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1

OLD POLISH NEWS STORIES

100%
Grochowski P.
Pamiętnik Literacki
|
2008
|
vol. 99
|
issue 3
105-124
EN
The first part of the paper consists of a critical review of the attempts to describe the verse news story to date and its basic genre markers. The considerations presented here lead to the conclusion that the Old Polish news story was a syncretic phenomenon of indistinct borders and encompassed various conventions developed on the grounds of other poetic genres. On the other hand, we observe a peculiar expansion of verse news stories having a great influence on the development of some types of Old Polish occasional poetry, which gave way to the emergence of certain intermediate forms such as panegyric news stories, pasquil news stories, aubade news stories, lament news stories. The second part of the paper brings a typology of news stories based on the criteria of the text composition and the narrative intention. A detailed analysis reveals three basic types of the verse news stories: a) chronicle, in which the informative intention dominates, and where the text is almost entirely filled with narration presenting the events in chronological order and in a relatively detailed way; b) lamentatory-religious, in the foreground having the moralistic intention, and strengthening the receiver in the conviction of religious perception and interpretation of events as a punishment or a reward sent by God; the text's composition is founded on its peculiar fragmentary character and on interspersing the elements of the narration with lamentatory complaints and elaborated propitiatory-devout apostrophes; c) political-propagandist, where the main intention of the narrator is convincing the listener about a specific political conception, and the narration itself is not infrequently of vestigial character and is superseded by numerous commentaries with a marked panegyric, polemic, or satirical element.
2
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BIBLICAL AND RELIGIOUS THEMES IN ROMEO CASTELLUCCI’S SELECTED OPERA AND MUSIC THEATRE STAGINGS

100%
Mojžišová M.
Slovenské divadlo (Slovak Theatre)
|
2021
|
vol. 69
|
issue 3
258 – 276
EN
This text deals with the opera (music theatre) stage performances of the Italian theatre maker Romeo Castellucci. The author calls attention to the artist’s interpretation of operas or other works of music with a Biblical and religious background. On the example of four productions (Alessandro Scarlatti: Il primo omicidio, Richard Strauss: Salome, Wolfgang Amadeus Mozart: Requiem, Arthur Honegger: Jeanne d´Arc au bûcher), she examines how Castellucci stages themes that form the objects of religious dogmas. In this study, the term dogma is not meant in a negative sense (i.e., as a limited, unilateral, manipulative interpretation), but is perceived in its original etymological sense, as a binding, normative statement in the field of faith.
3

O SKÚMANÍ BYZANTSKEJ TRADÍCIE NA SLOVENSKU Z HĽADISKA HUDOBNEJ BOHOSLUŽOBNEJ TRADÍCIE

86%
Marinčák Š.
Slavica Slovaca
|
2020
|
vol. 55
|
issue 1
15 - 24
EN
The Byzantine music is intimately connected to the Byzantine liturgy. They both constitute a whole of man’s outer religious expression of faith in a way proper to certain nation and its culture. The liturgical music cannot be studied and understood without taking the liturgical formularies in account; the same applies vice versa. Byzantine-Slavic religious culture has long history, starting in the 9th century, when it gave rise to unique Slavic culture that eventually spread to all the Slavic countries. The development of music closely followed the development of liturgical formularies. Thus, deep knowledge and understanding of their history is inevitable and a condition sine qua non for the adaptation of liturgical formularies and music into vernacular.
4

IRAQ'S UNEASY ROAD TO THE LEAGUE OF NATIONS (1927 - 1930)

86%
Sorby K. J.
Asian and African Studies
|
2010
|
vol. 19
|
issue 1
87-108
EN
In Iraq political life during the mandate came to revolve around a tripartite balance of power. One part consisted of the king, a foreign monarch (from al-Eijaz) dependent on the British for his position but anxious to develop a more permanent power base among the local politicians. Another part comprised the British, always fearful of a rebellious parliament and anxious to see their supporters in office as prime ministers and ministers of the interior. To this end they continued to insist on substantial tribal representation in parliament. Between these two elements was a shifting group of Arab sunni politicians, some more anti-British than the others, but all willing to assume office. Some were strong and capable personalities. Indeed, one feature of the period was political pluralism and sometimes intense competition for power at the top. Unused to political parties, the politicians formed parliamentary blocs, based mainly on personal ties and shifting political alliances. Few had roots in any large constituencies outside the halls of parliament, except for their links with tribal leaders. The failure to build broadly based political institutions or to reach out the groups beyond their personal or familial circles was a critical weakness of the nationalist movement. It allowed for manipulation by the British and the monarchy and it prevented any one group from establishing sufficient power to move the country along in a particular direction. The politicians focused almost exclusively on the treaty, and failed to develop programmes on the social issues, although economic issues came to be more important in the early 1930s.
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