churches and established schools. His small steps announced wide changes. He imposed these tasks on himself of building churches and schools throughout Bosnia, but his weak health shadowed him from his youth and it slowly grew worse. He had most famous people of his time as friends, but he knew he could only be happy by loving the most simple people. After all, he had donated his whole life to these people. The people recognized that and they repaid him with a magnificent funeral procession in Guča Gora. He enjoyed special respect by members of all religions in Bosnia of that period. Therefore during the funeral procession in 1860 more than five thousand people, among them Catholics, Muslims, and others, said their farewell to the late fra Marijan Šunjić. After the funeral in Guča Gora Dervish-beg Teskeredžić said, “I am very sorry for erudite bishop Šunjić. I remember six late people that were my relatives, but, please, believe me, I have lamented no one like the bishop.” And the bishop from Đakovo, Josip Juraj Strossmayer. said about Šunjić, that he was “greatest and most reputable man Bosnia had had in recent times.”

Fra Jako Baltić kao pripovjedač

Author(s): Iva Beljan / Language(s): Croatian Publication Year: 0

The work deals with Baltić’s narrative methods as a distinctive feature which his Yearbook (Godišnjak), and his annals in general, share with literature. At the same time it is not the intent to simply declare this historiographic text to be a literary one, nor shall narration, i.e. the literary value of the Yearbook, be considered only as a concurrent feature, or as a successful ornament which makes the text more attractive to readers. It is considered that Baltić’s narrative methods are not random but that they are tightly connected with the meaning of the text and the effects which it produces. Therefore the narrative methods and Baltić’s attitude towards the conventions of the chronical genre are considered to be a narrative equivalent, i.e. an expression of the way in which the historical reality is being experienced, presented and explained through the text. Hence it is the intent to try to arrive at Baltić’s way of understandig and interpreting reality through narrative techniques.

A katolikus egyház és a protestáns pátens

Author(s): Jenő Gergely / Language(s): Hungarian Publication Year: 0

Tudósok a francia forradalomban

Author(s): Valér Illés / Language(s): Hungarian Publication Year: 0

Bottyán János leveleinek tanulságai

Author(s): Lajos Misóczki / Language(s): Hungarian Publication Year: 0

Csontok zászlóba göngyölve

Author(s): László Csorba / Language(s): Hungarian Publication Year: 0

A forradalom kritikus dalnoka: a „koronás Wargha”

Author(s): Ágnes Deák / Language(s): Hungarian Publication Year: 0

A Batthyány-kultusz

Author(s): András Gerő / Language(s): Hungarian Publication Year: 0

Kölcsey és a magyar nyelv ügye az 1832-36-os országgyűlésen

Author(s): Orsolya Völgyesi / Language(s): Hungarian Publication Year: 0

Oslavy Ľudovíta Štúra ako médium formovania historickej pamäti Slovákov

Author(s): Daniela Kodajová / Language(s): Slovak Publication Year: 0

Základným znakom osláv a slávností je vytvorenie priestoru a príležitosti na reprezentáciu oslavovanej osoby, inštitúcie či konkrétnej komunity a udalostí, spätých s ich predchádzajúcim vývojom. Pre danú osobu či komunitu majú symbolický význam. Táto symbolika vyvoláva zmyslovú súvislosť, viažu sa k nej emócie a je funkčná iba v určitých väzbách a sociálnych vzťahoch. Platí to i pre festivity, ktoré sú spojené s procesmi formovania moderných národov, ich identít a kolektívnej pamäti. Osláviť pamiatku veľkých ľudí svojho národa slávnosťami a pomníkmi patrí k významným a frekventovaným možnostiam verejnej prezentá- cie každej národnej komunity. Umožňuje jej totiž predviesť želanú formu svojich vlastných dejín, resp. kolektívnej pamäti na prekonaný úsek vývoja, vyčleniť a odlíšiť sa od iných komunít, usmerňovať vlastných členov, predstaviť aktuálnu vnútornú hierarchiu vedúcich postáv i selektívny výber postáv akceptovaný komunitou ako zakladateľská generácia.

Ľudovít Štúr a š(Š)túrovci v múzejnej prezentácii a lokálnej pamäti

Author(s): Ľuboš Kačírek / Language(s): Slovak Publication Year: 0

V historickej pamäti Slovákov sa konštituovalo viacero lokalít a objektov, ktoré sa stali miestom pripomínania Ľudovíta Štúra predovšetkým z hľadiska jeho prínosu pre národné hnutie. V prvom rade išlo o Štúrov hrob na modranskom cintoríne, pričom sa v priebehu dlhodobého vývoja množina pamätných objektov a miest postupne rozširovala. V súčasnosti medzi ne patria nielen rodný dom, či dom, v ktorom Ľ. Štúr zomrel, ale napríklad aj Devínsky hrad, miesto jedného z prvých kolektívnych vystúpení štúrovskej generácie. Niektoré miesta a objekty sa miestom kolektívneho spomí- nania na Štúra (štúrovcov, či dokonca Štúrovcov) stali pomerne neskoro. Napríklad o budove, v ktorej sídlila redakcia Slovenských národných novín a zároveň v nej býval Ľ. Štúr, sa laická verejnosť dozvedela až v roku 1959 vďaka historičke Márii Vyvíjalovej.547 Hoci sa návrhy na umiestnenie pamätnej tabule na mieste, na ktorom pôvodne stál dom s bytom Ľ. Štúra objavili už v spomínanom období, podarilo sa to až v roku 2005. Pritom treba dodať, že pôvodný historický objekt už dnes neexistuje.

Ľudovít Štúr a odraz na peniazoch: ikonografické a historické aspekty

Author(s): Zbyšek Šustek / Language(s): Slovak Publication Year: 0

Ľudovít Štúr prepožičal svoje meno mnohým uliciam, verejným priestranstvám i niektorým inštitúciám. Význam jeho osobnosti pripomínajú domácej i zahraničnej verejnosti početné výtvarné artefakty. Okrem obrazov, sôch, pamätných tabúľ, medailí a odznakov sú to aj kovové a papierové platidlá. Zobrazenie portrétu Ľ. Štúra na platidlách bolo neraz predmetom zložitých rozhodovaní. Jeho portréty na peniazoch však nie sú jediným spôsobom, ako jeho odkaz platidlá reflektujú. Cieľom tohto príspevku je opis, porovnanie a zhodnotenie týchto skutočností, ako aj ich zasadenie do širších historických súvislostí a do všeobecného rámca symboliky a ikonografie peňažných znakov.

Inštitucionálne rámce modernej slovenskej kultúry

Author(s): Vlasta Jaksicsová / Language(s): Slovak Publication Year: 0

The article deals with the basic institutional frames of modern Slovak culture which emerged and continuously developed during the period of the inter-war Czechoslovak Republic. During this time, the Slovak and European history became factographically and typologically synchronized. It brought quantitative development of education, science, Slovak literature, translations of world literature to Slovak language and the activities of new young generation of authors that can not be compared with the situation before 1918. The author focuses on culture factor of the so called Slovak question in the context of Czechoslovakism as official state ideology, too.

Conclusion

Author(s): Author Not Specified / Language(s): English Publication Year: 0

Czech historian Michal Kopeček began one of his lectures on the historical memory with a quote which fits very well into the conclusion of this book: “Someone once said that happier nations do not have to worry so much about history, and, therefore, their national culture can be based on philosophy and art. Less fortunate nations, meaning those who lose more often, must pay more attention to their history. As a result, basis for their national culture and often also national obsession is the history.” Being obsessed with history and its interpretation is typical of all the countries in Central Europe. Since the 19th century, close links were established in this region between the historiography and the political developments of the nations, which led not only to “politisation of history” but also to “historisation of the politics”. How else could the situation have developed in the area where the borders, forms of government and state configurations changed every few years? A joke about a man who was a citizen four different states without leaving Mukacheve, in fact accurately describes the tragic absurdity of the Central European historical developments. However, it did not concern individuals only, but whole groups. As Michal Schvarc writes in his study: “Who would have predicted it at the beginning of 1918 that the city of Bratislava would become a part of four different state establishments, that in such a relatively short time it would go through six different regimes, and that just a torso would be left of the 30-thousand German community by early 1949 which will fear to claim allegiance to its roots?”