Search results - CEJSH

1

Styl językowy poezji Zbigniewa Herberta

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Skubalanka T.

Stylistyka

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2008

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vol. 17

49-76

EN

The linguistic analysis of Zbigniew Herbert’s style of poetry leads to the conclusion that the poet’s innovativeness relates mainly to semantics and syntax. The basic stylistic category of his works is his allegorisation. Besides, there are found the following as well: antropomorphisation, personification, a symbol (of a particularly flashing meaning), trans-categorial metaphor connecting the spheres of abstract and reality as well as irony. His style connections with the scientific style and colloquial style belong to the very few pieces of evidence for a linguistic stylisation.

2

Sova a papír na hřebíku : Zátiší Karla Purkyně jako skrytá alegorie?

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Winter T.

Umění (Art)

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2018

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vol. 66

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issue 1-2

36-42

EN

In 1862 Karel Purkyně painted one of his best-known pictures: the still life Snowy Owl. The aim of this article is a fresh interpretation of this canvas. On the basis of older explanations of the painting, certain theoretical concepts including Purkyně’s own opinions and knowledge of the artistic practices of the time the question arises as to whether the painting might not be interpreted as a hidden allegory. This means revealing its hitherto unknown content, encoded in a specific manner differing from symbolic expression. The text recapitulates how Purkyně’s work was received in the past by art critics and his personal attitude to painting as a specific medium, differing from other types of art. In these connections attention is drawn to one of the characteristic traits of the canvas Snowy Owl: the strikingly emphasised flatness of the part with the nocturnal predator and the written paper nailed to the wall. The author of this article proposes identifying this part as the motif of a "picture within a picture", which Purkyně also worked with in other paintings (Politizující kovář [The Political Blacksmith], Okno [Window], Malířovo zátiší [The Painter’s Still-life]). On the basis of further analysis and the use of the theories of Walter Benjamin, Craig Owens and Benjamin H. D. Buchloh the Snowy Owl is interpreted not only as the depiction of reality, executed with masterly painting technique, but also as a hidden allegory, relating to the nature of modern painting.

CS

V roce 1862 namaloval Karel Purkyně jeden ze svých nejznámějších obrazů: zátiší Sova sněžná. Cílem příspěvku je nová intepretace tohoto plátna. Na základě starších výkladů obrazu, určitých teoretických konceptů včetně Purkyňových vlastních názorů a znalosti dobové umělecké praxe klade otázku, zda nelze malbu vyložit jako skrytou alegorii. Znamená to odhalit její dosud neznámý obsah, zašifrovaný specifickým způsobem, odlišným od symbolického vyjádření. Text rekapituluje, jak Purkyňovo dílo přijímala v minulosti výtvarná kritika a jak se on sám stavěl k malbě jako specifickému médiu, odlišujícímu se od jiných druhů umění. V těchto souvislostech je poukázáno na jednu z charakteristických vlastností plátna Sova sněžná: nápadně zdůrazněnou plošnost části s nočním dravcem a popsaným papírem přibitým na zdi. Tuto partii autor příspěvku navrhuje identifikovat jako motiv "obrazu v obraze", s nímž Purkyně pracoval i v jiných pracích (Politizující kovář, Okno či Malířovo zátiší). Na základě dalšího rozboru a využití teorií Waltera Benjamina, Craiga Owense a Benjamina H. D. Buchloha je Sova sněžná interpretována nejen jako zobrazení aktuální skutečnosti, zvládnuté mistrnou malířskou technikou, ale jako skrytá alegorie, vztahující se k povaze moderního obrazu.

3

Chrystocentryzm alegorii chrześcijańskiej w starożytnej hermeneutyce biblijnej

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Paciorek A.

The Biblical Annals

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1997

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vol. 44

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issue 1

29-42

PL

Der Aufsatz betrifft die in dem Altertum von christlichen und nichtchristlichen Autoren benutzte Allegorie. Die christliche Allegorie ist aber gar nicht dieselbe wie bei den anderen (heidniche Philosophie, Philo). De Unterschied besteht in Annahme der Historizität der betreffenden Aussagen, vor allem der in der Annahme der entscheidenden Bedeutung Christi für das Verstehen der ganzen alttestamentlichen Geschichte. Im Horizont der Hermeneutikprinzipien von Origenes ist das besonders überzeugend. Eben diese Hermenutikprinzipien lassen verstehen, wie weit die allegorische Interpretation in der Gesamtheit der alexandrinischen Exegese eingebaut ist.

4

Pomnik chłopa – przystanki sensu, stacje rozpadu: Rozważania o pisaniu historii

100%

Cembrzyńska P.

Didaskalia. Gazeta Teatralna

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2021

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issue 165

277-301

EN

The article deals with the relationship between the writing of history and the creation of allegories. The question of the contextual and creative nature of interpretation/organisation of meaning is placed at the centre of consideration. The starting point is the Albrecht Dürer’s Monument to Commemorate the Victory over the Rebellious Peasants woodcut – an example of an interpretative puzzle showing the discursive entanglements of interpreters. Through contemporary artistic references to the Dürer’s work, the phenomenon of a turn towards folk history is also presented. The analysis of the Daniel Rycharski’s mobile Pomnik Chłopa (Monument to a Peasant), inspired by the Dürer’s woodcut, which travels across Poland, aims at bringing closer the mechanism of creating connotational shifts and reflecting on the interpenetration and divergence of various ways of thinking about peasant history. Melancholy, to which Dürer and Rycharski refer in their works, is shown as a figure of the desire for meaning and the disintegration of meaning.

5

The Canon Missae in Rupert of Deutz O.S.B.’S. Allegorical Interpretation

100%

Pałęcki W.

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2018

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vol. 65

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issue 8: Liturgika - English Online Version

75-93

EN

At the heart of the celebration of the Eucharist is the Eucharistic Prayer, during which the mystery of Christ is made present. In the Latin liturgy of the Western Church, for centuries the priest always recited the same Eucharistic Prayer at the Holy Mass from the Roman Canon. This oldest liturgical text was built symmetrically around the words of the institution that Jesus spoke over the bread and wine. The structure of the Canon itself was shaped over several centuries, but the proper arrangement was known already in the 7th and 8th centuries. The Canon of the Mass has been for centuries the basis for the theological interpretation of individual texts, gestures and signs. Particularly since the Middle Ages, they were explained on the basis of their allegorical interpretation. This way of interpreting the Mass was known since the 8th century and consisted of a moralizing, typological, commemorative, eschatic and an anagogical presentation of all liturgical rites. The treatise Liber de divinis officiis by Rupert of Deutz is one of the most important texts dedicated to the liturgy in the Middle Ages. Rupert of Deutz explained the celebrations of the Mass in the second book of his work. In the first place, he points to the Passion’s interpretation in the Canon, from the moment Jesus entered Jerusalem to His body being placed in the grave. The Passion is also emphasized by the sign of the cross made by the priest at the time of the Canon, which symbolizes the wounds of Christ. The allegorical interpretation of the Mass Canon, made by Rupert of Deutz, is part of the theological tradition of the Middle Ages. Although he did not discuss all of the texts in the Canon, he did interpret its essential parts.

6

Alegoria Melancholii w rondach Karola Orleańskiego (XV wiek)

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Gęsicka A.

Prace Filologiczne. Literaturoznawstwo

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2016

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issue 6(9)

365-375

EN

In the Middle Ages, allegory is a way of perceiving the world. Allegory is also an important figure of speech in late medieval lyric poetry. The subject of the analysis is the psychological aspect of the use of allegory of Melancholy in rondeaux by French poet of the fifteenth century, Charles d'Orléans. In the allegorical descriptions of depression, one may extract five types of reaction of persona: 1. Revolt – decision not to give up, 2. Search for consolation, 3. Total submission to melancholy, 4. Complaint, 5. Specification of an objective impact of Melancholy on human beings.

7

The Morality Play Revisited in Margaret Edson’s Wit

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Błasiak E.

Anglica Wratislaviensia

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2015

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issue 53

15 - 24

EN

Taking into consideration the contrasting views of two medieval drama scholars, this article will explore the elements of a medieval morality play in Margaret Edson’s modern play Wit. The proposed hypothesis assumes that although Wit cannot be treated as an example of a full-scope “modern morality play,” it may be seen as a twentieth-century derivative of the genre. The play presents the story of terminally-ill literature professor Vivian Bearing, for whom the last months of her life turn into a pilgrimage towards an education in ethics which she neither expects nor welcomes. Gradually, as in Everyman, all her earthly resources, and above all her knowledge of metaphysical poetry, become irrelevant as she realises that life and death are entirely new concepts when not discussed in the abstract. In order to locate the play within the paradigms of morality play tradition, Wit will be compared to several medieval and Renaissance plays. The aspects of the morality play to be considered in relation to Wit include its potentially instructive purpose, medieval motifs, the idea of the protagonist’s universality and a number of dramatic devices and solutions.

8

Children in the World of Allegory: the Key Role of Comparison Skills and Abstract Thinking

88%

Engels-Kritidis R.

Journal of Preschool and Elementary School Education

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2014

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issue 6

107-133

EN

This publication shows the potential of pre-school age children to understand and use allegory, focusing specifically on the core of the ability to interpret the allegory of proverbs and sayings. A connection between comparison skills and allegory interpretation skills has been statistically proved, confirming that the image-based way of thinking is typical for the ages under research and allowing us to define visualization as a principal stage in the process of getting to the meaning of allegory. The publication also gives statistical arguments which support a connection between the development of the ability for abstract thinking and allegory interpretation skills, i.e. a child with better-developed abstract thinking ability will display a higher capacity for interpreting allegorical meanings.

9

The Relation between the Spiritual and the Aesthetic in the Poetry of Daniel Pastirčák

88%

Andričík M.

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

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2013

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issue 3(3)

91-102

EN

The aim of the study is to present the poetry of Daniel Pastirčák, one of the most prominent spiritual poets in the contemporary Slovak literature. Through interpretation of his four book of verse, we attempt to name dominant features of his poetry. A thread of spiritual poetry can be seen since Old Slavonic literature, particularly St. Cyril’s foreword to his translation of the Gospels called Proglas. Since then, every period of literary history had active priests engaged in writing poetry, and a short survey of most important names is given in this study. We tackle general problems of writing spiritual poetry, especially the tension between its theological and poetic aspect. A good way to overcome this threatening imbalance is either the use of original imagery or particular human experience with faith as is shown in Pastirčák’s best poems. His philosophical and meditative poetry emphasizes the unity of the world, of man and nature, of earthly and divine. The speaker can see dualism in both: man and the world, combining it with the cyclical conception of time. He proves what is typical of good poetry and literature entirely: that they are able to point to spiritual values indirectly not only by their invocation. The Christian character of Pastirčák’s poetry is supported by his frequent references to the Bible, either direct quotations or paraphrases, or allusions. The diction of many of his poems, mainly in his first book of verse Tehilim, is biblical, too. We try to support our conclusions with quotations of particular poems or their extracts in English translation. The overall ambition of this study is the attempt to offer a relatively complex view upon Daniel Pastirčák as a poet, which, we hope, will contribute to the reception of spiritual poetry in Slovak literature.

10

Myśl Orygenesa. Metodologiczne intuicje dla współczesnych teologów

88%

Składanowski M.

Studia Elbląskie

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2013

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vol. 14

151-164

EN

This article presents some elements of the Alexandrian pre-Nicene theology, and especially Origen’s theological thought. This is not a comprehensive analysis from the perspective of patristics. The article’s aim is to present some significant methodological insights resulting from Origen’s theology. In his way of dealing with theology there are several outdated ideas related to the Hellenistic cultural context and to Platonic philosophy. Origen’s thought, however, also presents many ideas which are relevant to contemporary theological methodology: priority of Holy Scripture, christological reading of the Bible and the recognition of the holiness of Scripture which exceeds all human intellectual capacity.

11

Крокодил Ф. М. Достоевского как петербургская повесть (заметки к словарю аллегорий петербургской истории)

88%

Крыстева Д.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2010

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issue 3

60-68

EN

The article discusses Dostoyevsky’s story The Crocodile as an episode in the development of the so-called “St. Petersburg story”, established by Pushkin and Gogol as a specific ideological and fictional genre, connected with the symbolic representation of the St. Petersburg period in Russian history. In the analysis of the title and the exposition of the story, the monster is seen as an allegory of the disquieted political body in Russia following the reforms of 1861. Among the sources of the allegory are the Biblical synonymous use of “Leviathan – Crocodile”, Thomas Hobbes’ s treatise Leviathan, and the Russian Old Believers’ invectives about The Ruler and The Crocodile-State. The analysis suggests that Dostoyevsky translates the political notion of Leviathan as a metaphor of the absolutist social negotiation through the equivalent of the Crocodile, already familiar in Russian collective mentality. In this respect, it is assumed that the story serves as a warning about the dangers resulting from the disquieted political body.

12

Discrepancy Between Theory and Practice: The Bane of the Human World

88%

Eboh M. P.

Dialogue and Universalism

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2017

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issue 1

55-65

EN

Theory and practice are interconnected and analogous to each other. Theory gives rise to action, and action precipitates or begets new theories which may lead to further actions and so on, even though, some people try to force reality to fit into their precon-ceived theories. Discrepancies between theory and practice, word and action have caused disaffection, rifts and conflicts. Matching words with action inspires trust just as duplicity, i.e. saying one thing and doing another, generates bad blood. The problem of the world is the discrepancy between theory and practice or between the spoken word and action. When people (all over the world) begin to match word with action there will be peace, harmony and resounding success in global affairs, especially international relationships. The bridging of the gap requires the concerted efforts of one and all. In this paper, we shall take a critical look at the interrelatedness of theory and practice. We will seek also how to enable philosophy to transform the human world just as science transforms the physical world.

13

Миф об Амуре и Психее в поэме И. Ф. Богдановича „Душенька”

88%

Orłowska A., Uniwersytet Marii Curie-Skłodowskiej W. H.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2014

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vol. 07

EN

The Russian Masonic poets attempted to propagate their ideology and the mythology based on it through a coherent system of poetic imagery. In this context a particular place was occupied by the myth of Cupid and Psyche, understood as an allegory of the process of exploring the world and discovering human nature and as a pursuit of a noble ideal. The author analyzes the image of the heroine of the narrative poem by Ippolit Bogdanovich as a traveller desirous of knowledge about the world and of self-knowledge, in the spirit of the Masonic mysticism.

14

Looking West: Understanding Socio-Political Allegories and Art References in Contemporary Romanian Cinema

88%

Király H.

Acta Universitatis Sapientiae, Film and Media Studies

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2016

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vol. 12

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issue 1

67-86

EN

The representation of other arts in cinema can be regarded as a different semiotic system revealing what is hidden in the narrative, as a site of cultural meanings inherent to the cinematic apparatus addressing a pensive spectator, or a discourse on cinema born in the space of intermediality. In the post-1989 films of Romanian director Lucian Pintilie, painterly and sculptural references, as well as miniatures become figurations of cultural identity inside allegories about a society torn between East and West. I argue that art references are liberating these films from provincialism by transforming them into a discourse lamenting over the loss of Western, Christian and local values, endangered or forgotten in the post-communist era. In the films under analysis – An Unforgettable Summer (1994), Too Late (1996) and Tertium Non Datur (2006) – images reminding of Byzantine iconography, together with direct references and remediations of sculptures by Romanian-born Constantin Brâncuşi, participate in historico-political allegories as expressions of social crisis and the transient nature of values. They also reveal the tension between an external and internal image of Romania, the aspiration of the “other Europe” to connect with the European cultural tradition, in a complex demonstration of a “self-othering” process. I will also argue that, contrary to the existing criticism, this generalizing, allegorical tendency can also be detected in some of the films of the generation of filmmakers representing the New Romanian Cinema, for example in Radu Jude’s Aferim! (2015).1

15

The Polaroid and the Cross. Media-Reflexivity and Allegorical Figurations in Lucian Pintilie’sThe Oak(1992)

88%

Sándor K.

Acta Universitatis Sapientiae, Film and Media Studies

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2016

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vol. 12

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issue 1

45-66

EN

The paper discusses the question of media reflexivity and allegorical figuration in Lucian Pintilie’s 1992 film, The Oak. Through a fictional narrative, the film reflects on the communist period from the historical context of the post-1989 transition strongly marked by the after-effects of dictatorship and by political, social and economic instability. By incorporating a diegetic Polaroid camera and a home movie, The Oak displays a reflexive preoccupation with the mediality and the socio-cultural constructedness of the image. The figurative, allegorizing tendency of the film – manifest in the subversive recontextualization of grand narratives, iconographic codes or images of art history – also foregrounds the question of cultural mediation. I argue that by displaying the non-transparency of the cinematic image and the cultural mediatedness of the “real,” the media-reflexive and allegorical-figurative discourse of the film can be regarded as a critical historical response to the social and representational crises linked to the communist era, but at the same time it may be symptomatic of the social, cultural, political anxieties of post-1989 transition.1

16

Allegorical Interpretation and Place of Myth in Plato. Status Quaestionis

88%

Wdowiak M.

Classica Cracoviensia

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2017

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issue 20

213-226

EN

The paper raises the issue of allegorical interpretation, and its role and place in Plato’s philosophy. The first part of the paper shows the theoretical findings and explains the use of terms aίnigma, sýmbolon, hypónoia in Plato’s philosophy. The next part explores Plato’s attitude toward allegorical interpretation and the function of myth (mūthos) in his philosophy. Two important points are presented here regarding Plato’s critique. They serve as the criterion for the validation of myth in the ideal state: the role of myth in paideia and its relation to philosophical discourse.

17

Alegoryczna interpretacja liturgii godzin w ujęciu Amalarego z Metzu

88%

Frontczak B.

Seminare. Poszukiwania naukowe

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2010

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vol. 28

15-28

EN

The following paper represents the allegorical interpretation of the Liturgy of the Hours in the Amalary’s of Metz primary work “Liber Officialis”. The liturgical allegory searches for “spiritual” meaning of words, gestures, postures and customs. Amalary builds his interpretations on time, numbers and celestial objects symbolism. He is interested in word etymologies, postures interpretations and customs that were used during prayers.

18

Norwid w badaniach Michała Głowińskiego – kilka uwag

88%

Trybuś K.

Pamiętnik Literacki

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2021

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vol. 112

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issue 3

211-221

PL

Artykuł jest poświęcony pracom norwidologicznym Michała Głowińskiego. Autor artykułu próbuje ustalić miejsce tych prac w szerszym kontekście badań Głowińskiego nad poezją polską, przywołuje więc jego publikacje o Tuwimie i Leśmianie, a także szkice mające charakter teoretyczny, w których poezja Norwida służy jako swoiste exemplum dla wypowiadanych sądów. Koncentruje uwagę przede wszystkim na odkrywczych rozpoznaniach Głowińskiego dotyczących struktury przypowieści w wierszach z tomu „Vade-mecum”. Zadaje pytania o znaczenie owych rozpoznań dla rozwoju badań nad Norwidem, ujmując te badania w perspektywie historycznej. Szuka związków między studiami Głowińskiego nad alegorią Norwida a Gadamerowską „rehabilitacją alegorii”. Rekonstruuje właściwy dla tych studiów styl lektury tzw. ciemnej poezji, oparty głównie na sztuce interpretacji.

EN

The article is devoted to Michał Głowiński’s papers in Norwid studies. The author attempts to situate Głowiński’s papers in the broad context of his examinations of Polish poetry, thus the investigations into Tuwim and Leśmian, as well as such theoretical sketches in which Norwid’s poetry serves as an instructive exemplum to support the observations, are recalled. The author’s attention is primarily focused on Głowiński’s revealing identifications referring to the structure of parables in the poems from the volume “Vade-mecum.” Trybuś poses questions about the significance of the aforementioned identifications to the development of Norwid studies and sets them into a historical perspective, seeks relationships between Głowiński’s research in Norwid’s allegory and Gadamer’s “rehabilitation of allegory,” and finally reconstructs the peculiar style of reading of so-called dark poetry based mostly on the art of interpretation.

19

Leśmian: Ja i Inny

87%

Czabanowska-Wróbel A.

Poznańskie Studia Polonistyczne. Seria Literacka

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2009

|

issue 16

11-28

EN

Leśmian’s poems, those that can be treated as parables with the thirdperson narrator and a given plot and those written with the lyrical I and straightforward narrative, include a dominant and premeditated anthropological conception. Leśmian is intrigued by the relation between an individual and other people. The relation is conducive, or even essential, in the spiritual survival of the individual, and is often described as a “salvation”. The relevant issues can be interpreted within the language of the philosophy of dialogue, including the philosophy of Emmanuel Lévinas, though the latter cannot be obviously treated in terms of decisive influence. The space where the ethical dimension of the interpersonal relations is revealed is namely love towards the closest pesons, it is followed by the encounter with other people, and finally the encounter with radical otherness, with what is, beyond the very experience of humanity, different - with a suffering animal. In Leśmian’s poetical output, in which the ontological and epistemological dimensions are so important, it is rather the ethical dimension that becomes prominent. This dimension, often neglected by researches of the poet’s rich and versified output, quite unexpectedly seems to come down to some absolutely fundamental ethical imperatives: to love and keep in mind that one should not hurt or kill with words or deeds.

20

Matošev Cvijet sa raskršća – alegorijom do konfiguracije sebstva

87%

Pšihistal R.

Poznańskie Studia Slawistyczne

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2014

|

issue 7

EN

Flower from the Crossroads (1902) belongs to the group of Matoš’s symbolistic novellas, rendered by the symbolically coded title, teleogenetic plot, characters as personified abstractions, motive topography (path, crossroads, garden) and especially the name of the protagonist (Solus). The name Solus, as an autofictional figure, contains its own glossary and reading instructions towards the solipsistic narrative matrix, which is supported by the diegetic level of the story through unusual events bordering dream and reality. With the help of the basic guidelines of Paul Ricoeur on storytelling as a hermeneutical mediation of the self and narrative analysis of the story, the main question of the allegorical interpretation in this study is: which model of self is offered by the narrative identity of Solus?

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