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Władza turecka i strategie jej opisu w piśmiennictwie staroserbskim (na przykładzie krótkich form literackich – zapisów)

100%
Lis-Wielgosz I.
Balcanica Posnaniensia Acta et studia
|
2014
|
vol. 21
37-50
EN
In the article, a problem of conceiving and depicting the Turkish rule is taken into account, for my reflections concentrate on the patterns of presentation regarding the Ottoman Turks’ invasion of the Balkan territory, and their oppressive rule in the Balkans. The patterns mentioned above, present in the Old Serbian literature, were to commemorate all those tragic events. In the Old Serbian texts (pertaining to hagiography, historiography, hymnic literature, and also to the brief literary forms – notations), the Turkish rule was expressed in explicitly negative categories of illegality, violence, and godlessness, presented in the context of the “end of times”, the Christian community’s martyrdom, mentioned in the eschatological perspective of the definition of history and exegesis, the perspective so characteristic for the Middle Ages.
PL
In the article, a problem of conceiving and depicting of the Turkish authority is taken into account, for the considerations concentrate on the patterns of presentation regarding the Ottoman Turks’ invasion of the Balkan territory, together with their oppressive rule. The above mentioned patterns, present in the Old Serbian literature, were to commemorate all those tragic events. In the Old Serbian texts (pertaining to hagiography, historiography, hymnic literature, and also to the brief literary forms – notations), the Turkish authority was expressed in explicitly negative categories of illegality, violence, and godlessness, presented in the context of the “end of time”, Christian community’s martyrdom, maintained in the eschatological perspective of history’s definition and exegesis, the perspective so characteristic for the Middle Ages.
2
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Od ludu wybranego do narodu cierpiącego, wygnanego, tułaczego. Komplementarność motywów w literaturze staroserbskiej

89%
Lis-Wielgosz I.
Przegląd Wschodnioeuropejski
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2018
|
vol. 2
241-252
EN
The paper regards a problem of realization and function of the motifs of emigration and wandering that occur in a complementary arrangement in Old Serbian literature. They consist of a specific scheme of presentation and exegesis concerning the historical, religious and cultural reality. The motifs are a characteristic strategy of the expression of collective fate – the tragic experience of the Great Exodus in 1690. They find an extraordinary realization in brief literary form – the notations wherein the motifs establish a definite semantic collection, combined with many already consolidated ideas and ideological constructions. That collection is to met with a favourable response of the subsequent cultural phenomena and conceptions, creating a unique image of the Serbian community. Those phenomena constitute a sort of topic structure, based on the already established imaginative conceptions, especially the messianic image of the “chosen nation” and “nation-martyr” that create a new character of the Serbian community, or make the previous one concrete, henceforth described not only in the categories of election and martyrdom, but also of “emigration from the Turkish land”, wandering and homelessness in the land of Hungary.
3

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

71%
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.
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