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Sacral motifs in Ukrainian contemporary philosophical lyrics

100%
Babenko-Žirnova M. V. i.
Religious and Sacred Poetry: An International Quarterly of Religion, Culture and Education
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2014
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issue 2(6)
45-64
EN
Context and style modifications of contemporary philosophical lyrics are centered on axiological issues. Young artists’ poetry is represented by a harmonious combination of topical themes with aesthetic form. The phenomenon of "spiritual hunger" of the transitional period leads to a search for guidance; therefore, appeal to the sacred truths is permanent in modern reflective lyrics. As Christianity has been the standard of moral virtues for the Ukrainians for a long time, the work of young artists is full of allusions to the Scriptures. Aside from the historical function, biblical images and motifs are the methods of presentation of the poets’ personal, intuitive and existential experiences. Therefore, their works are full of innovative explorations and experiments in description of sustainable images. In particular, the style of M. Kiyanowska’s poems is characterized by a combination of truths from the Old and New Testaments, sometimes at the level of quite unexpected associations. For the lyrical heroine of M. Savka’s poetry the biblical truths provide examples for a life of wisdom which is sanctified by kindness and love to one’s neighbor, and for B. Matiyash the whole world has sacred meaning. The purpose of the paper is to identify the features of the functioning of sacred images in modern Ukrainian poetry, and in particular in philosophical lyrics. This article uses general scientific (analysis, synthesis, induction) and literary methods (drawn from philological, comparative, typological, hermeneutic and psychological studies). Innovative qualities of the writings of the poets of the late 20th and early 21st century are analyzed involving basic approaches of receptive aesthetics and intertextual analysis of the text. The novelty of the research lies in the fact that for the first time in Ukrainian literary studies the work of the young poets provides the basis for a modern interpretation of biblical images and motifs. The results of this research are important for further study of the specific qualities of biblical reception in modern Ukrainian poetry. Practical importance of the results achieved is the ability to use them in teaching the courses on literary theory, modern Ukrainian literature, Ukrainian philosophical lyric, and courses entitled “Literature as a synthesis of religion, philosophy and art” and “The practice of poetry”.
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Music emotions and associations in film music listening: The example of leitmotifs from The Lord of the Rings movies

100%
Chełkowska-Zacharewicz M., Paliga M.
Roczniki Psychologiczne
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2019
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vol. 22
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issue 2
151-175
EN
The aim of the present study was to investigate which musical emotions and associations appeared while listening to leitmotifs in film music. A sample of 157 participants took part in the study, in which musical associations and emotions were analysed in relation to seven groups of musical themes from The Lord of the Rings films (LOTR). The LOTR soundtrack is a good example of the use of symbols in music to represent ideas, characters, etc. The results show that both the respondents’ associations and the musical emotions they experienced were related to the characteristics of musical motifs. The results are discussed in relation to the assumed features of musical motifs composed by Howard Shore.
3
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Temperature, tropes, sun-worship, nudity, German colonies, post-colonial literature

72%
Martin A.
Studia Germanica Posnaniensia
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2015
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issue 36
41-58
EN
The Magic Mountain (1924) relates an account of erotic passion. Both Hans Castorp’s emotional state and the object of his desire are characterised in a thermographic manner. The thermometer, which he buys (or, rather, acquires), is at once a Dingsymbol part of the discourse of desire and a real object common in tuberculosis sanatoria prior to the First World War. Castorp’s temperature of 37.6 degrees Celsius objectively quantifies his subjective sensibility. This specific constellation creates ironic dis-tance in the novel’s tale.
4
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Лейтматыў дому ў рамане Янкi Брыля “Птушкi i гнëзды”

58%
Нiкiфарава В.
Białorutenistyka Białostocka
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2017
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vol. 9
PL
W artykule omówiono semantyczną złożoność i fundamentalne strukturalne znaczenie lejtmotywu domu w lirycznej powieści Janki Bryla „Ptaki i gniazda”. Poszukiwanie domu i ojczyzny jest najważniejszym czynnikiem ewolucji głównego bohatera Andreja Runiewicza. Definiuje ono również strukturę powieści. Topos domu jest głównym lejtmotywem, który pojawia sie na przeciwnych biegunach semantycznych, takich jak obca ziemia – ojczyzna, niewola – wolność.
EN
The article discusses semantic complexity and fundamental structural importance of the leitmotif of home in Yanka Bryl’s lyrical novel “Birds and nests”. The searching of home and homeland is the most important factor in the evolution of Andrey Runevich, the main character of the novel. It also defines the content and the structure of the novel. Topos of home becomes one of the most principal leitmotifs which appears between sense poles of foreign land and homeland, captivity and freedom.
5
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„Spasení Spasiteli“: poslední dílo o posledním díle

58%
Kolman V.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2021
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vol. 31
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issue 1
79-92
EN
In this study, I discuss Roger Scruton’s last book, devoted to Wagner’s Parsifal, in the light of Scruton’s previous books on Wagner (particularly his book on Wagner’s Ring) and his aesthetics of music in general. This is done against the background of Scruton’s differentiation between symbolic and allegoric readings of art, and their implementation in an analysis of Wagner’s leitmotifs that, as I claim, is of a broader philosophical significance and can be made use of, e.g., in a complex reading of Hegel’s “master and slave” parable.
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Lejtmotyw Miłosierdzia Bożego w kulturze muzycznej od średniowiecza do współczesności

58%
Koenig F.
Roczniki Teologiczne
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2017
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vol. 64
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issue 13: Muzykologia
45-62
EN
The leitmotif of God’s Mercy has been present in the musical culture of all eras, from the Middle Ages, when it was present in Gregorian chants, to present times. The basis for the songs created in the course of centuries were usually biblical texts praising the mystery of God’s Mercy and Grace. The way of expressing the leitmotif of God’s Mercy depended on how the text was combined with the factors of a musical style of a given era. In our times, we can witness the creation of many compositions including the leitmotif of God’s Mercy. This is connected with the cult of Divine Mercy being intensively developed in recent years, especially during the pontificate of St. John Paul II. What triggered the development of the cult was first the revelation given to St. Sister Faustina in the 1930s, written down in her diary, and later the cult of St. John Paul II and the blessed Rev. Michał Sopoćko. Therefore, the basis for the content of contemporary compositions connected with the cult of Divine Mercy are first and foremost the words from the diary of Sister Faustina. Contemporary compositions including the leitmotif of God’s Mercy were and are created among others by I. Pfeiffer, S. Ziemiański and R. Twardowski.
PL
Lejtmotyw miłosierdzia Bożego jest obecny w kulturze muzycznej wszystkich epok, od czasów średniowiecza, gdzie był obecny w śpiewach gregoriańskich, aż po czasy współczesne. Fundamentem śpiewów, powstałych na przestrzeni wieków, były najczęściej teksty biblijne sławiące tajemnicę miłosierdzia Bożego i Bożej łaskawości. Sposób wyrażenia lejtmotywu miłosierdzia Bożego zależał od zespolenia warstwy tekstu ze współczynnikami muzycznego stylu danej epoki, a także od duchowości i oblicza mistyki danej epoki. Obecnie jesteśmy świadkami powstania wielu kompozycji zawierających lejtmotyw miłosierdzia Bożego. Ma to związek z intensywnie rozwijającym się w ostatnich latach – zwłaszcza za pontyfikatu św. Jana Pawła II – kultem miłosierdzia Bożego. Impulsem rozwoju kultu były objawienia dane św. Siostrze Faustynie w latach trzydziestych XX w., a zapisane w jej „Dzienniczku”. W konsekwencji fundamentem treści współczesnych kompozycji związanych z kultem miłosierdzia Bożego są przede wszystkim słowa wyjęte z „Dzienniczka” Siostry Faustyny.
7
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„Die Bäume wachsen nicht in den Himmel“ – Überlieferung, Verwendung und Bedeutung eines Sprichwortes

58%
Mieder W.
Linguistische Treffen in Wrocław
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2022
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issue 21
165-203
EN
The German proverb “Es ist dafür gesorgt, daß die Bäume nicht in den Himmel wachsen“ with its shortened variant „Die Bäume wachsen nicht in den Himmel“ has been transmitted since the early sixteenth century. Its written documentation begins 1526 with Martin Luther, and it appears since 1590 in numerous variants in proverb collections. Goethe quoted it in his autobiography, and it is present in the works of Heinrich Heine, Joseph von Eichendorff, Georg Herwegh, Gottfried Keller, Theodor Fontane, Wilhelm Raabe, Hermann Hesse, Alfred Andersch, and others. Max Weber and Rosa Luxemburg made socio-political use of it, and that is also true for Winston S. Churchill, who played a part in distributing it in English translation as „Care is taken that trees don’t grow to the sky“ and „Trees don’t grow to the sky“. Joseph Goebbels quotes it repeatedly as a propagandistic leitmotif, and it also plays a role in political contexts by chancellors Conrad Adenauer, Willy Brandt, and Helmut Schmidt. Especially aphoristic writers as Dietmar Beetz, Erwin Chargaff, Peter Maiwald, Felix Renner, and Gerhard Uhlenbruck have dealt with it critically by changing it into anti-proverbs. By way of many contextualized references it is shown how the proverb developed during five centuries and how it is marked to this day by its polysituativity, polyfunctionality, and polysemanticity.
8
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Своєрідність поетики малої прози Клима Поліщука

58%
Maftyn N.
Studia Ucrainica Varsoviensia
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2017
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vol. 5
207-215
PL
The determination of genre end style paradigm of the small prose of the Ukrainian writer by main features of expressionism aesthetics is examined in the article. The dependence of genre-composition, singularities (fragmentation, underplot, with the inclusion of the complicated set of leitmotifs in the plot) as well as style peculiarities (especially the apocalyptical, imagery, the tendency to saturation and the phrase expression) on the epiphany of death as one of the dominating artistic devices of K. Polishchuk`s prose is considered.
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Poznámky k vývojové dynamice moderního románu od velkých příběhů cizoložnic k Mannově Čarovné hoře

51%
Blinková Pelánová E.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2020
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issue 62
108-123
EN
The present paper deals with the inner dynamism within the order of the fictional world, focusing on the tranformation of realistic writing (Flaubert, Tolstoy, Fontane) towards modernism. The displayed dynamism is exemplified on Thomas Mann’s The Magic Mountain taking into account the issue of autobiography and author’s essays (the Bildungsroman genre and the European realistic tradition).
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