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Details of artworks are among the most fascinating phenomena of art history. Reproductions of such details highlight elements which we tend not to notice when looking at the whole, and thus draw our attention to them. Drawing attention inevitably involves interpretation. The interpretation of the detail must, however, necessarily come into conflict with the whole insofar as it isolates an element from its larger context. Such oppositions relating to both content and style have always proved particularly fruitful opportunities for meditation on works of art. With the unprecedented proliferation of reproductions of details, they have now been raised to a highly sophisticated level of reflection. Occasionally, in the detail of a work of art, one discovers the historical style of another, often later period, or even features of astonishing modernity.
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As one of the seven wonders of the ancient world, the Colossus of Rhodes enters everyone's imagination from the school benches. More precisely, there is the image of a huge statue, erected in honor of Helios, which would have guarded the entrance to the port of the city and under whose feet the ships could have passed unhindered regardless of their size.
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This review presents the onomastic documentation that is represented on geographical spaces and wider cultural sequences: the Mediterranean world, the northern tip, the Roman Empire, the late antiquity. Important observations are circulating on the mobility of Thracians in the Mediterranean world, their presence as a non-native element in the area north-Pontic, although the Thracian origin of the Spartokis is very probable; presentThracians and Dacians in the Roman army and the special contribution of information due military diplomas; the end or eventual transformation of thrace onomastics. (due to demographic changes) in late antiquity. Important sources in the construction of the onomastic repertoire were also the papyri and the oyster from Egyptas well as numismatic documents.
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The article highlights on the preliminary results of the field research carried out between 2006 and 2012 in the only ancient urban settlement on the South Pontic coast that did not overlap subsequent housing. The brief presentation we propose below is it is mainly based on the English summaries that preface each contribution in Turkish from the content of the paper.
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Evolutions in the international context determined the increase of the importance of public diplomacy, and this paper follows its role in the foreign policy of a country and in the policies developed by the governmental actors who, in contemporary diplomacy, collaborate with non-state actors and with non-governmental organizations. Governmental policy tries to promote and collaborate rather than to control. Public diplomacy, an instrument of soft power, promotes the cultural values of a state in another state; trying to obtain the image it wants abroad. And for this, the partners of the state are the non-governmental organisations and the simple citizens.
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The indisputed position of Polish Mediterranean archaeology and Polish archaeologists in Egypt is the effect of dozens of years of excavations at different archaeological sites as well as outstanding research, countless publications and many impressive and inspiring projects. The beginnings, however, were quite modest.
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Albania, która przez 500 lat znajdowała się pod panowaniem Turków osmańskich, niepodległość uzyskała dopiero w roku 1912. Przełom XIX i XX wieku to szczytowy okres dla ruchu niepodległościowego na rzecz wyzwolenia Albanii (alb. Rilindja Kombëtare). W czasie Rilindja (1836–1912) nastąpił bogaty rozwój literatury albańskiej, zaczęto wydawać prasę, pod koniec XIX wieku otwarto pierwszą szkołę w języku albańskim, a poza granicami Albanii powstawały stowarzyszenia kulturalno-oświatowe. To twórcze ożywienie podporządkowane było fundamentalnej wówczas idei narodowowyzwoleńczej.
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For the first time, the article analyses certain aspects of Russian poetry of the “Silver Age” in order to identify the rudiments or features which are characteristic of the postmodern creative paradigm. It is noted that a number of poets almost do not have any postmodernist tendencies. Despite the fact it is proved that postmodernism denies the personality-centric and aesthetically oriented concept of modernism, it nevertheless arose on the basis of modernism and has sharpened evolutionary features formulated in the first half of the 20th century. The article aims to prove a hypothesis that arises in the authors during a preliminary perceptual reading of the poets` works of the “Silver Age”: in the early 20th century. Sporadically and consistently in individual authors can be observed irony, play, reconstruction and performance as precursor of postmodernist creative thinking. Specialties of the Russian poetry of the “Silver Age”, which directly correlate with postmodernist tendencies of the second half of the 20th century is not a description itself, but the realization of reality, ambivalence, as well as following the linguistic and figurative, conceptual, motive levels of gradual transitions between the paradigms of “symbolism – modernism” and “modernism – postmodernism”. The international significance of the article is that the material of one of the Eastern European literatures has proved the existence of postmodern (quasi-postmodern) features in the first half of the 20th century for the first time, which can serve as a deeper research in the field of literary typology, continuity; culturology and anthropology.
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The Land of the Moti.The Land of Legends. The land of righteous, courageous and hardworking people. The Land of the Human Heart in the Land of good people. The land of the Apuseni Mountains, where the sun never sets. Because he always rises in the hearts of people these places. Vertical and Beautiful.
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The prose poetry book Fires (1936) by M. Yourcenar can be read through two prisms–through the prism of the theatre of life and through the prism of the scene of death. The last scene of “Patroclus, or, Destiny” gives a kind of negative to the idea of a masquerade ball: the unmasking of Penthesilea reveals another mask–the death mask. The notion of a death mask is introduced in the framework of Belting, Blanchot, Nancy to analyze the death of Penthesilea as her last gift to Achilles. I use the concept of death in “Patroclus, or, Destiny” as an autotextual introduction to Yourcenar’s great novel Memoirs of Hadrian.
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This address was conveyed by His Beatitude Patriarch Daniel for the meeting of the National Council of Romanian Orthodox Students’ Association (ASCOR),held on 3-4 April 2021, at „Patriarch Justinian” Faculty of Orthodox Theology inBucharest.„All activities we carry out demonstrate that the greatest beauty lies in the goodness of a soul loving God and fellow people, in the family in the church, in school and in the world at large. Thus, our Church encourages the young to becomethe hands of Christ’s love for the humankind, that is, to engage in spiritual and socialprojects and programmes able to meet the growing demands and needs of local communities”,stated the Patriarch of Romania addressing the members of RomanianOrthodox Students’ Association.On April 4, His Beatitude Daniel, the Patriarch of Romania, received atthe Patriarchal Residence the presidents of the branches of Romanian OrthodoxStudents’ Association (ASCOR) in the country. On this occasion, His Beatitudeawarded them the Honorary diploma with medal of year 2020 and congratulatedthem, expressing his hope that all ASCOR activities delayed by the pandemic,would be carried out this year.
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An essay written by Dubravka Đurić: Beleške o biopolitici (eksperiment iz geobiopolietike)
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Anton Cosma (1941-1991) - literary critic, prose writer and dramatist - has left behind numerous unedited manuscripts, among which there are some unknown texts written during his university years, as a student at the Faculty of Philology in Cluj (1958-1963). One of them, presented by A. Cosma’s editor (Ela Cosma), surveys the biography of the humourist poet George Topârceanu (1886-1937). The text about G. Topârceanu is conceived by A. Cosma in the same lively manner and just as full of humour, as both the poet’s Balade vesele şi triste (Merry and Sad Ballads) and the critic’s own pieces of literature (short stories and commedies). George Topârceanu’s life seen by Anton Cosma reveals us certain keys to better understanding the critic’s private view of life and literary credo. It also offers, so to say, a lovely portrait of the literary critic as a young man.
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Prve adaptacije i „uvezene“ češke dramatizacije proznih djela Karela Čapeka (1890–1938) na jugoslovenskim teatarskim scenama su se pojavile tek početkom osamdesetih godina prošlog stoljeća. Razlozi ranijeg nepojavljivanja su mnogobrojni, ali ih očigledno ne možemo tražiti u prevodilačkim manjcima jer postoji nekoliko kvalitetnih izdanja Čapekovih bajki i pripovjedaka; premda je ime slavnog češkog autora bilo poznato među pozorišnim radnicima i čitateljima, njegove svjetski poznate drame nisu doživjele skoro nijedno jugoslovensko izdanje (osim drame Slučaj Makropulos) u arhivima većina tekstova nije sačuvana (izuzetak je par rukopisa u arhivu u Nišu, po jedan rukopis HAZU u Zagrebu i SLOGI u Ljubljani) i zato je Čapek slovio za skoro isključivo dječjeg autora, posebno kad su inscenacije u pitanju.
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In his perplexing and rich essay on Karl Kraus (1874–1936) Walter Benjamin is exploring the character and the work of one of the cult figures in Austrian and German culture in the first third of XX century. Kraus is a brilliant stylist and a fierce critic of bourgeois hypocrisy and conservative institutions. His political views and religious convictions may change, but his principles of defending the дisadvantaged and denouncing the arbitrariness of those in power are immutable. For Benjamin Kraus is a perfect example to illustrate a series of his own concepts: the divine nature of language and word, the enormous potential of quotation to refer to the source of things, the creative power of misanthropy for resisting conformist indifference leading to the degeneration of the human, the progressive eschatology of social conflict, the unity between aesthetics and politics.
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Săpăturile din necropola complexă de la Brad, comuna Negri, judeţul Bacău, conduse de arheologul Vasile Ursache (de la Muzeul de Istorie din Roman), au început îri anul 1963 şi au continuat pînă în anul 1981. CU această ocazie au fost scoase la iveală un număr de 450 schelete, dintre care marea majoritate aparţin perioadei feudale tîrzii (sec. XVII-XVIII e.n.).
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29 aprilie 1976, Mihai Eminescu, revizor şcolar al judeţelor Iaşi şi Vaslui, poposeşte la şcoala din Lipova, unde găseşte „puţini elevi prezenţi, din cauza ploilor mari, cari durează de mai multe zile“ (Academia Româ¬nă, mss 2306, f. 46)...
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