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The article presents images of the Turks in the Czech environment and their development in the last half century of the existence of the Ottoman Empire, namely from the 1870s to 1923. It analyses works that reacted to the Balkan uprisings and Russo – Turkish War of the 1870s, travel reports and literature written after the occupation of Bosnia-Herzegovina and briefly outlines the view of the Turks in scholarly literature, especially the emerging Oriental or Turkish studies. Attitudes to the Turks are placed in the context of relations with other ethnic and religious groups. The article points to the stereotypes and Orientalist ideas we encounter in works with Turkish themes.
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Interview between Wojciech Kordyzon, Mirosław Hanusiewicz-Lavallee and Paweł Stępień.
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The aim of the article is to compare the differences between the accounts of symbolic theology in the thought of two greatest Neoplatonist Christian philosophers of Late Antiquity and Early Middle Ages, Pseudo-Dionysius the Areopagite and John Scot Eriugena. The analysis is based mainly on Eriugena’s commentary on the Dionysian Celestial Hierarchy: Expositiones in Ierarchiam Coelestem. The first part of the article considers the crucial aspects of Pseudo-Dionysian symbolic theology. The second examines the concepts of similar and dissimilar symbols in the works of Eriugena. The third consists of an examination of the 15th chapter of Expositiones revealing the original Eriugenian concept of the analytical discipline applied to symbolical exegesis. The inquiry leads to the conclusion that although John Scot Eriugena tried to keep to the original thought of the Areopagite, he presented a different understanding of the anagogical role of the figurative images of God and the Angels.
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The article presents the spatial analysis of the house in the novel Forever (Para Sempre, 1983) by Vergílio Ferreira, one of the greatest existentialist writers in Portuguese literature. Paulo, the self-digetic narrator, is returning to the yellow house, to the house of his childhood. It is the definitive return that begins the last phase of his life, the time it lacks until death. Wandering around the house, running down corridors, up and down stairs, entering each room, finds a stopped time, reveals his past again and thinks about his future and his dreams. There are also four symbol-things, the violin, the straw hat, the clock, and the angel figurine, that work as keys. With the support of Gaston Bachelard’s philosophical work Poetics of Space (La poétique de l’espace, 1957), it is discovered that the yellow house represents the life of Paul.
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The article is an analysis of the “Nasza Praca” magazine published by the Main Board of the League of Women as an internal instruction of women’s organizations in this field. In the years 1947–1981, the journal was published in the form of a bulletin, the content of which was intended solely for analysis by members of the organization in all branches of the Polish People’s Republic. On the other hand, since 1981, with the breakthrough in the country and the League of Women itself, “Nasza Praca” became an open monthly addressed to all Polish women, including those who are not members of the Women’s League. The following article focuses on the guidelines of the Main Board of the Women’s League for field activists from the early 1980s.
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The press interview is one of more important journalistic genres and a source of knowledge about life in a given historical period. Research on press interviews makes it possible to determine matters relevant to the magazine’s addressees at a given time. The aim of the research was to reconstruct the media image of women’s life in 1989–1992 in the Polish women’s press. During the research procedure, attention was paid to: the dominant topics covered in the interviews, the picture of systemic transformation, the gender of interlocutors and their professional competences. The research covered 208 issues of the weekly Kobieta i Życie [Woman and Life] and 208 issues of the weekly Przyjaciółka [Best Friend]. The selection of magazines was dictated by their high circulation (over 500,000 copies). The interviews published in weekly magazines was categorized into the broadly understood social, political and economic sphere. In Kobieta i Życie it was 42 interviews, in Przyjaciółka – 77. The qualitative analysis of the content allowed to group the topics of interviews into six categories: economy, politics, social assistance, education, healthcare and law.
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Il paper analizza la complessa relazione di Vladan Desnica con Dante, lo scrittore più rappresentativo del patrimonio culturale romanico. Lavorando sulla base del metodo comparativo-analitico seguiremo la costruzione del personaggio principale della novella Dalla mattina fino al buio Ivo Čavra chi nel Dante trova la sua stessa natura ambivalente discussa in detaglio nel saggio Dante oggi. Lo scopo del paper è di indicare una serie di elementi presenti nel personaggio e nell’opera di Dante che hanno vissuto fortemente nella coscienza creativa di Desnica: lo spirito italiano così vicino a Desnica, la “dualità” del poeta fiorentino, drammaticità della sua vita. In questo scritto cercheremo i punti dell’identificazione dei due scrittori e troveremo: attento uso del linguaggio, forte riflessività, una filosofia personale di solitudine e di sofferenza, taglienti osservazioni nella sfera morale..
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El tema de este trabajo es la imagen de mujer en las novelas realistas La Regenta (1884–1885) de Leopoldo Alas Clarín y La maestra del pueblo (1899) de Svetolik Ranković. El objetivo de este trabajo es demostrar que los personajes feme- ninos del realismo español y serbio son presentados de manera similar, a pesar de las diferencias en los contextos socio-históricos y culturales de España y Serbia de la segunda mitad del siglo XIX. Ana Ozores y Ljubica Petrović difieren parcialmente de los ambientes patriarcales en los que viven, pero a la vez quieren ajustarse a ellos. Vetusta y Orlovica se presentan como lugares entumecidos y obsesionados con lo tradicional, en los que ningún tipo de especificidad, sobre todo femenina, no puede estar bien vista. Utilizando el método comparativo, comprobaremos cuáles son las similitudes y las diferencias entre ambos personajes femeninos en varias categorías: origen, infancia y adolescencia, estatus social, relación con los hombres, relación con las mujeres, relación con los niños, actitud sobre matrimonio y familia y opinión sobre sí mismas. Encontraremos las similitudes entre grupos de personajes en ambas novelas y así concluiremos cómo es la imagen de mujer en realismo español y serbio.
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Mathnawī, one of the basic works of Islamic civilization, has received great attention since the day it was written. In addition to Eastern languages such as Arabic, Hindi, Sanskrit and Urdu, it has also been transleted to Western languages such as German, Dutch, French, English, Spanish and Italian. Feyḍullah Sājid (1892-1978) was one of the translators of the Mathnawī, many translations and commentaries of which were made into Turkish literature. Sājid translated the first book of Mathnawī in 4,118 couplets in syllabic meter and published the first thirty-four of them in Ottoman Turkish in 1928; he later published all of them in new alphabet. Thirty-four couplets, which are the subject of the present study, are successful in terms of meter, rhyme and antibacchius. They have a very simple and understandable style. In terms of rhetoric, they contain strong couplets, as well as couplets that do not exceed the average. Adopting the literary translation method, the interpreter translated the words of the source text by finding appropriate corresponding words in Turkish or using the words in common use. He also benefited from the original words of the source text to a degree that did not harm the simplicity of the translation. While he conveyed the literal meaning in some verses, he used concepts or idioms that had no equivalent in the source text. This approach was not always accurate; it sometimes added richness to the translation, while causing the meaning of the source text to be misunderstood or not to be understood. The translation is in accordance with the content of Mathnawī, except for abovementioned issues. In the part where the rise of the existence is dealt with (1-18), it is stated that ‘just as the ney is taken from the reed, man is separated from the bazm-i alast (the world of spirits), moaning constantly to reach to his homeland’. ‘The person who is addicted to this sorrow looks for a heart that has been shredded with longing to be able to express its concerns. Nevertheless, although everybody assume that they are companions of Mawlānā, nobody seeks the secret he has. His secret is not far from his cries, but not all ears and eyes have the illumination to understand him.’ Mentioning that ‘the sound of ney is fire, not wind’, Sājid lists the ‘qualities of ney’, and then expresses that ‘the days are untimely faded in sorrow and all except for the fish are deceived by the water.’ The translator, who thinks it is pointless to extend the word, concludes this part as follows: Does the novice understand the condition of the experienced/In fact, word needs to be brief now. The translator starts to the section dealing with the need to leave the world by saying that “oh my son, emancipate yourself through breaking the chains”. He then proceeds saying that “The sea that falls into a container will be exhausted in a day, and the ambitious will not be satisfied.” According to him, ‘the remedy for this trouble is love because the one whose garment is torn by love suffers no more from shame or ambition. With it, the flesh made of dirt rose to the sky, and the mountain began to dancing and watching.’ ‘The lover that doesn't burn with love is like a wingless bird’. According to Sājid, who stated that ‘without the beauty of the beloved, the beginning and the end cannot be comprehended, the secrets of love cannot be kept hidden just as the reflections in the mirror cannot be hidden. If the mirror of the soul cannot reflect, that’s because its face is thoroughly rusted.’
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The author limns an intellectual portrait of the cultural specialist and anthopologist Wojciech Józef Burszta (1957–2021), who died at the beginning of 2021. Burszta’s reflections centered on the “post-anthropological” shape of contemporaneity. Such thinking involved, on the one hand, relinquishing the idea of culture as a cohesive, harmonious system (ideas close to the symbolic anthropology of Clifford Geertz), and on the other, the increasing awareness of “being in culture,” of the possession and appropriation of culture by the community, individuals, and institutions (Burszta described these processes as “metaculture”). In addition to popular culture and pop nationalism, another important area of interest for Burszta was literature—an essentially anti-systemic reverse of anthropological reflections on reality.
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This article analyzes shōjo culture and shōjo girls as a participants and creators of this culture. The first part of the article presents the history of girls' schools from the beginning of the 20th century and the ideal of a good wife and wise mother (ryōsai kenbo). The second part focuses on the issue of the "privileged body" of shōjo (girl), which is on the edge between the body of a child and a woman, a boy and a girl. Shōjo manga, as comics addressed to girls, have evolved since the 70s, when women began to create them. At the end I examine aesthetic traits and „the aesthetics of sameness” as tools to create emotional involvement of readers. Shōjo culture is the Japanese version of girl power.
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The article concerns the presence of animals in folk magical texts, their treatment and place in society. The author states that regardless of the language of zamowa or medical text, many of them mention plants when treating. Many of them also require their use. The plants themselves were often collected at a specific time, blessed during various religious holidays (usually on August 15), and dried and stored in designated places. They very used in the event of illness of people, as well as domestic animals (most often cows, horses, less often pigs, sheep or goats, and exceptionally chickens). People believed that plants were also helpful in diseases caused by evil forces, witches and milk witches.
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The article focuses on the representations of Zoroastrianism – an ancient religion originating from Iran that has survived until the present day - in comics. The religion is rarely represented in popular culture, including comics, and the article will reflect on two of the most important examples: Zarathushtra (1974) and Silent Was Zarathustra (2014). The article provides an analysis of the texts and their message and explores how Zoroastriansim is represented in the chosen comics from a comparative perspective, reflecting on the social context of respectively Indian and French production that shaped the two publications, as well as their reception.
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Aleksander Karol Groza (1807–1875) był jednym z pomniejszych twórców tzw. „szkoły ukraińskiej” w poezji polskiej. Inspirując się rodzimym folklorem i eksplorując najbliższe miejscu zamieszkania tereny – zgodnie z zaleceniem swojego przyjaciela i mistrza, Michała Grabowskiego – Groza stworzył zarówno sugestywne i krwawe powieści poetyckie z silnie zarysowaną postacią Kozaka (Starosta kaniowski, Hryć), jak i przepełnione malowniczym krajobrazem stepów dumy, będące często autorską „wariacją na temat” bajek ukraińskich. Mówiono, że „przyswoił sobie świat tak zwanej wiary w duchy żywiołowe (...), na wierze, czyli jak dziś mówimy, na zabobonie gminu oparte”. Najbardziej znanym tekstem poety pozostaje do dziś powieść poetycka Starosta kaniowski. W artykule analizuje się utwór pod kątem obrazu Ukrainy wyłaniającego się z tekstu, by odpowiedzieć na pytanie, jakie były Kresy Aleksandra Grozy oraz czy jego twórczość może być dowodem na to, że Ukraina polskich poetów to sztuczny, fałszywy, zmyślony konstrukt.
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Стаття пропонує до розгляду літературознавчу інтерпретацію сучасної російсько-української війни, відображеної в авторських текстах останніх років. З огляду на те, що вона триває, відповідно змінюється і досвід цієї війни її учасниками, спостерігачами, і трактування цього досвіду. Найгостріші проблеми глобального, власне українського та індивідуального вимірів події знайшли і продовжують знаходити свої відображення у численних творах мистецтва, що свідчить про активний процес культурної рефлексії травматичного досвіду. Основна дослідницька увага у статті звернена на особливості еволюції літературної рецепції актуальної історичної події, її розуміння крізь призму пам’яті минулого, культури, суспільно-політичних реалій. Особливо важливим є акцент на травматичному досвіді як персонажів аналізованих текстів, так і українського суспільства загалом. Автор статті намагається простежити, як змінюється відображення війни в мистецтві, зокрема у літературі. Спочатку вона представлена як наслідок конфлікту посттоталітарних пам’ятей в українській культурі, згодом як суспільна національна травма і, зрештою, як травма особиста на рівні окремої долі, окремого досвіду. Саме на останньому варіанті зосереджено основну дослідницьку увагу у цій студії.
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The author attempts to reconstruct the spiritual structure that emerges from the literary work of Olga Tokarczuk. In his opinion, the direct context of this structure is a sense of a crisis or even the twilight of contemporary Western culture. For this reason, Tokarczuk seeks a paradoxical synthesis of antinomies which are tearing the modern world apart and which grow out of radically different intellectual, religious and civilisational traditions. Above all, she aims to combine the rational and empirical tradition of the European Enlightenment with prophetic and messianic currents, as well as elements of folk magic. For Tokarczuk, what has become a model of such a fusion is eighteenth-century Podolia, a region in the eastern borderlands of the Polish–Lithuanian Commonwealth, where numerous forms of Jewish and Christian mysticism and messianism were born in stormy historical circumstances.
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Very little is known about Domenico De Vivo (1839-1897). He was a disciple of the Italian linguist Giacomo Lignana and worked as a professor of Russian and English language at the Asiatic College in Naples from 1868 to 1870, and then as an Italian language lecturer at the universities of Dorpat and Odessa in the Russian Empire from 1879 until his death in 1897. De Vivo championed his ideas on language teaching and learning in his books Grammatica della lingua russa [Russian Grammar for Italians] (Dorpat, 1882) and Prakticheskoe rukovodstvo dlya izucheniya ital’yanskogo yazyka [A Practical Guide to Learning Italian] (Odessa, 1886; Odessa, 1890), and in his Dizionario Italiano-Russo. Slovar’ ital’yansko-russkiy [Italian-Russian Dictionary] (Odessa 1894). The purpose of this article is to examine De Vivo’s life and works, which represent the first recorded attempt – in De Vivo’s own words – “to promote Russian language learning in Italy and Italian language learning in Russia.”
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