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ЧИСЛОВАЯ СИМВОЛИКА КАК ПУТЬ ПОСТИЖЕНИЯ ИСТИНЫ В ТВОРЧЕСТВЕ ВЕЛИМИРА ХЛЕБНИКОВА

100%

Mnich L.

Conversatoria Litteraria

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2016

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vol. 10

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issue -

81-92

RU

The article deals with number symbolism in the work by Velimir Khleb-nikov in the context of Russian modernism. Special attention is paid to the analysis of the number symbolism in the Tables of Destiny. The author comes into consideration, that in the works by Velimir Khlebnikov, especially in the Tables of Destiny, two ways of comprehension of truth were combined: intu-itional vision by means of number symbolism and an attempt of calculation of history regularity and destiny of individuals by means of mathematic formulas.

2

The symbolism of the number three in various forms of material culture in funerary architecture during the Old Kingdom

63%

Roeten L.

Pražské egyptologické studie (Prague Egyptological Studies)

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2021

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issue 26

46-78

EN

In various expressions of material culture examples not only of the use the number three but also of sub units of three equal and mainly simple decorative themes employed in combination with another decorative theme can be observed. The conclusion of the study, which limits itself to the Old Kingdom, is that the most expressive example of the use of this sub unit in architecture and decoration at first was to be found in the palace façade panelling on the exterior walls of early dynastic elite tombs. At the end of the First Dynasty this type of decoration disappeared almost completely from the exterior tomb walls, but this decorative theme continued to be used in some of the newly developed interior cruciform chapels. If the observation that the three types of niche used in the palace façade panelling can be directly linked with the false doors with one, two or three door jambs is combined with the chronological development of the number of those door jambs during the Old Kingdom, strong indications of a connection between the palace façade panelling and the true false door can be found. While the one jamb false door disappears from the chapel in the course of the Old Kingdom, the two jamb false door continues in use. A possible conclusion is that the original offering place in front of the panelled exterior wall is likely to have been a plain single or plain compound niche, and that the latter was, in a ritual sense, the most important of the two. In the course of the Old Kingdom the three jamb false door is introduced, probably as a derivative of the great door niche, and this feature showed an increasing use during the rest of the Old Kingdom.

3

Treny od 19 do 1: niedoskonałość i doskonałość

51%

Marinelli L.

Roczniki Humanistyczne

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2020

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vol. 68

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issue 1

9-30

EN

This article presents a renewed attempt at explaining the cyclical nature of Jan Kochanowski’s Treny [Laments] in relation to their interpretative contexts, in particular that of Psałterz Dawidów [David's Psalter]. When poetically paraphrasing the Psalms, Kochanowski might have come across the medieval tradition of symbolic and arithmetic speculation, which, according to the author of this article, allows for a numerological reading of Treny within the framework of the idea of the humanitas / divinitas unity. This idea brings Kochanowski’s funeral cycle closer to both the Orphic-Pythagorean tradition, blended into a Christian humanist neo-Platonism, and the fundamental Christological truths in Christianity – from this perspective, the imperfection of the number 19 leads to the perfection of the number 1, which reflects the One (Giordano Bruno). At the same time, the author tries to prove that the given sequence of works in the cycle (for example, the special position of the number 11) strengthens and supports the dramatic nature of the thoughts of the poet, who is struggling with a personal tragedy.

PL

Artykuł stanowi ponowną próbę wyjaśnienia istoty cykliczności Trenów Jana Kochanowskiego w odniesieniu do ich kontekstów interpretacyjnych, w tym zwłaszcza Psałterza Dawidowego. Dokonując swej poetyckiej parafrazy Psalmów, Kochanowski mógł się zetknąć ze średniowieczną tradycją spekulacji symboliczno-arytmetycznej, co według autora dopuszcza możliwość lektury numerologicznej Trenów w ramach idei jedności humanitas / divinitas. Idea ta przybliża cykl żałobny Kochanowskiego zarówno do tradycji orficko-pitagorejskiej, wtopionej w humanistyczny neoplatonizm chrześcijański, jak i do podstawowych w chrześcijaństwie prawd chrystologicznych: w tej perspektywie niedoskonałość liczby 19 prowadzi do doskonałości liczby 1, oddającej prajednię (Giordano Bruno). Autor stara się przy tym udowodnić, że określona kolejność utworów w cyklu (na przykład szczególna pozycja numeru 11) wzmacnia i podbudowuje dramatyzm myśli poety, zmagającego się z osobistą katastrofą.

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1 Conversatoria Litteraria

1 Pražské egyptologické studie (Prague Egyptological Studies)

1 Roczniki Humanistyczne

1 Marinelli L.

1 Mnich L.

1 Roeten L.

1 2021

1 2020

1 2016

ЧИСЛОВАЯ СИМВОЛИКА КАК ПУТЬ ПОСТИЖЕНИЯ ИСТИНЫ В ТВОРЧЕСТВЕ ВЕЛИМИРА ХЛЕБНИКОВА

The symbolism of the number three in various forms of material culture in funerary architecture during the Old Kingdom

Treny od 19 do 1: niedoskonałość i doskonałość