Search results

1

Архитекстуальные отношения в повести Михаила Попова Славянская тризна

100%

Loshakov A.

Acta Polono-Ruthenica

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2010

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vol. Tom 1 Nr XV

27-42

EN

The article is devoted to the analysis of architex poetic in the story Slavonic funeral feast (1994) by modern Russian writer M. Popov. Architextuality is a means of establishing in a certain text a row of paradigmatic (association-based) features that are outlined through reference to modal and meaningful contents of some genres as well as those precedent texts these genres represent. For instance, in M. Popov’s narration entitled Slavonic funeral feast archetypes, mythical & poetic character sketches, precedent phenomena revealed in trip-oriented narrative genre, the narration plot, and character images, and text structure of wording and sketching all these act as actualizors. The narration text signific essence increment and sorts of complexity are governed by the architextuality.

2

Archetyp „cienia” w strukturze powieści „Zbrodnia i kara” Fiodora Dostojewskiego

100%

Jaworski M.

Kultury Wschodniosłowiańskie - Oblicza i Dialog

|

2014

|

issue 4

71-83

EN

The aim of the article is to show the interrelations between the works of Carl Gustav Jung and Fyodor Dostoyevsky with particular emphasis on the archetype of shadow. The aforementioned archetype has been analyzed and characterized in the paper in order to interpret the novel Crime and Punishment in the psychoanalytical key. This category has been analyzed at the level of the structure and plot of the work. Consequently, the author of the present article attempts to interpret the functions of the main characters of Crime and Punishment and divides them into triads related to relevant Jungian archetypes. The research amounts to an incentive to further explore the Jungian traces in the works of Fyodor Dostoyevsky.

RU

The aim of the article is to show the interrelations between the works of Carl Gustav Jung and Fyodor Dostoyevsky with particular emphasis on the archetype of shadow. The aforementioned archetype has been analyzed and characterized in the paper in order to interpret the novel Crime and Punishment in the psychoanalytical key. This category has been analyzed at the level of the structure and plot of the work. Consequently, the author of the present article attempts to interpret the functions of the main characters of Crime and Punishment and divides them into triads related to relevant Jungian archetypes. The research amounts to an incentive to further explore the Jungian traces in the works of Fyodor Dostoyevsky.

3

Sylvain Trudel et le réenchantement du monde

89%

Thomas J.-P.

Quêtes littéraires

|

2013

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issue 3

151-159

EN

Since the middle of the 1980s French Canadian novelist Sylvain Trudel has constantly put his characters in contentious situations from which they try to escape by way of creating alternative worlds at the same time real and fantastical. This device takes the characters away from their trite everyday life and into a symbolic and mystical universe. The synthème seems to be fit into that symbolic frame. Through the child’s point of view – which seems then to become some sort of secret language – each object belonging to the realm of the profane becomes tinted with a sacred meaning. Synthème and symbol would then be considered as vehicles for the sacred, that which shows through Sylvain Trudel’s novels.

4

Obraz kobiecości a ewolucja archetypu animy w wybranych powieściach Vladimira Nabokova

88%

Kamińska I.

Slavica Wratislaviensia

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2013

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vol. 157

49 - 61

EN

The article discusses the role of the psychoanalysis in studies of literature. The author believes that C.G. Jung’s conception of anima is one of the most important ideas that explain the notion of femininity and its place in the subconscious process of the man’s psyche. The analysis of the character structure and the symbolic layer in few novels of Vladimir Nabokov shows that the tetragonal model of anima influenced the image of the women portrаyed by him.

5

EARTH MOTHER AND SKY FATHER GENDERED ARCHETYPES IN NORTHROP FRYE’S WORK

88%

TÓTH S.

Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies

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2014

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vol. 6

23-41

EN

This paper proposes a reading of Northrop Frye‘s work in the context of certain conflicting claims of feminist theories. On the one hand, postmodern thinkers advocating gender scepticism question the legitimacy of comprehensive communal symbols; on the other hand, building on the binaries of gender, feminists continue to perform a useful critique of the extremely ―masculine‖ values of Western culture. I argue that Frye‘s unique distinction between primary concern (mythology) and secondary concern (ideology) can be used to theorize the difference between archetype and stereotype, and thus to distinguish the ideological and oppressive from the nourishing and liberating aspects of gendered imagery in our culture. And ultimately, Frye‘s typological dialectic provides a way of going beyond the binaries of gender towards the interpenetration of masculine and feminine, subject and object, culture and nature.

6

Symbols of Fear in the Studies of Drawings by Polish and Turkish Children

88%

Konieczna E. J., Talu E.

Kultura i Edukacja

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2021

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issue 2(132)

172-185

EN

The authors present results of their studies dealing with symbols of fear identified in drawings made by Polish and Turkish children. The studies consisted in comparing results with regard to the categories and content of symbols recognized in the drawings presented by younger school-age children of the two nationalities. For the needs of the comparative analysis the following questions were formulated: In what way did the children present their fears in their drawings? How can the similarities in the symbols of fear presented in the drawings by Polish and Turkish children be interpreted? What do the observed differences testify to? Comparison of the symbols of fear allowed recognizing the similarities and differences occurring in the drawings produced by the examined children. It was found that the largest number of drawings present a symbol of fear connected with the category of animals. While interpreting the results, the authors accepted the thesis that the grasped similarities relating to the manner of presenting fear result from the common history of man, recorded in archetypes and symbols. On the other hand, the observed differences are connected with the tradition present in each of the cultures.

7

Tak się zdarza – o pisarstwie Ewy Nowackiej

88%

Miernik A.

Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica

|

2018

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vol. 6

44-51

EN

Ewa Nowacka occupies an important place among the contemporary Polish writers and her prose works for young recipients, extensive as far as various subjects and genres are concerned, contain many inventive, unique concepts and writing ideas. Nowacka is, first of all, the author of novels of manners and historical ones, in which the writer presents her imagination, her aspiration for the reconstruction of life of manners, cultural life, concern for noticing concrete things, details, which are the background of experience of a young character who struggles with eternal, archetypical problems, the universalism and psychologism of which is the strong point of the author’s writing. The recipient of Ewa Nowacka’s works notices that characters create their destiny through ordinary struggle, that it is necessary to mythologize the existence in order to understand the world.

8

Bohater, wojownik i panna: użycie archetypów i mitów w stworzeniu wizerunku ukraińskich polityków

88%

Sherman O.

Historia i Polityka

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2014

|

issue 11(18)

55-66

EN

An important role in the process of image cultivation is played by the technologies, related to the appeal to the archaic layers of mass consciousness, in particular, to the use of archetypes. Analysis of the images of the leading Ukrainian politicians – Arseniy Yacenyuk, Yuliya Timoshenko and Vitaliy Klichko – in 2009–2014 testifies that all of them used as a basis of image-building the archetypes of Hero and Warrior in different variations, such as Hero-warrior, Cultural hero, Lady-warrior. The progress of the use of this technology depends significantly on the personal qualities of each politician, as well as on the social and the political circumstances.

9

Mity i archetypy w badaniach nad organizacją

88%

Izak M.

Prakseologia

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2013

|

issue 154

33-71

EN

This paper explores the role of myths and archetypes in organizational research. The notion of myth is introduced and theories regarding the origins of mythology are discussed. Myth’s typical features and its role in shaping social reality are considered to better understand the role of mythology in modern organizations. The role of archetype in organizational myth is also emphasized. Analysis of examples of organizational mythologies is combined with methodological insights regarding the ways in which myths and archetypes can be studied in different organizational contexts. The study not only aims to improve comprehension of key assumptions, theories and concepts involved in studying organizational mythologies, but also to enhance the ability to apply this method of organizational analysis.

10

Transfiguracja symboli archetypowych w utworach Marty Tomaszewskiej

87%

Miernik A.

Studia Europaea Gnesnensia

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2016

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issue 14

69-81

EN

An analysis of the process concerning transfer of archetypal symbols in fairy-tale plots, conducted firom the perspective of depth psychology (C.G. Jung), reveals the human being to be a culture creator (homo culturalis), who uses vivid language and aims at abstracting a multidimensional sense of existence. The paradigm of archetypal literary criticism (N. Frye) offers multidimensional insights into a work of literature and demonstrates the shifts of the arche, a constant adjustment of archetypes to the demands of the present. When attempting to determine the archetypal order in the works of Marta Tomaszewska, one should be aware of the fact that it is one of many possible efforts to read multi-perspective symbolic contents and it validates the thesis presuming an endless source of the collective unconscious.

11

50 de ani fără Dumnezeu: Apocalipsa şi apocriful în „Un singur cer deasupra lor” al Ruxandrei Cesereanu

76%

Tórz M.

Studia Romanica Posnaniensia

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2014

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vol. 41

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issue 2

115-123

EN

This paper proposes the reading of Ruxandra Ceseranu’s novel Un singur cer deasupra lor as a modern apocrypha presenting a historiosophic vision of Romania’s fate in the second half of the 20th century with the use of apocalyptic themes and symbolic imagery. The analysis consists of tracing references to the Book of Revelation which is a key element to the interpretation of the novel, and to other biblical books and themes. The analysis is supplemented with an attempt at describing the most significant archetypical and cultural symbols, and the remnants of bygone traditions that provide the second reading to those historically-grounded stories. References to folk tales based on Christian imaginary world further strengthen the proposition of the apocryphal nature of the work. The additional argument supporting my thesis is the polyphonic and multilayer structure of the novel that combines subjective visions and mythical interpretations with the factual layer, and the use of palimpsest technique consisting of interweaving texts of other authors into the main narration. The paper does not address the question of the conformity of the literary vision with the source documents and historical prototypes of certain episodes and persons. Those matters were partly commented on by the author in the afterword.

12

Zagubieni w labiryncie: trzy współczesne obrazy filmowe – trzy przestrzenie zagubienia (szkic interpretacyjny)

75%

Karolina Sieńkowska K.

Załącznik Kulturoznawczy

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2014

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issue 1

259-299

EN

The complexity of labirynth’s construction is inseparably connected with the complexity of its symbolical meanings. For centuries mankind − driven by various feelings − has given labirynth figurative meanings. Poetry, pain- ting and all other kinds of art have shown the world as a maze. Cinema as well. This work is an attempt of following the labirynth motive in chosen film works. In each of the cases a labirynth will be discussed in the context of its relations with a man. Researcher focuses mainly on the way the labirynth affects the people inside him.

13

Expressionistic Eidology: Paradigm of the Archetype

75%

Âstrubecka G. Ì.

Religious and Sacred Poetry: An International Quarterly of Religion, Culture and Education

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2013

|

issue 1(1)

105-116

EN

The article “Expressionistic Eidology: Paradigm of the Archetype” is part of the research project - “Expressionism in Ukrainian Literature”. The aim of the study is to highlight the archetype as an expressionistic and stylistic universal. Expressionism has been treated here primarily as poetics, with the focus on the aesthetic nature of the word and on the author’s spiritual intentions. The objective of the article has been to broaden and complement the scope of representations about theoretical fundamentals of expressionism in literature. It enhances the chance of a deeper understanding of the nature and character of this artistic phenomenon. First of all, it has been brought about by the shift of literary vectors in the axiological expressionistic paradigm from the universal, ontological basis and of the role of the phenomenon to social and historical grounds; consequently, it results in the of narrowing the semantic and chronological scope of expressionism. The methodological background of the research draws upon the studies by Ukrainian and European scholars such as V.Budny, O.Valtsel, H.G.Gadamer, C.P.Estes, M.Ilnytsky, U.Kovaliv, M.Moklytsia, R.Pihmanets, L.Ushkalov, I.Franko. The structural-typological method is used for writing this article. The key findings of the research comprise emphasis on expressionism as poetics with focus on the aesthetic nature of the word and the author’s spiritual intensions. The article highlights the idea of literary expressionism as a certain primal essence established in the profundity of human spirit, independent of conscious activity, and of social and historical conditions, but it is objectified via a human being (an artist) due to intensive inner work that is reflected in the fundamental changes of the structure of consciousness. The article underlines the paramount importance of the archetype for expressionism as a unique opportunity to reach the ultimate expression of feelings, emotions and experience concentrated in one entity as evidence that a person is receptive to mystical powers which create the universe and it proves that the celestial idea as a regulatory standard is hidden in expressionism. The Life-Death antinomy is represented as one of the dominant units in the archetypal system of expressionism; since it creates the most emotional intensity and increases the dynamics of the text. To support these ideas the phenomenological data from the works of Ukrainian prose writers such as Vasyl Stefanyk (1871-1936) and Valerian Pidmohylny (1901-1937) have been used. The results of the research focus on emphasizing one of the expressionistic universals such as the archetype, and on finding the motivational statement of this idea through analysis of V.Stefanyk and V. Pidmohylny’s conceptual foundations. The results of the research may be employed in the study of literary theory and history of literature as well as might be of use for further development of literary studies (for scholars and students). The novelty of the article includes recognition and evaluation of the archetype as one of the fundamental categories in literary expressionism.

14

Home-Field-Temple as Existentials of Ukrainian Culture

75%

Vlasevych T.

Journal of Education Culture and Society

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2022

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vol. 13

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issue 2

55-64

EN

Aim. To analyse the spiritual and mental existentials of Ukrainian culture, which allows identifying the immanent features of Ukrainian culture itself through the symbolic-thematic series Home-Field-Temple and examine the symbolism of the concepts “Home,” “Field,” and “Temple.” Results. The thesis that spiritual and mental existentials, in particular the Home-Field-Temple, reveal the mentality of the Ukrainian people, its spiritual and cultural identity has been further developed. Conclusion. The essence of the mentality of the Ukrainian people is revealed with the help of spiritual and mental existentials Home-Field-Temple. They play an important part in the creation of a single mental field of the Ukrainian nation, being revealed in its ideological life by certain inclinations or archetypes. The Home-Field-Temple symbol is a reference point for searching for certain archetypes of the nation. The concepts of Home-Field-Temple symbolise the trinity of one spiritual state of man, which is objectified in three guises. These concepts are so intertwined in the minds of Ukrainians that they see them as an inseparable unity – something symbolising their homeland. Home, land, and church have always been reliable support for the Ukrainian people.

15

The Impact of Myth Consciousness on the Formation of the National Political and Cultural Space: “Ukraine is not Russia”

75%

Semenets-Orlova I.

Journal of Geography, Politics and Society

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2022

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vol. 12

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issue S1

16-22

EN

The articles researches the concept of political culture as a system of inherited political notions expressed in symbolic forms and generalizes the differences between the political culture of Ukrainians and Russians. It stresses that the cultural identity of Ukraine is established on one of its basic tendencies – penchant for archaization of all symbolic forms; it researches the place of the heroic political myth in this process; it analyzes sacral projections of the political in the myth through which the subject-and-object order of the Ukrainian politics world is explained. Thus, the pattern of the heroic monomyth (a structured ontological range of symbols) serves as a program of political reality (as a structured order of political objects). The symbols of the heroic monomyth have sacral significance because they present an idea of political order, stability, forecastability of politics (the latter is lacking in the crisis context of development) when there is unwillingness of a part of citizens to bear responsibility for prospects of future development of events in the country in the conditions of long-term uncertainty. The article researches peculiarities of the how the structure-image of the hero builds the constitution of political reality in Ukraine and Russia.

16

Of the Transavant-Garde in Ukrainian and Polish Artistic Traditions

75%

Soliarska-Komarchuk I.

Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe

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2023

|

issue 8(1)

57-62

EN

The article analyzes the artistic processes that emerged in the world in the second half of the twentieth century, after the Second World War. One of the most striking phenomena of that period was the transavant-garde, and the reasons for its emergence in many European countries and the United States are determined - Arte Cifra or la transavanguardia in Italy, Figuration Libre in France, New Image Painting in the United States, Neue Wilde in Germany, Nowa Expression in Poland. This diversity of transavant-garde manifestations in the context of national artistic systems is explained by the peculiarities of ethnomentalities that were formed on the basis of certain archetypes and universals. An important feature of the world transavant-garde is the artists’ appeal to expressionism. There is a rethinking and renewed interpretation of expressionism, which actually gave it the name «neo-expressionism». Considering the reasons why artists from different countries turned to expressionism, it is concluded that it was the analysis of inner experiences and the desire to express them as vividly as possible that caused such a «global» commitment. Closely related to this is the process of creating individual mythologies, which, through certain images (the use of linearism, dissonant color juxtapositions, deviations from the true image, the use of different techniques and materials in one art object), encouraged the viewer to experience certain affects. At the same time, the Ukrainian and Polish artistic systems of the time, as well as social and political life, were closely controlled by the Soviet system. The situation was especially difficult in Ukraine, where alternative views on art could be paid for with imprisonment or even life. However, in both Poland and Ukraine, there were artists who were engaged in aesthetic resistance and belonged to opposition movements such as counterculture and non-conformism. It is under these conditions that neo-expressionism gets its unique forms of development in both Polish and Ukrainian art. The New Expression movement has been developing in Poland since the early 1980s. Artists, turning away from official cultural institutions, spontaneously created alternative structures. The Polish New Expression, which officially declared itself and kept in touch with foreign colleagues, was a legitimate part of the global movement, and martial law did not allow Polish artists to enter the international scene. Using the creative methods of neoexpressionism, the artists fought for political freedom with inspiration. The artists, ridiculing the absurd world around them with the help of grotesque, used simplified composition and strong contrasting colors. Aesthetic resistance in Ukraine was deeply underground. Nonconformist artists could not organize exhibitions or communicate with their foreign colleagues. Therefore, the names of Ukrainian artists were not known to the world, as well as to most of their fellow citizens. Tight control by the authorities influenced the maximum reflection of opposition artists and determined the symbolic and metaphorical language of their works. After all, expressionism was despised and not supported within Soviet art.

17

The Overt and Covert Chagall

66%

Ruth D.

Studia Europaea Gnesnensia

|

2016

|

issue 14

229-239

PL

In this paper, the authors chooses the theory of metarealism as a tool to reveal the worlds of Marc Chagall - the physical and metaphysical ones which function simultaneously. The purpose behind it is to help readers discover Chagall’s magical, mysterious and mystical environments which he so adroitly conveyed via his colourful creations. For this end, I analyzed three of his well-known paintings, each of which helped uncover his world of harsh reality merged with his life of fantasy, both spiced with symbolism.

18

Християнські архетипи у творчості Тараса Шевченка

63%

Bigun O.

Przegląd Wschodnioeuropejski

|

2023

|

vol. 1

191-201

EN

The assimilation of Byzantine culture in the Slavic lands was accompanied by the exegesis of the New Testament and the formation of the phenomenal value of symbolic images, which were part of the literary and artistic consciousness of that time. The force field of Christian archetypes has preserved a long tradition in the Ukrainian literature. Christian archetypes of the Resurrection and the Crucifixion in Shevchenko’s painting and literary work are studied with modern approaches to comparative literature and theological exegesis, taking into account artistic Christology, philosophical and aesthetic approach to art, and key ideas of archetypal interpretation. It is found out that, in Shevchenko’s poetry, the archetypes of the Resurrection and the Crucifixion are manifested in a number of modifications, where resurrection / crucifixion has a symbolic meaning in the sense of the resurrection / crucifixion of Ukraine, the resurrection / crucifixion of the people, the resurrection / crucifixion of a lyrical hero, etc. In painting, Christian archetypes are directly related to the transmission of the New Testament history.

19

Similarities and Differences in Postcolonial Bengali Women’s Writings: The Case of Mahasweta Debi and Mallika Sengupta

63%

Knotková-Čapková B.

ARGUMENT: Biannual Philosophical Journal

|

2012

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vol. 2

|

issue 1

97-115

EN

Podobieństwa i różnice w twórczości Bengalek w okresie postkolonialnym na przykłądzie Mahashwety Debi i Malliki Sengupty. The emancipation of women has become a strong critical discourse in Bengali literature since the 19th century. Only since the second half of the 20th century, however, have female writers markedly stepped out of the shadow of their male colleagues, and the writings on women become more and more often articulated by women themselves. In this article, I focus on particular concepts of femininity in selected texts of two outstanding writers of different generations, a prose writer, and a woman poet: Mahasweta Debi (b. 1926) and Mallika Sengupta (1960–2011). Analyzing Mahasweta’s female characters, I focus on the issue of the double marginalization of dalit tribal women; we can find here impacts of intersectional discrimination of class, gender and caste. Debi is very radical in her social criticism but is quite reluctant to accept the label of feminism. Mallika, on the other hand, represents a movement among the female writers of her generation that openly declares her support for feminist ideologies, which can be demonstrated on some of the examples referred to here. Another important strand of Mallika’s constructions of femininity are archetypal images — mythological metaphors of femininity (in the Hindu context) which may in some cases be interpreted in accordance with difference feminism, in others as a critique of the essentialized and dichotomous concepts of masculinity and femininity. While Mahasweta’s emancipation drive is more deeply grounded in her field research and journalistic activism in the tribal areas she writes about, Mallika’s has been more strongly linked with the academia and has joined the theoretical feminist discourse. Through a close reading the women’s emancipation discourse of these two protagonists in Bengali literature, we can speak of a shift from a practical, concrete criticism, to a theoretically founded radicalism.

20

МОДИФИКАЦИИ АРХЕТИПОВ МУДРОГО СТРАЦА/СТАРИЦЫ В ДРАМАТУРГИИ НАОМИ ВОЛЛАС

63%

Гайдаш А.

Conversatoria Litteraria

|

2017

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vol. 11

|

issue XI

509-525

RU

The paper tackles the archetypes of the wise old man and the wise old woman in classical tragedies and contemporary plays. The following modifications of the archetype are detected in the dramas by Naomi Wallace: the elderly characters are either protagonists (One Flea Spare) or catalysts (Slaughter-City) of the action; the ageist stereotypes are subverted; the “life-review” concept is productively implemented in both plays. The author of the paper analyzes gerontological portrayals of the dramatis persona and their choice of the strategies of aging.

Refine search results

Архитекстуальные отношения в повести Михаила Попова Славянская тризна

Archetyp „cienia” w strukturze powieści „Zbrodnia i kara” Fiodora Dostojewskiego

Sylvain Trudel et le réenchantement du monde

Obraz kobiecości a ewolucja archetypu animy w wybranych powieściach Vladimira Nabokova

EARTH MOTHER AND SKY FATHER GENDERED ARCHETYPES IN NORTHROP FRYE’S WORK

Symbols of Fear in the Studies of Drawings by Polish and Turkish Children

Tak się zdarza – o pisarstwie Ewy Nowackiej

Bohater, wojownik i panna: użycie archetypów i mitów w stworzeniu wizerunku ukraińskich polityków

Mity i archetypy w badaniach nad organizacją

Transfiguracja symboli archetypowych w utworach Marty Tomaszewskiej

50 de ani fără Dumnezeu: Apocalipsa şi apocriful în „Un singur cer deasupra lor” al Ruxandrei Cesereanu

Zagubieni w labiryncie: trzy współczesne obrazy filmowe – trzy przestrzenie zagubienia (szkic interpretacyjny)

Expressionistic Eidology: Paradigm of the Archetype

Home-Field-Temple as Existentials of Ukrainian Culture

The Impact of Myth Consciousness on the Formation of the National Political and Cultural Space: “Ukraine is not Russia”

Of the Transavant-Garde in Ukrainian and Polish Artistic Traditions

The Overt and Covert Chagall

Християнські архетипи у творчості Тараса Шевченка

Similarities and Differences in Postcolonial Bengali Women’s Writings: The Case of Mahasweta Debi and Mallika Sengupta

МОДИФИКАЦИИ АРХЕТИПОВ МУДРОГО СТРАЦА/СТАРИЦЫ В ДРАМАТУРГИИ НАОМИ ВОЛЛАС