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1

Varvid, arvud, kujundid. Esivanemate maailmapildist

100%
Ernits E., Sarv M., Tedre U., Koiv M., Lougas V., Vint T., Viires A., Stoor U., Eelsalu H.
Mäetagused
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2015
|
vol. 61
69-80
EN
Writing is a discussion held by Ülo Tedre, Enn Ernits, Mikk Sarv, Madis Kõiv, Vello Lõugas, Tõnis Vint, Ants Viires, Ülo Stöör, and Heino Eelsalu about colours, numbers, and shapes in our ancestors’ worldview.
2
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NAZWY ROSYJSKICH WÓDEK Z KOMPONENTEM LICZBY I MIARY

88%
Stelmach H., Uniwersytet Szczeciński A. C. K. J. P.
Acta Universitatis Lodziensis. Folia Linguistica Rossica
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2013
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vol. 09
EN
The article analyses the vodka names containing numbers written in words or digits. The numerical names have long been used by naming specialists as a successful marketing trick. Combining words or letters with digits results in creating interesting names that not only arouse curiosity but also are easily remembered or written down. This is particularly important nowadays, when we are given the fast growing number of chrematonyms. The names with number components are also a source of information about the product, describing its characteristics or even some technological details in a more interesting way than it is done in traditional names. What is more, thanks to such names, invoking cultural, historical or geographical aspects, the product can be associated with a particular region, thus influencing the consumer’s decision. The article also examines the names with the measure components.
3

Mathematics and Liberature: Fajfer’s Ten Letters

75%
Matuszyk Ł.
Journal of Language and Cultural Education
|
2016
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vol. 4
|
issue 2
153-166
EN
The article discusses liberature in the context of its mathematical qualities. In this trend which inextricably connects the textual and physical layer of the work, each element in the book is expected to be created according to a certain formula which should bring a holistic piece of literature. After 1999, a great number of mathematically-oriented works have appeared which are strictly liberary. In the presentation, I base on the theoretical idea behind liberature when discussing Zenon Fajfer’s liberary work Ten Letters (Pol. Dwadzieścia jeden liter). This innovative piece is analysed mainly from the point of view of geometry and play with numbers, which is visible already in the title: the ten-letter phrase “ten letters.” Mathematical qualities are indicated on various layers of the piece: the physical, the textual, and the visual, but especially in its form. The game of numbers is found not only where it is obviously visible and essential to understand the message, but also in places which might not have been intended. Liberature is analysed as literature but at the same time, it is shown not to be literature, and in this respect, to be mathematical at the core.
4
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Number(s) of Future(s), Number(s) of Faith(s): Call it a Day for Religion

63%
Hodge J.
Eidos. A Journal for Philosophy of Culture
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2021
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vol. 5
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issue 3
64-81
EN
Encrypted in Derrida’s contribution to the Capri Seminar on Religion in 1994 are three retrievals: of his discussions of speech and of systems of inscription; of a concealment of splittings in the supposed continuities of traditions; and of a complicity between the operations of religion and those of a dissipation of the unities of science, Enlightenment, and knowledge, into proliferating autotelic tele-technologies. These retrievals take place between the lines of this discussion of faith, knowledge and religion, which arrives in two halves, each in twenty-six sections. The first half arrives in italics, as spoken on the day, and ends by invoking Voltaire on toleration and a contrast between Christianity as Institution and Christianity as the legacy of Jesus and the Apostles. The second half, appended as a written supplement, with footnotes, is signed and dated April 26, 1995. Husserl’s epoche arrives as recurrent performance, challenging the unity of Heidegger’s Ereignis; contrasting modes for the arrival of futurity are invoked in a juxtaposition of the names: Kant, Hegel, Husserl, Heidegger, and Bergson, thus providing more than two sources for Derrida’s meditations on religion.
5
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Próba przybliżenia zagadnienia symboliki liczb w muzyce Johanna Sebastiana Bacha w kontekście historycznym oraz badań Christopha Bosserta i grupy Bach-Societät

32%
Presseisen F., Karcz B., Tyrała R., Zając A., Delimat W., Janicki J. J., Malik J., Sterczewska L., UPJPII i., Pasek W., Karcz B., Malik J., Sterczewska L., UPJPII i., Pasek W.
Pro Musica Sacra
|
2015
|
vol. 13
EN
In 1947 F. Smend has developed the theory about numerological symbolism in Bach`s music. In similar way to the cabalistic gematria, he discovered, the coinherence of symbolic name Bach as the number 14, and J.S.Bach as 41. He claimed, that it is possible to find that Bach has used that symbolism in his compositions. The exaple of this operation is possible to find in the first part of ClavierUbung: this work is made from 41 movements, and was published as the first printed work from Bach in his life. And Bach started to write this work, as he was 41 years old. On the Hausmann painting, Bach has got the manuscript contain fragment of 14 canons. The painting was made because of Bach`s joining as 14th member to the Mitzler Society. Those simple conclusions lead to establish the international searching group for common platform for music, theology and symbolical numbers in Bach`s ouvre. This group has mainly researched the text-based works, and didn`t focus on the correspondence among the series-work of Bach. Profesor Christoph Bossert with his over 20 years of his research work discovered the special code, which Bach might to used for his compositions. Based on that discoveries, he constitute the Bach-Societät group, which is focused on researches and discovering connections among the theology, symbolism and musical structures in whole Bach`s music.
PL
In 1947 Friedrich Smend has developed the theory about numerological symbolism in Bach’s music. In similar way to the cabalistic gematria, he discovered, the coinherence of symbolic name “Bach” as the number 14, and “J.S.Bach” as 41. He claimed that it is possible to find that Bach has used that symbolism in his compositions. The exaple of this operation is possible to find in the first part of ClavierÜbung: this work is made from 41 movements, and was published as the first printed work from Bach in his life. And Bach started to write this work as he was 41 years old. On the Hausmann painting, Bach has got the manuscript contain fragment of 14 canons. The painting was made because of Bach’s joining as 14th member to the Mitzler Society. Those simple conclusions lead to establish the international searching group for common platform for music, theology and symbolical numbers in Bach’s ouvre. This group has mainly researched the text-based works, and did not focus on the correspondence among the series-work of Bach. Profesor Christoph Bossert with his over 20 years of his research work discovered the special code, which Bach might to used for his compositions. Based on that discoveries, he constitute the Bach-Societät group, which is focused on researches and discovering connections among the theology, symbolism and musical structures in whole Bach’s music.
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