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The article discusses the use of journalistic precedent texts. The examples selected for the analysis show the important role of precedent texts in Russian journalistic tra¬dition. In the article, a typology is proposed, based on an analysis of this type of texts, their sources and methods of use.
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The paper presents the study of the original and Russian translation of H. Senkevich’s novel Quo vadis? The postulates of early Christianity as opposed to moral postulates of the Neron Rome, the essence of „the beautiful // the ugly” dichotomy, which is one of the criteria of the veritable values are revealed, as well as the role of this aesthetic category in the author’s ideostyle and the ways of its language presentations, where the lexis with emotive charge plays dominating role, the nominators of the light as morals reforming outset among them.
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In the article analyzed is the notion of Mark Aldanow concerning the Russian idea presented In the philosophical treatise entiled Ulmska noc.
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The research of cultural transmission between Russia and Poland has been carried out since 1990 in wide range of contexts as a) sociological; b) psychological; c) political; d) cultural anthropology; e) religiousness.
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The Orthodox trend in Polish culture has not been fully appreciated yet. Usually, when speaking about the Orthodox Church in Poland, we connect it with religious centers, first of all in Constantinople and then in Moscow.Most scholars seem to forget that Orthodox culture does not stem from these centers only. Exceptionally important centers are still underestimated; these include the Holy Mount of Athos, Bulgaria, and later also Serbia, while in separate cases even East Christian centers such as Palestine, Egypt (Sinai), Syria, Antioch and Cappadocia played their roles. Quite often South Slavic countries not only acted as intermediaries in the transfer of Byzantine culture to Eastern and Western Slavic lands but also participated actively in the process of creating a common Orthodox and Slavic culture.The paper seeks to demonstrate that during the Middle Ages there were seldom direct relations between the eastern regions of Poland and Western Russia (Ruthenia) and Constantinople, they were rather mediated by or with the Bulgarian Orthodox Church.This aspect is illustrated by examples from the history of the Orthodox Church, of medieval literature and church architecture, and by examples of the spread of worship of East Slavic saints in the territory of Poland.
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XIX century Mazurian’s poetry likewise their poetry from the beginning of the XX century enclose motives ant themes connected with Russians and the Russian Empire. The Russian Empire itself and Russian as the nation were perceived by Mazury inhabitants throughout military and political primacy in the region. That attitude grows to the myths that had been formed by thepropaganda of Prussia Empire.Mazurian poetry supplied documentary evidence of the supremacy of Russian Empire in Eastern Prussia due to military conflicts (ex. „The Seven-Years War”, the Napoleonic wars, and also the I World War).Mazurian in their poetry established not only the stereotype of Russian and the Russia Empire as the aggressor but also their trepidation and deference in the same time were shown yet.
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Slavonic motives in lyric poetry of the late Russian romanticism - Tyutchev, A.K. Tolstoy, Polonsky, Fet, Maikov - are in the predominant importance of philosophical and historical as well as political views of Tyutchev. The development of these views from national and historical problems to the problems of ethos and novelist; and expansion of historical topics ranging from the Russian-Polish to the south-slavonic heritage. The development of genre from oratory monologue to the wide spectrum of lyrical and lyric-epic composition and up to folklore stylization.
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The discourse involves a number of prominent thinkers who express their opinions in quality newspapers and magazines. The concept of Polish national character consists mainly of historical myths, and the dramatically transforming Russian character is to a great extent an absolute rejection of the Sowiet past and an equally approval of the Tsar period.In her analysis, the author identifies the characteristic features of both Polish and Russian national character. The issue can be perceived as a proof of seeking the national identity but also as some camouflage supposed to divert attention from real social problems.
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In this article an attempt has been made to explicate an understanding of the role of poet as an artist crossing borders of different cultures of Europe and the world. Born in the multicultural Galicia the author was able to see himself in the role of artist relating experiences of different nations and cultures. Traditions of the East and the West, Polish and Ukrainian cultures and literatures such as German, Spanish, French, and American took its place in the imagination of the poet. But it seems that the starting point for the author of Christmas was Slavic mythology, Eastern tradition and Christian philosophy.
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The article presents an analysis and interpretation of two contemporary magazines for parents (gaga, kikimora) chosen from an initially characterised group of 32 magazines for parents which are available on the market. The study included: 1) etymology of the title, 2) relation between an initial appellative or onym (in case of transonyms) and the examined magazine title as well as the idea of parenthood/childhood popularised by it, and 3) reconstruction of the connection between the content and connotation of the title-word and conno¬tations of visual elements of notation of this word such as a shape of lettering lines and graphic combination of signs, and the relation between semantics of the title reconstructed in such a way and an ideological profile of the maga-zine/a sender-receiver community
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The main purpose of this paper is noticing and analyzing Popa’s poetical pictures that shed completely new light on our oral tradition. In his metaphors and his symbols we could notice the presence of oral tradition about St. Sava as well as many layers of different systems of the folklore beliefs and folklore tradition. Interpreting the symbols such as water, rainbow, wolf, rooster, chains, stick, rock, bees etc., Popa has accomplished an extraordinary artistic transposition and modification of the folklore templates by using the myth reflection, in other words, he has been using the beliefs about St. Sava as a wolf shepherd. In only eight poems Popa has succeed to artistically and in a suggestive way represent the deepest mythical layers of the St Sava’s character. In doing this, Popa has built the Sava’s character sometimes as an ambivalent and sometimes as the compound of the divine and heavenly virtues and categories. The poem cycle “Savin izvor” represents one rounded and harmonious unity in which Popa has united all the elements of St. Sava’s poetic biography.
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In the context of studying the poetry of historical drama this work tried to establish a correlation between two artistic words, emphasizing that literature functions in the same manner whether written or oral.The drama Kraljević Marko contributed to this assertion.Writing about Marko Kraljević, the master of his destiny Mihiz will go a step further, comparing the hypotheses which he made. He managed to give a modern connotation to the characters of this play, to face them with a moral doubt.The existing examples from moral literature using dramatic structure became new artistic worlds, by it sense and meaning. Pushing the limits of lyrics, epics and drama Mihiz describes a vicious man and his weakness about the possibility of own choice and inevitability which makes this choice impossible, taking them to moral aspiration and to moral code which is close to existentialism. The writer uses it to create the stage where he will present a man who lives inside, crucified with moral dilemmas. Bringing to the fore the matter of tragic fault Mihiz in the world of theatre brought the current matters of moral integrity, the individuals at the enigma of history, creating a modern drama with an emphasized modern use of man.
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In this paper we have analised social predisposition of female characters in the following comedies of Jovan SterijaPopovic: Upstart, An Evil Woman and Patriots. At the beginning of the paper we have discussed the position of women in Serbian society.
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The inability of Serbian intellectuals, after they’ve come back from an abroad education, to achieve authentic existence, irreducibility of differences between unwritten cults and national mythology of the fullness of life, the gap between desire and duty, heart and mind, the stories of Laza Lazarevic are viewed from the perspective of archetypal criticism, whose assumptions are brought up by H.N. Fry and K.G.Jung.
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The research emphasizes on the conceptual structure of the short story „ Distant fords“ by Ivan Davidkov, where classic flashback is transformed. By means of ever cinematic approach, the memory of the childhood is restored on the principle of the mosaic, where each frame-fragment is a visual touch in the whole history of the past. Plot is not fragmented at all, it is even quite comprehensive in terms of happening, conceptual explication as all individual fragments are assembled by gradation into one another, provoked by sensory or external association. The narrative line „a secondary narrative story weaven into the main one“ affects both personal stories of the narrator and of many other people.
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The essay deals with the motif of grass in the work of a fairly obscure Croatian poet Stanislav Preprek, who was from the region of Vojvodina. After a mandatory short biography, a short overview of his entire literary opus is given, especially the poetic subcycles,as well as the poems in German.The subcycle about grass is interpreted in greater detail since it significantly resembles Walt Whitman’s ”Leaves of Grass”. The resemblance between the poets in pointed out as almost all poems of the subcycle are examined in detail. Having done this, Preprek’s prose work and other poems about grass are interpreted. In the conclusion, we seek to establish a literary frame for not only Preprek’s opus, but his life as well, appealing in the process to the literary public as well as the critics to discover the poet in question.
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Tesich is discussed from the point of view of the theatre productions of his plays. The focus is on one of Steve Tesich’s major plays, The Speed of Darkness produced in Belgrade’s Zvezdara Theatre. Tesich’s dramaturgy, especially his characterization, is compared to that of leading American dramatists, in the first place Tennessee Williams. The play deals with a moral dilemma of two Vietnam veterans and the consequences of their war and post-war actions. It is an anti-war play implying criticism of war politics in general, through powerful stage metaphors. The analysis based on the stage production is an attempt at a new reading of the play which continues to be topical.
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This study deals with the dramatic opus of Stojan Steve Tesich’s later plays Speed of Darkness, Square One, On the Open Road and Art & Leisure, which are part of his “Moral Tetralogy”. The problem of moral choice the protagonists are faced with is being analysed in those plays. Apart from the problem of moral choice, the main themes discussed in the plays are the theme of Vietnam War and its consequences, the influence of media on life and its manipulating power, the question of freedom and art. The purpose of the essay is to emphasize the problems of contemporary society Tesich deals with and to show the path of moral growth his protagonists are following in order to solve them. What is important is the fact that all plays are universal, because they do not only refer to the protagonists of the plays which are Americans and to their country America, where Tesich spent his whole life after the emigration from Serbia with his family, but it also refers to the whole universe and to every man. Tesich offers the solution in his plays and he strives to wake up the human consciousness about the existence of an alternative, although a lot of things have already been lost.
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Ella Krylova belongs to the generation of Russian poets whose creative path started almost simultaneously with the birth of new Russia. Today she is the author of over ten poetry collections, she regularly publishes her poems on the Internet, she is well-known abroad. She is searching for her own form of expression, adequate to the thought which can be ironic or philosophical, but always present in the words. Her oversensitive lyrical ego, listening carefully to the world problems, fights with adversities with the help of irony. The world of her poetry is deeply humane, it is the world of universal values and spiritual rebirth of man.
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