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The author focuses on Educator’s story about the alleged death of Orestes that is found in the very center of Sophocles’ Electra, vv. 680-762). However, this story is interesting for him not as an integral part of the tragedy but as a kind of sports report of a chariot race. He argues that although the report is not a real coverage of a sports event, we can perceive a kind of prototype for such a report that may be based on a real event, as it contains several elements that we expect from such a report. It brilliantly depicts the atmosphere of sports competitions, the tension prevailing among the competitors, and it shows the changing moods of the spectators present on the hippodrome. Sophocles’ commentator is an expert in the discipline he is talking about, he knows the competitors, their origin, as well as the advantages of particular teams. He can guess the charioteers’ tactical plans and intentions, he knows about how a chariot should be driven, he can transmit a competitor’s joy at his success and the tragedy of his defeat. He does not dazzle the readers with too many details, but he rather refers to their knowledge and experience, leaving a lot of space to their creative imagination. All in all we get a report that maintains a high standard and is brilliantly composed and dramatized and that keeps the readers in suspense, first awakening interest in him, and then evoking strong emotions; it can keep the atmosphere that is created in this way till the very end. The multitude of artistic means that are employed here is subjected to these ends.The Introduction shows earlier attempts at describing sporting events that are found in Homer’s works and in lyrical poets, with particular stress on Pindar’s poems.
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In Book II of The Iliad Zeus sends Oneiros, the god of dreams, to the sleeping Agamemnon, to give the Achaean leader a god’s command. He wants to cheat him in this way and to carry out Thetis’ request – to honor her insulted son. The naïve Agamemnon believes the forecast that he is going to immediately capture the Trojan town. He tries the morale of his warriors ordering them to return to their native country, and then he sends them to the deciding battle that costs the life of many of them. This is the result of the dream that Homer calls “fatal”.During the night visit the sleeping Agamemnon is completely passive; there is no dialog between him and the god sent to him, that is Oneiros. The dream is factual, objective, and it does not require interpretation. It has a divine character, and Olympic Zeus is its author – it is he that the visit of the apparition depends on. It is the only deceptive dream in The Iliad and The Odyssey, sent in order to deceive the dreaming one, to bring him to ruin. This is its basic function.
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The object of interest of the author of the article is the sentence, which appeared very often as a rhetorical figure in the writings of the Roman historians.
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Ćirilična pismenost srednjovjekovne Bosne tema je o kojoj se mnogo piše, a malo zna. Ovaj nesrazmjer zanimanja i saznanja proistekao je iz činjenice da je u novije vrijeme relativizirano gotovo sve što se ranije smatralo znanjem o Crkvi bosanskoj. Danas postaje sve jasnije da su u novom pristupu ovoj temi potrebne nove metode, novi načini analize zasnovani na objektivnim kriterijima,. A sve to je utoliko potrebnije što se pojavljuju i nove činjenice.
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Të arriturat në fushë të onomastikës e veçmas të toponimisë sot janë ndihmesë e madhe shkencore, që pasqyrojnë e ndriçojnë zhvillimet historike, gjuhësore e kulturore të një etnie të caktuar. Këto vlera, që në shumë rrethe shkencore janë bërë sinonim i hulumtimeve më serioze që hedhin dritë edhe në thellësi më të errëta historike për të zbuluar të vërtetat e prejardhjes etnike e të gjuhës së tyre, njihen edhe për veçoritë e ndryshme etnokulturore e sociolinguistike. Përmes këtyre veçorive onomastike, të toponimeve, sidomos të mikrotoponimeve, të antroponimeve, të patronimeve, të hidronimeve, të oronimeve, të botës bimore e shtazore etj., e njohim më mirë mënyrën e jetesës së banorëve të një vendi, veprimtarinë e tyre, luftën për mbijetesë, ngjarjet historike që lidhen me ata e personalitetet me peshë kombëtare, si edhe shumë realitete të tjera historike të periudhave të ndryshme në të kaluarën e deri te mitet e mitologjitë.
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Kaçandolli është një fshat malor shqiptar dhe shtrihet në anën lindore të Shalës së Bajgorës. Katundi është përafërsisht i gjatë 2-3 kilometra dhe shtrihet përgjatë përroit përkatësisht lumit të tij, i cili në veri buron prej malit të Osrokoplës, duke rrjedhur mes për mes katundit, pastaj pranë fshatrave Popovë, Lupç i Epër, Majac dhe në Lupç të Poshtëm derdhet në anën e djathtë të lumit Llap. Ky lum quhet lumi i Kaçandollit, serbisht Kacandollska reka. Përgjatë luginës në të dy anët e tij shtrihet Kaçandolli, emrin e të cilit e ka ky lum, sepse pjesa më e madhe e tij kalon nëpër luginë të këtij fshati dhe ushqehet prej prrojeve të territorit të tij. Kaçandolli përdoret edhe si patononim a mbiemër i njerëzve që kanë prejardhjen e këtij katundi, si: Emin Kaçandolli, Naim Kaçandolli, Ibrahim Kaçandolli etj.
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The article describes results of the newly conducted processing and analisys of the archived audio recordings of the Chulym language, which were kept in the Laboratory of Experimental Phonetic Research in RAS Siberian Branch Institute of Philology. Chulym is now at the brink of extinction, and the 1970s records reflect a signficantly better level of language knowledge. The main phonetic qualities of Chulym have already been recorded, but two important ones were found. For the first time the intermittent and pharyngealized vocal settings were identified in the Chulym language. Also, the author finds different types of pharyngealization, such as the type of tone and the duration.
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U istraživanjima kasnosrednjovjekovne umjetnosti na prostoru današnje Bosne i Hercegovine, Hrvatske, Srbije i Crne Gore, kao i okolnih zemalja, najmanje pažnje je posvećeno studijama knjižnog slikarstva, a posebno je zanemaren segmenat komparativnih analiza koje bi ukazale, kako na spoljne uticaje većih likovnih središta, tako i na međusobnu povezanost ove vrste građe. Tako se i za dva prestižna rukopisa rađena za velikog vojvodu bosanskog i hercega splitskog Hrvoja Vukčića Hrvatinića (1350-1416), Hrvojev misal i Hvalov zbornik, objavio nevelik broj radova koji bi pomogli u stilskom određivanju domaćih slikarskih škola, odnosno skriptorija i likovnom izrazu njihovih majstora. U ovom članku će se pokušati u kratkim crtama predstaviti rezultati istraživanja uzora, matrica i izvorišta koji se očituju u likovnom vokabularu minijaturiste Misala, a čiji je rad evidentiran i u dijelu oslika Hvalovog zbornika, kao i u Budimpeštanskoj hronici Tome Arhiđakona (Historia Salonitana).
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An attempt is undertaken in this paper to demonstrate what traps are inherent in a biographical reading of Stefan Żeromski’s Zamieć (Blizzard). The author traces relations between Anna Zawadzka (the writer’s partner) and Xenia Granowska (the novel’s protagonist) and reconstructs the background to the text. The analysis implies it would be far safer to treat Zamieć as a broadly-defined autobiographical novel than to build straightforward parallels between Anna and Xenia.
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The article concerns Stefan Żeromski’s Przedwiośnie, one of the most important Polish novels of the twentieth century. So far the work was considered, especially its first part (Szklane domy), whose plot is set in Baku, mainly in the context of the Bolshevik Revolution. It was ignored, however, that the historical background of the novel (its plot) are also other, linked with that revolution (and partly caused by the Bolsheviks), dramatic historical events: ethnic feuds between Armenians and Azeris (“Tartars”) and the Turkish intervention, which is one of the stages of the Armenian Genocide. The fate of Cezary Baryka, the main character of Przedwiośnie, is usually seen in terms of transformation, education, ideological development. It is worth noting that the Baku massacres are for Cezary not only a lesson or a warning, but they are also the source of his demoralization; it can be concluded that the hero is “infected with death”.
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Until now, Stanisław Żeromski’s writings have not been viewed with regard to literature common to the age of anxiety from the turn of the eighties and nineties of the 19th century, though there are numerous common aspects shared by both. These are clearly discernible in the early works of the writer, written in his youthful days, and shaped among others by J. Ochorowicz’s literary piece Z dziennika psychologa (“From a psychologist’s diary”) concerning the latter’s views on the neuropsychological system of man, the acquired habitual self-analysis and autobiographism rooted in the practical activities of a diarist; all of which surface both in the subject matter, the singularity of style, narration, as well as the composition of later works by the author. By devoting the majority of space and attention to identifying and tracing literary awareness in his intimate notes from 1882 to 1891 – of which one volume carries the title Dziennik człowieka nerwowego (“Diary of the anxious man”) – R. Okulicz-Kozaryn portrays its role in Siłaczka (“The Strongwoman”), Mogiła (“The Grave”) and Źródło (“The Source”), also in Ludzie bezdomni (“The Homeless”). He further claims that Żeromski’s Dzienniki (“Diaries”) should be presented as its laboratory sample, whereas the entire literary output of the writer ought to be interpreted as more advanced consequences of the then initiated experiment.
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The article Chopin’s impulse. Stefan Żeromski’s „Diaries” versus Fryderyk Chopin’s output shows writer’s fascination for Fryderyk Chopin and his work. The main emphasis is put on the strength of influence of particular elements of composition on the neurotic system of Stefan Żeromski. Besides, it touches upon the synthesis of arts which the artist often referred to in his Diaries.
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This article is about a short story entitled Wilga (The Oriole) (1925). This work was written shortly before the writer’s death and is his elegiac farewell to his home in Konstancin, an expression of love to his daughter Monica and a kind of his literary summary and a testament. An important part of the discussion is focused on how the writer used his own autobiography in his artistic works and how he is relying on his memory while creating the literary image. This article also focuses on ornithological knowledge of the writer which is an important fact that has not been given enough attention in relation to Żeromski’s works. It was reconstructed on the basis of his Diaries, Memoirs and literary works. The presented findings can serve as an aid in developing a monograph on the birds themes in the works of the author of The Labors of Sisyphus.
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The articles presents an interpretation of selected topics from the Stefan Żeromski’s novel which form an articulation of the nineteenth century changes taking place within the metaphysics. The scene in which the protagonists from Żeromski’s novels experienced communication with the dead and lived through the inner enlightenment have been analyzed. The article also describes the poetics of articulation of metaphysical experience in the prose of Żeromski paying particular attention to the theme of light equivalentizing the internal initiation of heroes, leading them mainly to cross the barriers of death. From this perspective, the articles interprets such motives as birch, earth and kiss as functionalizing metaphysical experience of the heroes described in the novels. The analysis of these metaphysical enclaves in the prose of Żeromski allowed to put forward the thesis that the metaphysics of the writer is not inspired by philosophy or theology of the late nineteenth and early twentieth century, but by faith in the strength of family and native ties and by the power of human community which leads man into another dimension of reality.
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The article presents the problems faced by a modern editor of Stefan Żeromski’s dramas. In the case of the drama „Sułkowski” an editor has at their disposal extremely rich material enabling a detailed editorial commentary (connected with the origin of the drama, the historical sources used by Żeromski, subsequent stages of working on the text, publishing history, etc.), they do not however have the possibility to describe the original final draft of Sułkowski because it has not endured. In the case of „Ponad śnieg bielszym się stanę” (“Whiter Than Snow Shall I Be”), an editor does not have any concrete information which would show the birth of the idea of the drama and would give the testimony of working on the text; the editor does not also have any information about the first printing. Although the lack of extratextual information makes carrying out a critical editing of „Ponad śnieg bielszym się stanę” (“Whiter Than Snow Shall I Be”) more difficult, the endured original final draft and several pages of drama do recompense it in a way.
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