Search results

1

Топос явления Святой Троицы святому Александру Свирскому в Житии и Акафисте

100%

Anchimiuk O.

Studia Wschodniosłowiańskie

|

2015

|

vol. 15

521-532

EN

The article deals with the problem of topos – a miracle of The Trinity revelation, which connects The Live and The Akathist dedicated to saint Alexander Svirsky. The hagiographical text is represented by Pamiat’, which could be read in the saint’s name day. In this text both hagiographical canons and figures of speech are presenting. The Akathist – it is a kind of Easter Orthodox liturgical poetry praising with magnificent a saint in given topos (Ikos 7).

2

Топика юродства. «Salos» как культурный топос

88%

Гаевская Н.

Latopisy Akademii Supraskiej

|

2021

|

vol. Obraz - Słowo - Litera

|

issue 12

361-374

EN

In Christianity and Judaism, Gehenna (Hebrew ~NOhI-wb< yGe “Ge-hin nom”, Greek γέεννα) is associated with an image of the punishing fire and eternal torment of sinners in the fire. Many Christian apologists have offered their own interpretations to this concept. Thus, in his 8th Commentary on the First Epistle to the Thessalonians, St John Chrysostom describes Gehenna as the punishing fire and draws parallels with Sodom and Gomorrah, the biblical cities burnt down for the sins of their inhabitants. Church Slavonic reading collections dating back to the 16th century contain a fragment of this Commentary, entitled [поѹченїе їѡанна Злауⷮстаго. ѡ съгрѣшающиⷯ и не приемлющиⷯ здѣ казни], inc.: Аще ли кто не вѣрѹеть гееннѣ. содомьскаѧ да помышлѧеть. гоморьскаѧ да разѹмѣеть. бывьшее мѹченїе… As one of the texts that rarely appear in the East Slavonic book tradition, this sermon is only known through reading collections created in the Kyiv Metropolitanate. The sermon appears in the reading for the 1st of September of the Navahrudak edition of the Prologue, the Museum version of the main edition of the Emerald (ch. 166), and its third (Lithuanian) edition (ch. 61.I). The attribution of the source of this sermon (the so-called Letovnik) attests to the familiarity of the scribes of the Grand Duchy of Lithuania with the second translation of the Chronicle of George Hamartolos, a text that remained unknown in the Great Russian lands, and confirms the strong links of the scribes with the Balkans and Athos.

3

Рецепцiя Варшави князем Василем-Костянтином Острозьким у романi Шестиднев, або Корона дому Острозьких Петра Кралюка

63%

Чмир А.

Studia Wschodniosłowiańskie

|

2022

|

vol. 22

7-21

EN

The article analyzes the topos ofWarsaw in the historical novel Six Days, or the Crown of the Ostrozky House by modern Ukrainian writer Petro Kralyuk. The capital of Poland is depicted from the point of view of the main character of the work – Prince Vasyl-Konstantin Ostrozky. It is established that from the 16th century Warsaw was one of the key cities of the newly created state – the Polish-Lithuanian Commonwealth. Ostrozky was forced to visit it quite often. It was found that the above-mentioned city was perceived negatively for Vasyl-Konstantin. This fact is explained by the numerous personal and national losses that, in one way or another, affected Warsaw. The author’s means of tracing the image of the Polish capital (the status of the city, natural resources, colors, landscape, its connection with historical events and figures) are traced. It is emphasized that one of the sections of P. Kralyuk’s work has an eloquent title Black color. Warsaw. Due to paratextuality, the opposition of this part of the Six Days to other chapters of the novel (Color of Gray. Kyiv, Color of Yellow. Derman) is emphasized.

4

«Гости съезжались на дачу...»: к вопросу о дачном топосе в лирике Александра Кушнера

62%

Sadzińska E.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

|

2018

|

issue 11

143-155

EN

The topos of the dacha – like the topos of the city (St. Petersburg) and that of the garden – is an important element of the spatial dimension of Alexander Kushner’s poetic world. The article attempts to trace the productivity and functionality of the topos in selected texts of this contemporary poet. Attention is drawn to the characteristics of the categories of time and space, the constituents of the life on the dacha , as well as connections with the literary tradition. When taking up the subject, Kushner updates the rich semantics of the topos: the dacha as a place of retreat for a poet, a place of rest and work, the little homeland, a paradise on Earth.

RU

Топос дачи – наравне с топосом города (Петербурга) и сада – является существенным элементом пространственной картины мира А. С. Кушнера. В статье рассматривается функционирование топоса в выбранных стихотворениях поэта, выявляется своеобразие пространственно-временной характеристики дачи и ее бытовых составляющих, а также указываются связи с литературной традицией. Обращаясь к дачной теме, поэт актуализирует богатую семантику топоса: дача как место уединения, приют поэта, место отдыха и труда, малая родина, (земной) рай.

5

Пошуки духовного абсолюту в творчості Олександра Олеся та європейських символістів

51%

Tsurkan I.

Roczniki Humanistyczne

|

2017

|

vol. 65

|

issue 7: Slawistyka

37-51

PL

Autor artykułu stawia sobie za cel próbę identyfikacji Absolutu duchowego w poetyckim świecie poetów-modernistów. Szczególne miejsce poświęcono refleksji nad toposem duszy w poezji epoki, będącej, zdaniem autora, wyrazicielem człowieczego dążenia do transcendencji.

EN

The article focuses on the searches of the spiritual Absolute in poetic universe of the modernists. It is considered the topos of the soul, which has become of all the aspirations for people to the Transcendent in the poetry of the epoch.

UK

У статті зосереджується увага на пошуках духовного Абсолюту в поетичній світобудові поетів-модерністів. Розглянуто топос душі, що став виразником усіх поривань людини до Трансценденту в поезії епохи.

6

Śmierć oswojona. Topika hagiograficznej sceny umierania (kilka przykładów z literatury staroserbskiej)

51%

Lis-Wielgosz I.

Slavica Wratislaviensia

|

2019

|

vol. 168

413-425

EN

Familiarized death: The topoi of hagiographical dying scenes (selected examples from Old Serbian literature) The notion of familiarized death, introduced by the French researcher Philip Ariés in order to characterize the approach to the end of human life that was common in ancient culture, serves as the point of departure for considerations regarding hagiographical scenes of dying. This approach, adopted by people of the medii aevi, maintained a positive attitude towards the fundamental event of death. In this article, the structure and topics of hagiographical scenes of death are elaborated on, using examples from Old Serbian literature, in which the discussed problem is revealed in the adaptation context as an implementation of orders inscribed in the ancient textbooks of good dying — artes bene moriendi. The literary scene of death is, therefore, analysed with reference to a specific scheme. Its components constitute a series of common points of narrative, and contain a self-evident imperative of Christ’s imitation (imitatio Christi), assuming such obligatory practices as prayer (oratio), call (clamatio), and cry (ploratio) that are to lead up to the moment of commending one’s soul to God (commendatio), and giving up the ghost (traditio). This template serves the purpose of familiarizing with elementary and characteristic ideas, conceptional constructions, and topoi, which are portrayed as the components of the whole structure along with its individual constitutive elements. It also forms the basis for the exposition of motifs acting in the hagiographical scene of death as obligatory and facultative means of conveying meanings. This eventually allows the article’s authoress to prepare a fundamental catalogue of these motifs. Due to the accepted modus operandi, the most important and frequent constructions in these literary narratives serve to describe and expose the event of death, namely, the topoi of old age, weakness, fear of infernal torture, bewailing human sinfulness, falling asleep — blessed sleep, wandering — spiritual climbing, angelic mission, etc.

BA

Смрт припитомљена. Топика житијне сцене умирања (неколико примера из старе српске књижевности) Полазна тачка је овде појам смрти припитомљене / укроћене који је увео Филип Аријес и који карактерише општи став према крају људског живота у средњем веку. Према томе о средњем веку може се рећи да је раздобље „припитомљене смрти”, онда је човек живео у стању духовне помирености са одласком са овог света. Средњовековни човек је био присан са смрћу, јер ју је прихватао као природни поредак, потчињавао се закону врсте и веровао је у спасење на оном свету. У раду се разматра житијна сцена смрти која је у средњовековној књижевности једна адаптација трајне схеме коју су пропагирале artes bene moriendi. Она је поновљење новозаветне слике Христове мученичке смрти, тако да се једноставно заснива на идеји imitatio Christi. Ову схему граде општа места: oratio (молитва), clamatio (мољење), ploratio (плач), commendatio (поверење) i traditio (предање духа). Све те канонске моменте прате одређене идеје, теме и мотиви. Дакле, у житијној сцени смрти појављују се различити топоси од којих неки су веома чести (обавезни или факултативни), као су на пример топос старости, болести, слабости; топос страха од вечне муке; топос оплакивања, топос уснућа – блаженог сна; топос путовања – душевне лествице; топос анђела Божијег, топос светла итд. Сви су они својеврсни предоџбени носиоци и оруђа, начини мирења човека са смрћу у средњем веку. Тако у раду је направљен један каталог најважнијих и најчешће присутних топоса у житијној нарацији о одласку са овог света.

Refine search results

2 Studia Wschodniosłowiańskie

1 Acta Universitatis Lodziensis. Folia Litteraria Rossica

1 Latopisy Akademii Supraskiej

1 Roczniki Humanistyczne

1 Slavica Wratislaviensia

1 Anchimiuk O.

1 Lis-Wielgosz I.

1 Sadzińska E.

1 Tsurkan I.

1 Гаевская Н.

1 Чмир А.

1 2022

1 2021

1 2019

1 2018