Articles de revues sur le sujet « France – Intellectual life – 16th century »

The present paper argues that the French historical writing in the late sixteenth and in the first half of the seventeenth century became a form of manifestation of the French royal power. The integrated scientific approach chosen in this research permits the author to draw several new conclusions concerning the multiplicity of forms of publicity of the French absolute monarchy. Three main aspects are in question: the institutional (or socio-political) one, the aspect of publishing specific in early modern Europe, and the substantial aspect of the historical discourse of the epoch. The existence of the court office of the royal historiographer (historiographe du roi) itself was a form of manifestation of the French royal power as it symbolized the special assignment of historical knowledge to the crown. Another visible form of manifestation of the French royal power connected with the historical writing of the epoch was the form of existence of works consecrated to historical subjects, i.e. the peculiarities of design of the editions of historical writings. Finally, the subject area of historical works in question were also related to the manifestation of the strengthening absolute monarchy. The court historical writing in early modern France evolved in tight connection with the erudite intellectual movement. Thus, however diverse the erudite movement had been, its massive current was deeply connected with the crown and its different ambitions — from uniting territories and gaining fidelity of its subjects to glorifying the French kings and controlling all the spheres of political and cultural life in the kingdom.

The goal of this paper is to summarise the diplomatic and political role of poet and intellectual, János Rimay of Alsósztregova and Rima. Rimay is well-known as the pupil and friend of the great Hungarian poet, Bálint Balassi, and also as a great poet and a representative of stoicism, as well as as a diplomat and statesman who became important in the regional diplomacy in the last decades of the 16th century and the first decades of the 17th century.

Abstract This article examines the circulation of manuscripts in the Mzab Valley in southern Algeria during the 9th–10th/15th–16th centuries in an attempt to identify the most prominent copyists in the region. The primary aim of the paper is to highlight the importance of manuscripts for the Mzab’s Ibadi Muslim community in this period and to demonstrate its impact on the intellectual and cultural life of the region.

The article explores the Froben prints stored at the Rare Books Department of the Library of the Russian Academy of Science (Biblioteka Akademii Nauk) in Saint Petersburg. For three generations in the 16th century, Basel printers the Frobens influenced European intellectual life like no other publishing establishment, contributing to the spread of early Latin and Greek Christian literature, which determined both the development of theology and the humanities. Some copies of Froben prints are conspicuous for the history of their use which is intrinsically connected with various kinds of religious polemics in 16th and 17th century Eastern Europe. The focus of the article is the copies of Froben’s Opera omnia of St Augustine which underwent censorship in monastic libraries of the Polish-Lithuanian Commonwealth in the 16th and 17th century. The article traces the history of a number of Froben copies which belonged to notable Polish Protestants of the 16th and 17th centuries (Andrzej Trzecieski, Nicholas Radziwill the Black (“Czarny”), Andrzej Dobrzanski). The examination of the connections of Eastern European Protestants, which enabled vigorous exchange of books with Western Europe, bringing, for instance, a book from the library of the great Dutch cartographer Gerhard Mercator to the hands of a provincial Polish pastor, is carried out. Finally, the article addresses the marginalia left by Simeon of Polotsk on one of his books. These marginalia throw some new light on the question of Simeon’s genuine theological views. By examining the history of the copies from the Library of the Russian Academy of Science through the marginalia left in the 16th and 17th centuries by people of various religions, the article assesses Froben copies as a source on confessional and intellectual history of the period.

This paper will focus on the translators as their situation has proved to be more and more difficult in France. With examples, we want to consider how one’s position has evolved in the publishing world from the 16th century to the present. Looking at the 16th century, we can observe a real fever for translations of ancient texts. In the Netherlands, Italy and France, printers were translators and signed their translations with their proper name. Playwrights did the same with Latin and Greek works. For example, we know Oedipo tyranno by Giustiniani who translated Sophocles. The name of the Greek or Latin writer was eclipsed by the translator’s name such as Plantin and the Biblia Polyglotta, or Belleforest with his translation of The War of the Jews written by Flavius Josephus. The translation of the title gave the work a new specificity and was considered as the genuine work of the translator even though the name of the original author was still given. During the 16th century in France, Literary Property Laws were called “Privilège” and were attached to the author of the printed text. Later on, this law changed. We know that playwrights used translations and never mentioned the authors as they had actually never done before. Indeed, this particular type of literature often evaded the law. The publishers became more and more important and could thus decide what would be announced on the book’s cover. The author is to be mentioned for legal reasons, but translators are rarely mentioned. Today, you have to search for their name inside the book despite the fact that as our world is becoming more and more global we need them more and more. To some extent, on stage, some directors plunder translations done by specialists and attribute them to themselves. Two avenues of enquiry should help us understand the French translator’s paradox, which consist in the fact that the translator’s status evolves from a finder and producer to an intellectual whose name is today nearly ignored – despite his/her legal status.

Among the stunning changes in material and intellectual life that transformed eighteenth-century Europe, perhaps none excited as much contemporary consternation as the twin-headed growth of a modern commercial economy and the fiscal–military state. As economies became increasingly based on trade, money, and credit, and states both exploded in size and forged seemingly insoluble ties to the world of finance, intellectuals displayed growing anxiety about just what kind of political, economic, and social order was taking shape before their eyes. Two important new books by Michael Sonenscher and John Shovlin, Before the Deluge: Public Debt, Inequality, and the Intellectual Origins of the French Revolution and The Political Economy of Virtue: Luxury, Patriotism, and the Origins of the French Revolution, tackle these apprehensions and the roles they played in forging French political and economic writings in the second half of the eighteenth century. Both authors also take the further step of demonstrating the impact of the ideas they study on the origins of the French Revolution.

The article is devoted to the study of reader’s practices related to the several centuries of existence of French historical books of the second half of the 16th century, the books’ place in people’s lives and attitude to them. The study’s source base is represented by a body of identified book marginalia from the copies of Parisian publications stored in the National Library of France and the Rare Books Department (Book Museum) of the Russian State Library. The handwritten notes (396 marginalia have been identified and are being introduced into scientific circulation) that are dated belong to the second half of the 16th—20th centuries inclusive. In the second half of the 16th century, printed books in France became the determinant source of intellectual thought, and their role in the lives of educated people increased significantly. The spread of printed books, their influence on the minds of ordinary people and their authority in society contributed to the appearance of a large number of handwritten notes made by readers at different times and on different occasions.The author offers his own content-based classification of the body of marginalia identified by him and gives a detailed description of the studied material. There are three main groups of the marginalia: the records related to the content of the book, the records related to the book itself, and the records not related to the book. The first group consists of 2 types of records: textual records and comments. The second group is divided into 3 types: library records, owner’s records, and other informational records related to the content of the book. A separate group consists of the informational records that are not related to the book.The analysis made it possible to assess the information value and potential of marginalia as historical and psychological sources that allow (in combination with other sources) to study, in a historical context, the cultural and mental characteristics of people of different eras, the existence of books in society, and the book and library traditions of different regions of Europe.

Abstract This study reviews Nicasius Ellebodius’s Pozsony (today: Bratislava) period (1571–77) from a biographical and intellectual historical perspective. Ellebodius (1535–1577) was a Flemish philologist of vast erudition, one of the finest Graecists of his day. His biography and character are much less discussed in scholarship than his works, although his letters provide us with invaluable information about his life, as well as about the participation of the academic elite of 16th-century Hungary in the international res publica litteraria. The article will revisit the problem of how far he could realize the otium litterarum that he yearned for so much, and what challenges he had to face in his everyday life in Pozsony.

The title and publication series of Prefacing the Image initially suggest that it treats a topic of interest only to specialists in art history—a dozen or so rhetorically ornate prefaces composed for bound albums of calligraphies, drawings, and paintings (muraqqaע) during the 16th century. However, it quickly becomes apparent that the scope of this study extends far beyond such disciplinary boundaries. “The primary objective of this book is to study the preface through a variety of approaches—historical, cultural, social, and intellectual” (p. 17). By integrating the album preface into a broad network of social practices and literary discourses, Roxburgh's well-researched and probing study should be of interest not only to art historians but also to any reader with an interest in the cultural and intellectual life of the later Persianate world.

Preconditions for emergence of forensic intellectual property analysis in Ukraine and abroad in the period from the 10th to the beginning of 20th century in the context of forensic science genesis are comprehensively analyzed in the article. The following sources of court proceedings of the Kyivan Principality (Russia) Epoch and the so-called “Dark ages” (in the 12th/14th centuries), as “Russkaya Pravda”, treaties of appanage princes with grand princes and between each other, charters and letters patent of princes, sudebniky, etc., along with the Statutes of Lithuania (16th century) and others are considered. It is argued that emergence of forensic science in Europe was linked to origin and nature of evidence in court proceedings. Forensic experts are involved when their findings become legitimate evidence for court in criminal and civil proceedings. It is emphasized that for the first time the procedural status of a forensic expert as the “third party expert” is regulated in the Statute of Criminal Procedure of the Russian Empire of 1864 (Articles 112, 690, 691, 692, 698, etc.). It is noted that the establishment of forensic activities in the field of intellectual property was preceded by legitimization of intellectual property rights in Austria-Hungary, England, Spain, the Netherlands, Germany, Russia, the USA, France in the 18th century, as well as the establishment of administrative and judicial mechanisms for its protection. At the same time, the practice of involving experts in consideration of copyright disputes over scientific, literary and artistic works, inventions, etc., was uncommon in the 19th century. In 1913, offices of forensic science under the prosecutors of the Kyiv and Odessa Judicial Chambers, which contributed to institutionalization of forensic activities and professionalism of forensic experts were established. These circumstances created conditions for initiation of forensic intellectual properrty analysis. However, the First World War pushed the litigation over the right to intellectual property to the background.

An informed engagement in a wide variety of advanced intellectual pursuits was entirely normal in the early modern period; less predictable, though, were the crucial dynamics of interpersonal relationships. Uniquely in seventeenth-century France, Caen saw the foundation of two separate learned societies, the principal Académie de Caen and the smaller but distinct Académie de physique. The latter was also unique: inspired by the Royal Society of London and founded well before the Parisian Académie des sciences, it gained royal recognition and finance in 1668 before failing soon after 1672. In this essay, these remarkable events are reconsidered in the light of the individuals involved, especially the dominant personality of the strong-minded polymath Pierre-Daniel Huet, and their relationships. Based on primary documents that have been unstudied or misinterpreted, it serves as a case-study of the complex ways in which intellectual life in France operated in practice during the later seventeenth century.

Published in 1993, the novel Bois rouge by Jean-Marie Touratier brings to life the history of the short-lived French colony of Brazil, the Antarctic France, whose existence, reduced to only five years (1555-1560), was described in the travelogues written in the 16th century by André Thevet (Les Singularitez de la France Antarctique - The New Found World, or Antarctike) and Jean de Léry (Histoire d’un voyage faict en la terre du Brésil – History of a Voyage to the Land of Brazil). Beneath the appearance of a simple story told by an ironic voice, sometimes even satirical towards the military leader of the French colony, the Knight of Malta Nicolas Durand de Villegagnon and his chaplain, André Thevet, future cosmographer of the kings of France, the novel delves into issues of great complexity, such as (the issue of) identity and the relationship to the Other (the American “savage”).

Within ten years of the execution of Louis XVI two general and opposed features of the Old Regime, Catholic Christianity and Enlightenment rationality, were globally idealized by two authors—both of them former aristocrats— François-René de Chateaubriand (1768–1848) and Antoine-Louis-Claude Destutt de Tracy (1754–1836). No two participants in the complex discussion of religion and secularism that took place at the highest levels of government and Parisian intellectual life at the end of the First Republic and during the Napoleonic regime better represented on the one hand unconditional nostalgia for Catholicism, and on the other uncompromising intellectual pursuit of the secular scientific ideal. Though it has become customary to oppose the Neo-Christian intellectuals Chateaubriand, De Maistre, De Bonald, and Ballanche, to the Idéologues Destutt de Tracy, Cabanis, Maine de Biran, and others, I believe that this opposition can be clarified if the extremes represented by Chateaubriand and De Tracy are better defined. In other words, a clear definition of the personal metaphysics—thoughts and feelings—of Chateaubriand and De Tracy should establish the polarities of intellectual temperament that characterized the Napoleonic era.

Vilniaus universiteto bibliotekos Retų spaudinių skyriusUniversiteto g. 3, LT-01122 Vilnius, LietuvaEl. paštas: evaldas.grigonis@mb.vu.ltStraipsnyje analizuojami XVI a. Šventojo Rašto leidiniai, saugomi Vilniaus universiteto bibliotekos Retų spaudinių skyriaus fonduose. Pateikiama statistinės informacijos apie šių spaudinių kalbinį pasiskirstymą, leidimo vietas, kai kurie iš jų nagrinėjami plačiau, žvilgsnį telkiant į vietinius leidėjus, kurių spaustuvėse pasirodė dabar VUB esantys minėto laikotarpio Šventraščiai. Taip pat analizuojami šių knygų nuosavybės ženklai (proveniencijos), remiantis jais aptariamas buvusių LDK vienuolynų ar apskritai vienuolijų (jos buvo dažniausios Biblijos skaitytojos) sąlytis su spausdintiniu Dievo Žodžiu, atkreipiamas dėmesys į nemažos dalies Šventojo Rašto leidinių (jų leidėjų ir komentatorių) sąsajas su protestantizmu.Reikšminiai žodžiai: Šventasis Raštas, Biblija, XVI a., Vulgata, lotynų kalba, Vilniaus universiteto biblioteka, nuosavybės įrašai, Lietuvos Didžioji Kunigaikštystė, Katalikų bažnyčia, vienuolynai, Reformacija Europoje, draudžiamųjų knygų sąrašai, leidėjai, spaustuvininkai, iliustracijos.PUBLICATIONS OF THE HOLY SCRIPT IN THE BOOK COLLECTIONS OF THE 16TH CENTURY AT VILNIUS UNIVERSITY LIBRARYEVALDAS GRIGONIS AbstractThe Holy Script has already lost its special significance to an ordinary Western man in modern times, although since the entrenching of Christianity in the 4th century A.D. the Holy Script was for long centuries the main cultural text of the European civilization. No wonder the first printed book from which the era of the printed word began in the culture of the world was the so-called 42-Line Bible of J. Gutenberg (in Latin, published in c. 1456).There are in total 149 pieces (or separate parts) of the Bible in the Vilnius University Library, issued between 1501 and 1600. The majority of these editions were published in Latin (70% of the Bibles), so it is natural that in the 16th century the printed Latin Bible (Vulgate) experienced its age of flowering in Europe (in total, 438 editions of Vulgate were issued ). The path of the Holy Scripture to the former Grand Duchy of Lithuania (GDL) varied from such Catholic countries as France (the latter “presented” the bulk – over 25% – of Bibles kept at the Vilnius University Library from the 16th century), Belgium, Poland, Italy, Austria to such a “heretical” land as England, or such Protestant towns as Geneva, Basel, Strasbourg, Zurich and quite a few towns of Lutheran Germany such as Nuremberg, Frankfurt am Main, Leipzig, Rostock, etc. There is also the Holy Script published in the GDL – the famous Brest (or Radvila) Bible (issued in 1563). The wide geography of the publications’ origin as well as the miscellaneous (from the point of view of confessions) cast of Bibles’ editors, commentators, translators or publishers raises certain questions about the existence of ecclesiastical discipline in the GDL, for in accordance with various Indices librorum prohibitorum (Indexes of Prohibited Books), which were obligatory for Catholics, almost 46% of the 16th-century Holy Scriptures in the present Vilnius University Library were forbidden to be used at one time. On the other hand, the markings of ownership (provenances) in these books show that of all the 16th-century Bibles kept at the Vilnius University Library, which have such markings (91 copies), even over ¾ for some time belonged to monasteries, Catholic churches and colleges. Furthermore, more than half of private owners consisted of Catholic clergy and monkery. Talking of separate monasteries, the provenances also indicate that the majority of the 16th-century Bibles found their way to the Vilnius University Library from the Grodno Dominicans; the most affluent “donors”among monkhood were Franciscans (including both Observants and Conventuals). These findings, though indirectly, indicate the influence of Western and Central Europe on the religious life of the 16th-century GDL through the Holy Script – the fundamental writing for Christians.

В статье на примере истории первой французской колонии в Бразилии (1555–1560) рассматривается проблематика использования пространства сенсорной депривации в качестве инструмента властных отношений. Сохранившиеся свидетельства о тяготах и лишениях колонистов повествуют об ограниченности пространства, недостаточности запасов продовольствия одновременно с отсутствием привычных продуктов питания, а также жесткой и временами жестокой регламентацией главы колонии. Наряду с выявлением уникальной и верифицируемой информации источников статья затрагивает проблематику конструирования авторами XVI века определённых образов с помощью литературных приёмов. The article examines the instrumental use of sensory deprivation to establish and maintain domination within a limited area, such as the first French colony in Brazil, the so-called “Antarctic France”. Testimonies of this colonial enterprise show the colonists’ hard life: limited space, insufficient food supplies and the lack of familiar alimentation, as well as authoritarian (and sometimes brutal) governance. The article identifies unique and cross-confirmed information from such testimonies, and examines the ways 16th century authors used rhetoric and literary techniques to produce desired effect.

During the 1536 siege of Turin in northern Italy, a young French barber-surgeon abandoned the conventional treatment of battle-inflicted wounds, launching a revolution in military medicine and surgical techniques. Ambroise Paré (1510–1590) was born into a working-class Huguenot family in Laval, France, during an era when surgery was not considered a respectable profession. He rose from humble origins as a barber-surgeon, a low-ranked occupation in the French medical hierarchy, to become a royal surgeon (chirurgien ordinaire du Roi) serving 4 consecutive French monarchs. His innovative ideas and surgical practice were a response to the environment created by new military technology on 16th-century European battlefields. Gunpowder weapons caused unfamiliar, complicated injuries that challenged Paré to develop new techniques and surgical instruments. Although Paré’s contributions to the treatment of wounds and functional prosthetics are documented, a deeper appreciation of his role in military neurosurgery is needed. This paper examines archives, primary texts, and written accounts by Paré that reveal specific patient cases highlighting his innovative contributions to neurotrauma and neurosurgery during demanding and harrowing circumstances, on and off the battlefield, in 16th-century France. Notably, trepanation indications increased because of battlefield head injuries, and Paré frequently described this technique and improved the design of the trepan tool. His contribution to neurologically related topics is extensive; there are more chapters devoted to the nervous system than to any other organ system in his compendium, Oeuvres. Regarding anatomical knowledge as fundamentally important and admiring the contemporary contributions of Andreas Vesalius, Paré reproduced many images from Vesalius’ works at his own great expense. The manner in which Paré’s participation in military expeditions enabled collaboration with multidisciplinary artisans on devices, including surgical tools and prosthetics, to restore neurologically associated functionality is also discussed. Deeply religious, in a life filled with adventure, and serving in often horrendous conditions during a time when Galenic dogma still dominated medical practice, Paré developed a reputation for logic, empiricism, technology, and careful treatment. "I have [had] the opportunity to praise God, for what he called me to do in medical operation, which is commonly called surgery, which could not be bought with gold or silver, but by only virtue and great experimentation."

The 18th-century Parisian tavern was public space that lay beyond the private spheres of home, family, or corporate identity. Taverns, like markets or roads, were without inherent order, so they required the ordering of public authority. For much of the old regime, taverns illustrate the public sphere in its subjection to public control. A second public sphere, found in the coffeehouses of Britain and the cafés of France, was a place of intellectual and social exchange that gradually challenged the royal monopoly on public issues. Yet taverns demonstrated the evolution of a third public sphere from a space monopolized by royal control to one in which the populace constituted a public with its own discursive practices and norms. In their increasingly autonomous use of taverns, the people of Paris were developing a model of behavior that extended to the political life of the city during the French Revolution.

This paper discusses Adam Smith’s intellectual relationship with the French Enlightenment, with a particular focus on his view of French culture as conveyed in The Theory of Moral Sentiments (1759). Compared to England at that time, eighteenth-century Scotland is considered as having a closer affiliation with France in terms of their intellectual and cultural life during what has been dubbed the Enlightenment. While David Hume was representative of the affinity between the French and Scottish literati, Smith also held an enduring interest in the French philosophy, literature, and other aspects of its civilisation, long before the historic visit to Toulouse and Paris (1764–1766) that would shape his political economy greatly. While this paper shall examine Smith’s Francophile and Europeanist tendency within his moral argument, it also emphasises that he was abundantly aware of the moral cultural tensions between these two branches of the European Enlightenment.

Abstract. The characteristics and appearance of an authentic map (in conformity with reality), together with the convention about how authenticity should be obtained in a map, continued to change since the beginning of modern cartography along the centuries. As Critical Cartography has emphasised, the authenticity of a map was in many cases just a convincing appearance, hiding intricate ideologies. However, the political role of maps is just one aspect of their significance, which does not exclude the existence of genuine beliefs and ideals which were guiding cartographers and map authors in the creation process.With a long tradition of understanding maps as illustration devices, Renaissance geography blended intimately with the assumptions and debates of the artistic domain of painting. Among these, veracity was a much praised ideal, signifying the ability of the art work to make present the absent things or giving a new life to people or events gone long ago, a perspective which allowed for rich metaphysical implications. In his theological atlas Theatrum Terrae Sanctae, Christian Adrichom used a variety of formula through which he expressed his view on the evocative power of maps, deriving from contemporary theories concerning truth, vision and representation. In this article we will employ the textual analysis of Adrichom’s affirmations, approaching them through the filter of the Intellectual History methodology. This method allows us to discover that the author explored the metaphysical implications of painting realism in order to present and use his maps as Christian devices, equating the veracity of the cartographic medium with the authenticity of Christ’s life and with the theological understanding of truth.

Abstract In the late 16th century two interesting individuals made substantial contributions to the relatively new genre of the autobiography. In 1595 Bartholomäus Sastrow (1520–1603), a north German burgher, notary, diplomat, and eventually burgomeister of the Hanseatic City of Stralsund, penned his life story. Benvenuto Cellini (1500–1571), goldsmith, soldier, musician and famous Renaissance artist from Florence, wrote his memoir between 1558 and 1563. Though they were born twenty years apart, both men had similar backgrounds. Both were from the lower-middle strata of society but rose to high status, both were widely traveled and directly acquainted with the most powerful individuals of their time (as well as some of the most lowly) and both experienced firsthand some of the most dramatic and important political and military events of the mid-16th century. Amidst a backdrop of war and severe religious conflict, Sastrow, a German and a Lutheran, traveled to Italy, and Cellini, an Italian Catholic, travelled through Germany to France. This allows us to see each region from both a native and an outsider’s perspective. Both men participated in or were witness to numerous incidents of social violence and warfare during their lifetimes, as described in detail in their memoirs. These accounts give us an opportunity to examine the depiction of incidents of social violence by people who witnessed or participated in them first-hand, allowing us to contrast these episodes with the principles of self-defense as portrayed in the fightbooks. We can also compare these personal anecdotes with documented written and unwritten rules governing dueling, fighting, and the carrying of arms. This will help grant us further insight into the reality of personal armed conflict in the era of the fightbooks, and improve our understanding of their context and meaning.

Catherine Kerrison, Claiming the Pen: Women and Intellectual Life in the Early American South (Ithaca: Cornell University Press, 2005)Susan Stabile, Memory's Daughters: The Material Culture of Remembrance in Eighteenth-Century America (Ithaca: Cornell University Press, 2004)Mary Kelley, Learning to Stand and Speak: Women, Education, and Public Life in America's Republic (Chapel Hill: University of North Carolina Press for the Omohundro Institute of Early American History and Culture, 2006)Consider Abigail Adams. Known to us mostly through over one thousand letters that she exchanged with her husband, John Adams, she was a woman of redoubtable intelligence and energy. Wife of the second president of the United States, she was mother to its sixth. She traveled to France and England, rubbing elbows with dukes and diplomats; she read deeply in history and literature; she supported the literacy of black children; she was a conduit for the American reception of Catharine Macaulay's republican-friendly History of England from the Accession of James I to that of the Brunswick Line (1763–8). The letters between John and Abigail fly so fast and furious, are so full of learned banter and palpable yearning, that their marriage appears strikingly modern, a union of equals. Let us not be deceived. Abigail Adams, like other women of her generation even in the social stratosphere, had no formal schooling, and her erudition was dwarfed by the massive learning bestowed upon John. He had a Harvard BA and read law for three years. He took for granted a vast public arena in which to unleash his colossal, if tortured, political ambitions. Abigail never published a word.

Throughout the 16th and 17th centuries, many builders, artists, and architects living on the shores of Italian lakes decided to settle in Poland. Upon arrival, they pursued brilliant careers in various areas of life. Over time, they became Polonized. This was also the case for Giovanni Battista Trevano, who was active in Krakow in the first half of the 17th century and whose lifetime achievement was to become the royal architect of the Vasa kings. This article presents Trevano’s artistic oeuvre and provides insight into his social, economic, and intellectual status in the new community, including the architect’s offspring, who pursued successful careers in army, church, and state offices throughout the 17th and 18th centuries. These new findings are based on manuscripts that have recently been discovered by the author of the article in both Polish and Swiss archives. They allow for expanding the knowledge of the Trevano family’s genealogy and biography, and correcting some unjustified views in the discourse. On the basis of research on new archival sources, one can conclude that Giovanni Battista Trevano was a prominent architect, who is credited with introducing in Poland the early Baroque style, which soon became dominant in northern European art.

The world is now undergoing a transformation as profound as that experienced with the rise of the territorial state system after the religious wars of Europe’s feudal period. Modern technology in defense and communications and “emerging trans-state patterns of commerce, politics, and cultural life” are rendering traditional notions of “frontier” obsolete. Dispersed transnational communities—Sikhs in Canada, Muslims in Britain, Germany, France, and the U.S.—sectarian and ethnic militias sustained by emigré and foreign funds, and transnational banking, commercial, religious, and intellectual links often opaque to state authorities may not threaten the existence of the nation-state everywhere, but they serve as a poignant reminder that nation-states are not the only significant political actors in the late twentieth century.

AbstractThe two sides of the current debate on the nature of 16th- and 17h-century realism are represented by an interpretation based on the recognition of familiar psychological and social factors on the one hand, and one which is averse to all empathy and endcavours to trace the intellectual process that determined function and meaning of images in the past on the other hand. This formulation of the problem also bears on portraiture, to which certain recent interpretations have assigned the significance of sociological documcnts. It is argued here that the portrait, too, had its place in the metaphorically structured and religiously orientated thought that still played a dominant role in the 17th century. Closely linked with the portrait's primary function - which is to perpetuate the memory of the sitter- is the reminder of death and transience cncountered in many (not all!) portraits. In a Family Group painted in 1661 by Jan Mytens in Dublin (fig. 1), the father points to two figurcs on the left who arc obviously deceased (as the papaver comniferum in front of them probably indicates). The piece of paper in his pointing hand is a frequent attribute of sitters in early sixteenth-century portraits, rolled up or folded (fig. 2). Seventeenth-century texts and a large number of vanitas still lifes (fig. 3) suggest that the motif was a symbol of transience: it is in this capacity that it was still being used a century ago in tomb sculpture (together with a skull) (fig. 4). The early sixteenth century saw not only the introduction of the sheet of paper but of a number of other motives which endowed the by now autonomous portrait with a religious meaning and which, together with more familiar symbols such as the skull, hourglass and carnation, alluded to the transience of earthly existcncc and the hope of eternal life. Some of them were only occasionally used, others (like the sheet of papicr) maintained their status as fixed items in the iconographic tradition. They include: - the glove (figs. 5 and 7): a frequently used motif (chiefly, but not exclusively, in male portraits) whose meaning the rejection of the false illusion of eartly existence and the search for truc life in the hereafter becomes only apparent from a relatively late printed source; - the cast shadow (fig. 7), which features in various biblical texts as an image of earthly transience and in the 16th and 17th centuries (in portraits, as well as genre scenes and still lifcs) was clearly understood as such; - musical instruments (fig. 8), which not only suggested the harmony of married life but also, due to their short lived sounds, were used as a vanitas motif in portraits and still lifes; - sumptuous architecture (fig. 8), which recalled the wealth of the rich man in Luke 12 and hence, again, the brief enjoyment of earthly possessions. Used less often, but with similar implications, were: - the butterfly (notes 42-44); - the vase of flowers (fig. 9); - the broken column (fig. 10). The meaning of the frequently occurring intact column, sometimes in combination with a curtain is still unclear. Even quite late in the 17th century a new motif was introduced in portraits to express he old vanitas idea: the waterfall, which notably in works by Jacob van Ruisdael had developed into an accepted vanitas motif (fig. 11).

After a five-month sojourn in Rome, the author Henry James departed with “an acquired passion for the place.” The year was 1873, and he wrote eloquently of his ardor, expressing appreciation for the beauty in the “solemn vistas” of the Vatican, the “gorgeous” Gesù church, and the “wondrous” Villa Madama. Such were the impressions of a Bostonian who spent much of his adult life in Europe. By contrast, in June of 1885, the young Boston architect Herbert Langford Warren wrote to his brother about how he was “glad to be out of Italy.” He had just concluded a four-month tour there. He had also visited England and France, and he was convinced that the architecture and sculpture of those countries were superior to what he had seen in Italy, although he admired Italian Renaissance painting. When still in Rome, he told his brother how disagreeable he found the “Renaissance architecture in Italy contemporary with Michael Angelo and later under Palladio and Vignola,” preferring the work of English architects Inigo Jones and Wren. Warren appreciated some aspects of the Italian buildings of the 15th and early 16th centuries, but he considered the grandeur and opulence of later Renaissance architecture especially distasteful.

Since ancient times, the concept of ethos has been a distinguished part of cultural heritage, living in various spheres of social, cultural, intellectual and religious life. During the Renaissance, the encounter of rhetorical categories and Christian doctrine opened the space for the manifestation of ethos in sacred music. Ethos is important as a rhetorical category, therefore, as a way to achieve persuasiveness, in which the theory of ethos of the Greek rhetorician Hermogenes of Tarsus will be consulted. Following this theory, which was also known in the Renaissance, a series of counterpoint methods will take form, which may indicate the manifestation of certain subcategories of ethos in music. Having in mind Hermogenes' concept of ethos on the one hand, and the significance of ethos in the Christian figure of Mary on the other, this paper examines a chain of manifestations and, given Hermogenes' subcategories, offers an in-depth reading of the text and music in the motet from the end of the 16th century. It is an early work of Claudio Monteverdi on the words of the Ave Maria prayer, which, according to its religious function and meaning, represents not only a concise appeal to the ethos of believers, but also the ethical foundation of Marian devotions.

AbstractThe purpose of this paper is to describe the lifelong work of the Czech Dominican monk and theologian Silvestr Braito (1898–1962). Braito ascribed significant importance to ecclesiology as a prerequisite for effective pastoral work, which he understood as a process of ongoing intellectual education of the faithful as well as their spiritual formation. Ecclesiology underwent a dramatic development in the twentieth century, particularly in Germany and France. Braito, while avoiding the more controversial issues, followed this discussion and presented its main themes to the Czech speaking Christian public. He considered a deep knowledge of the Church indispensable for a sound spiritual life. In this context, a dynamic comprehension of the relation between God and the human person, which Braito liked to express as 'sonship of God', presents his distinctive contribution to a practical pastoral-oriented application of ecclesiology.

Abstract The philosopher meditating alone in his study is a cliché of western culture. But behind the hackneyed image lies a long history of controversy. Was solitude the ‘palace of learning’ that many learned people, religious and secular, perceived it, or a debilitating state of solipsistic misery and intellectual degeneracy, as its enemies described it? In the mid eighteenth century the debate became fiercely personal during a public quarrel between two philosophical luminaries: David Hume and Jean-Jacques Rousseau. In the 1760s Rousseau faced persecution from state and church authorities in France and Switzerland. Hume gave him refuge in England. The relationship rapidly turned toxic as the convivial Hume sought to manage his notoriously reclusive charge. Solitude became a casus belli in a war of words that fascinated intellectual Europe. But the fracas was more complex than it appeared. Who are we with, when we are alone? For Hume, no less than Rousseau, the question proved inescapable, in both his personal career and his philosophy. A closer look at two thinkers who, on the surface, were a study in opposites, reveals much about the vicissitudes of solitude in the life of the creative mind.

The late 19th struggle for artistic freedom in the capitalist world-system put the artist in a contradictory position. This contradiction is particularly relevant for writers of the periphery. Freedom or autonomy to pursue purely intellectual projects required a certain aristocratic defense of the value of art. At the same time, however, artists and intellectuals did confront structural subordination: they belonged, as Pierre Bourdieu explained, to the dominated fractions of the dominant class, subordinated both to the state and the bourgeoisie. The life of Nicaraguan Ruben Darío (1867–1916), probably the most well-known poet in Latin American history, provides a paradigmatic instance of this dilemma. Moreover, it sheds light into a dilemma particular to the peripheral intellectual. Peripheral writers, in the 19th century and still today, are subject to world-systemic hierarchies, even cultural ones. This double subordination is clear in the case of Ruben Darío. He was in a subordinated position not only vis-à-vis the national state and the bourgeoisie. Darío was also in a subordinated position, even if symbolic, in relation to those same intellectuals that Bourdieu celebrated as creators of the autonomy of culture in France. One can account for this complex of hierarchies only through a 'world-systems biography' approach. World-systems biographies clearly examine the dialectic of personal, national and global levels of social life. Moreover, it can uncover the core-periphery dialectic in the realm of artistic production. Thus, this world-systems biography approach is shown to be a useful framework through a brief analysis of Darío's life and work.

One of the most engaging, yet controversial, public intellectuals of the twentieth century, Hannah Arendt continues to be attacked with the same venom and ferocity that followed the publication of Eichmann in Jerusalem: A Report on the Banality of Evil (1963) more than fifty years ago. This article discusses why Arendt remains such a divisive figure and why her intellectual legacy is still so unsettling, particularly for Zionists. The essay examines how these issues are represented, negotiated, and problematized in Margarethe von Trotta’s film Hannah Arendt (Germany/ Luxembourg/France, 2012). It explores how one of the most prominent contemporary feminist filmmakers, whose work celebrates the life and activism of revolutionary women from Rosa Luxemburg to Gudrun Ensslin from the Red Army Faction, transforms the “historical Arendt” into a “cinematic Arendt.” Although not a revolutionary in the tradition of Luxemburg, the German-Jewish political thinker Arendt is an interesting choice for a left-leaning, post-Holocaust German woman director. Yet Arendt presents a paradox for feminists due to the contradictions embedded in her works and public pronouncements. The article examines these contradictions and how Arendt emerges from this film, which attempts to portray a politically engaged intellectual woman, a figure that is almost entirely absent from the film screen.

In the last century, a complex of scienific disciplines has been developing on a large scale - medical anthropology, which studies the sociocultural aspects of medical knowledge, medical traditions, practices and knowledge intertwined with the history of different peoples. Folk medicine, once considered in the field of ethnomedicine, is now considered in the field of medical anthropology, which has taken its place between interdisciplinary anthropology and medicine. Like the development of any scientific discipline, medical anthropology has evolved over the years and the scope of research has expanded. As a result, it has turned into a complex of scientific research, both in the interests of medicine and in other areas not directly related to it. Although the term “medical anthropology” is interpreted by researchers in different senses, scientists unanimously agree that the object of its study is the local culture and a certain intellectual context. The article discusses the role of pets in the tradition of medicine, which is the main source of life support for the Turkic peoples through the medieval medical heritage “Dastur al-‘ilaj”. Based on the information found in the Chagatai and Persian versions of this work, we reflect on the sociocultural understanding of health and disease in the Middle Ages. Written in the first half of the 16th century, this work shows the widespread use in the healing tradition of domestic and wild animals, their bile, blood, bones, etc. There is a lot of interesting information about the preparation of medicines from their products. We decided to consider this information in the article not only as ethnographic materials, but also as valuable data in the field of medical anthropology.

Eller: Håndværkeren og filosoffen Phenomenology and StructuralismThis paper traces the changes in the French phenomenologist Merleau- Ponty’s ideas of language and cognition during the 1940s and 50s. In the mid-40s he is under the spell of the new French Hegel interpretation heralded by Alexandre Kojève and Jean Hippolyte since the late 1930s. Gradually, as Cl. Lévi-Strauss, starting in the late 1940s, demonstrates that he is able to rejuvenate the Durkheim-Mauss tradition in French intellectual life by way of inspirations from structuralist linguistics, Merleau-Ponty takes up reading Saussure and other founding fathers of structuralism. By 1960, when he welcomes Lévi-Strauss into the Collège de France, Merleau-Ponty seems to be close to a structuralist concept of language. But then again, in 1962 young Derrida presents a radical re-reading of Husserl leading up to his well-known attack a few years later on Lévi-Strauss and structuralism, thus swinging back the pendulum between two competing strands in French thought in the 20th century.

The Order of Books was published in France in 1992 and translated into English in 1994. I have to confess that I had not reread it since, and perhaps I would have never read it again had I not been invited to do so for this exercise. The central aim of that book was to try to understand something of how in the period between the fourteenth and the eighteenth century the written word was classified, organized, and perceived by all the actors involved within the trajectory of the text, from authors to publishers and printers, from the printing shop to the library. I will begin by recounting some of the factors in my own intellectual life that I believe led up to that book, and go on to reflect on the arguments that I posited in 1992, in the hope of giving some account of the ways in which that earlier work might today be supplemented.

The previous practice of applying a skeptical-critical approach to the gradual displacement of the dominant still in all spheres of life in Europe has also received a method of thinking oriented on dogmatisation, orthodoxization and conservatism in the seventeenth century. further dissemination and development. Known, authoritative thinkers - philosophers, naturalists, mathematicians, theologians in France, England, Holland, Germany, Italy, trying to solve the pressing social problems and advocating the latest vision of ways to solve them, quite actively used the arsenal of ideas of the skeptical heritage of antiquity, "pyronics" New time. True, the philosophical achievements of predecessors of skeptics, before being used to justify and validate new approaches and goals in science, social life, moral complex, thinkers of the modern times, have been substantially revised. Some of them - actualized, second, inappropriate to the needs of intellectual development and society as a whole, omitted; the third are perceived, developed, transcended and thought-out, or endowed with new meanings, which were neither in the pyron nor in the "academics", but which have already been designated by "new pioneers" (Castellon, Sanchez, Montaigne, Sharon, Lamote Lewaye, Gassendi, etc.).

This article discusses Sappho’s “Ode to Anaktoria” (fragment 16) poem as a ‘marginal’ product of an aristocratic intellectual in the transitional society of Mytilene at the end of the Archaic Period (8th-5th century B.C.). The research method is a kind of media analysis. The mean of “media” in this paper related to “A means by which something is communicated or expressed” It is laso relate to the intervening substance through which sensory impressions are conveyed or physical forces are transmitted. Media also means as a substance in which an organism lives or is cultured. On the other hand, media is a material or form used by an artist, composer, or writer; We interpreted Ode to Anaktoria in the means as the terms of media above. Sappho (born 610, died 570 B.C.) is a renowned Greek lyric poetess and musician and is greatly admired in all ages for the beauty of her writing style. Plato’s 16th epigram dedicated to her reads “Some say there are nine Muses; but they should stop to think. Look at Sappho of Lesbos; she makes a tenth”. Sappho is additionally ranked among the Nine Lyric Poets esteemed by the scholars of Hellenistic Alexandria as worthy of critical study. “Ode to Anaktoria” is read through the historic-political concept of hegemony as suggested by Gramsci. In this view, the moment of “hegemony” or of cultural leadership is systematically upgraded precisely in opposition to the mechanistic and fatalistic concepts of economism. Sappho’s fragment 16 does not only indicate defiance to androcentric (epic) categories; she suggests nonnormative, thus new, ways of contemplating life (lyric).

One of the most recognizable thinkers of the 16th century France, Jean Bodin, wrote what is perhaps the first methodological treatise of instructions and guidelines on how to not only read and write but also understand history. With his universal interest in all things human, Bodin predated Marc Bloch’s postulate that historians should ideally be interested in all forms of life if they were to perform their task as dutifully as possible. In 1566 Bodin published one of the most frequently reprinted works, the Methodus ad facilem historiarum cognitionem – “The Method for the Easy Understanding of History”. Although he expressed keen interest and good knowledge of a score of ancient historians, listing them in the fourth chapter of his work (De historicorum delectu – “On the Choice of Historians”), one of them was particularly close to his heart. The Roman historian Gaius Sallustius Crispus who is, according to Bodin, “a most honest author [who] possessed experience of important affairs”, provided Bodin and many of his colleagues with a model (stasis) narrative for discussing a changing world in turmoil – something Bodin was no stranger to in the time of the French religious wars. However, the explanation that it was the rhetorically efficient model narrative that inspired Bodin to copy Sallust’s argument seems unsatisfactory and biographically superficial. Instead, this paper closely analyses the Sallustian chapters that purportedly motivated Bodin’s thinking and proposes that there are little grounds in Sallust for Bodin’s legal and historical framing of absolutist sovereignty.

On the basis of the comparative and contextual analysis of publications in the Russian periodicals of the first quarter of the 19th century the article reconstructs the methods of argumentation used in the course of public discussion of ideals and practice of republicanism. Theoretical approaches of the modern history of concepts are used as methodological tools to reveal the ideas of contemporaries about the essence of the republic, the reasons for its emergence and decline, the nature of the relationship between citizens and the state. The intellectual context of Russia’s republican discourse was built on the basis of combination of two space-time prospects — historical experience of the republics of the ancient world and the description of options of the embodiment of the republican idea in France, the modern small states, and “the Republic of the Connected American Areas”. In public space of Russia of the first quarter of the 19th century the republicanism remained an important element of a discourse “about the best form of communal life” which starting point was a statement about the paramount importance of moral qualities of subjects/citizens and the monarch for steady functioning of power institutes. Such interpretation of the republican idea in Russia caused a shift from a question of the institutional embodiment of the republic to reflections about a possibility of combination of republicanism as the ideas of joint action of patriotic citizens, their partnership in “common cause” with historically developed monarchic form of government.

Introduction. Victor Izmailovich Novytsky played a significant role in the life of the pre-war Ukrainian Academy, in the development of historical and legal science and archival affairs. He was a researcher of the Commission for the study of Western Russian and Ukrainian law of the All-Ukrainian Academy of Sciences and scientist-archivist of the Kyiv Central Archive of Ancient Acts. In 1938, the scientist was shot on falsified charges, and his creative legacy was artificially withdrawn from scientific circulation. It seems that the time has come to restore justice to the scientist and to give a proper assessment of his scientific achievements. The aim of the article. The reconstruction of the scientist's biography, clarification of the composition and evaluation of its scientific heritage. Results. The life and creative activity of V. I. Novytsky, a Kyiv intellectual in the third generation, was markedly influenced by his family and the city environment, his participation in the propaganda work of the Socialist-Revolutionary Party during his high school and university years. He was persecuted by the tsar for participating in the student movement, later became a member of the Ukrainian Central Rada (Central Council of Ukraine). Before the revolution, the researcher, doing science at his own expense, became an author оf a priority work on the history of the nobility of the 16th and 17th centuries. At the All-Ukrainian Academy of Sciences he prepared a number of problematic works on the history of Ukrainian law, in particular, of historiographical and methodological nature, developed the views of Mykhailo Hrushevsky on the stages of development of the law of the Ukrainian people. As a historian and archivist he was a profound connoisseur of act books, the author of interesting explorations of historical and geographical nature. Conclusion. The life destiny of V. I. Novytsky, a jurist and historian of the first third of the twentieth century, seems quite instructive, and his creative achievements are still not really appreciated. Researchers have yet to return a number of his scientific works to scientific circulation, to fill numerous gaps in the biography of the scientist.

On October 17, 2017 the conference “An Alsatian Intellectual in Enlightenment Russia: L.G. Nikolay, Strasbourg President of the Russian Academy of Sciences” happened. Materials of the conference, with the addition of other essays and documents, formed the basis of the book under review (published under the editorship of Sorbonne Professor Rodolphe Baudin and Senior Researcher of IWL RAS Alexandra Veselova). The book’s authors are well-known scientists from France, Russia, Germany and Switzerland. Baron Ludwig Heinrich von Nikolay (1737–1820; in Russia he was called Andrey Lvovich) played a prominent role in Russian social and cultural life at the end of the 18th century. Nicolay came from the intellectual milieu of Strasbourg, which became a subject of research in the essays included the book by R. Baudin, D. Ryusk and V. Berelovich. From 1769 he was in Russia, where he was entrusted with the position of mentor to the heir to the throne, Pavel Petrovich. In 1798, Nikolay was appointed president of the Russian Academy of Sciences; N. Prokhorenko’s essay is devoted to his productive activity in this post. Thanks to his personal qualities, Nicholas managed to stay at court after the coup on March 12, 1801 and ingratiate himself with Alexander I; in 1803 he left the service. A number of materials of the reviewed work are devoted to the literary work of Nikolay, a prolific and versatile poet (articles by M. Arens and A. Ananyeva). For posterity, the name Nikolay is associated primarily with the famous estate of Mon Repos in Vyborg, which he acquired in 1788, to which he dedicated a poem in 1804, probably his best work (article by Yu. Moshnik and M. Efimov). The book also pays attention to Nikolay as a character in historiographical essays and fiction (articles by A. Veselova and M. Efimov). Attached are five unpublished letters from Nicolai; their addressees are the diplomat and lawyer F.A. Annenberg and the poet and scientist K. Pfeffel. The book is provided with a chronology of Nicolai’s life and work and brief annotations of articles (in French and Russian).

CONTENTS I. PROBLEMS AND SOLUTIONSJoanna Korzeniewska-Berczyńska (Poland). The Communicational Aspect of Polish Political Discourse...11Oleg N. Grinbaum (Russia). The Plot Heralds or Harmony and Metaphor in the Development of the Novel Evgenij Onegin by Pushkin...20Virginija Jurėnienė (Lithuania). Lithuanian Women’s Aspirations for Presidency ... 34 II. FACTS AND REFLECTIONSIosif Sternin (Russia). The Basic Types of Speech Cultures in Modern Society ...44Hanna Mijas (Poland). A New Approach to Translating Culture in Subtitling ...53Audronė Rimkutė (Lithuania). Cultural Industries and Cultural Policy: Traditional Relation and New Challenges ...62Pavel Solovyov (Belarus). Language Picture of the World in Adjectival Figurative Comparisons ...76Natalia V. Kovtun (Russia). Russia of the “Post Square” Epoch. (On the Issue of Poetics in the Novel Kish by T. Tolstoy) ...85Izolda Gabrielė Geniušienė (Lithuania). Indeterminacy and the Search for Meaning in Geoffrey Hill’s Poetry ...99Jerzy Szczepański (Poland). The Poet and the Period – Some Aspects of the Life and Work of Franciszek Karpiński (1741–1825) ...109Natalia V. Yudina (Russia). On the Reflection of the Ethnic Stereotypes in the Mirror of the Russian Language ...121Michał Łuczyński (Poland). Czech in the Pole’s Eyes – About the Reconstruction of the Stereotype ...134Liudmila Arcimavičienė (Lithuania). ECONOMY Metaphors: What Associated Conceptions Underlie Lithuanian Business? ...143Dorota Połowniak-Wawrzonek (Poland). Interpretation of THE METAPHOR PROCESSES RELATED TO HUMAN ORGANISM AS (ARMED) FIGHT, which Appears in Modern Polish Phraseology ...154Daiva Aliūkaitė (Lithuania). Perceptual Analysis of the Dialectal Discourse: Mental Map ...164Indrė Brokartaitė-Pladienė (Lithuania). Rendering German Coinages in the Newspaper „Naujasis Tilžės Keleivis“ (1924–1940) ... 180Jūratė Čirūnaitė (Lithuania). Names of the Volyne Nobility in the 16th Century ...192Danutė Balšaitytė (Lithuania). Vowel [ы] in Russian Speech of Lithuanians ...202 III. OPINIONOlga V. Zernetskaja (Ukraine). Global Satellite News Networks: The Beginning of the 21st Century ...210 IV. OUR TRANSLATIONS Brigitte Peucker (USA). The Castrato’s Voice: Fassbinder’s In a Year of Thirteen Moons. Translated by Natalija Arlauskaitė ...220 V. SCIENTIFIC LIFE CHRONICLEConferences, eventsAnatolij Kruglashov (Ukraine, Lithuania). Ukraine-Belarus-Poland-Lithuania: Recultivation of the Intellectual Space ...230Viktorija Makarova (Lithuania). Patrick Seriot’s Lectures in Vilnius ...238Books reviewsGabija Bankauskaitė-Sereikienė (Lithuania). Tekstai ir kontekstai: transformacijų sklaida. 1 volume. 2008...241Saulutė Juzelėnienė, Daiva Aliūkaitė (Lithuania). Tekstai ir kontekstai: transformacijų sklaida. 2 volume. 2008...244Oleg Perov (Lithuania). Lithuanian non Lithuanian – Evgenij Shkliar. ЛАВРИНЕЦ, Павел, 2008. Евгений Шкляр. Жизненный путь скитальца ...246Skirmantė Biržietienė (Lithuania). BANKAUSKAITĖ-SEREIKIENĖ, Gabija, 2008. Oratorystės menas. Mokomoji knyga humanitarinių ir socialinių mokslų studentams ...250Vilnius University Kaunas Faculty of Humanities: journal of scientific lifeJūratė Svičiulienė (Lithuania). Cultural Industries: Challenges and Perspectives ...253Daiva Aliūkaitė, Jadvyga Krūminienė (Lithuania). “Texts and Contexts: Interactive Perspectives“ or the Days of the Humanities at VU KHF ...255Vytautė Pasvenskienė (Lithuania). TEXT Interface ...258Daiva Aliūkaitė, Gabija Bankauskaitė-Sereikienė (Lithuania). Seminars on Literature and Linguistics at VU KHF ...261Letters to the Editorial Board ...265 Announce...266 VI. REQUIREMENTS FOR PUBLICATION...268VII. OUR AUTHORS...276

Autonomy as a principle of organizing activities and ensuring the management of the university remains the subject of heated debate. Approaches to its implementation in the system of national education, coordination from the standpoint of internationalization of educational processes, determining the place of the higher education system of Ukraine in the European and world educational space differ. Identifying the general and special in the development of Ukrainian 6 university education and the University of Western Europe will help to outline prospects and identify real ways to address this issue. Problems of democratization and humanization of higher education became relevant in the late 20-th century. The transition to the market economy of competition and freedom of choice also affected higher education. In modern conditions, the development of its new model is economically determined and socially demanded. However, history and the present prove that a a high role of university in the education system, in the social and political life depends primarily on the level of its autonomy and academic climate. Autonomy is necessary for university to realize the interests of its social environment and its own internal goals. Since the 13-th century European University that arose in Italy and southern France began its expansion as the way of providing higher education. By the middle of the 15-th century «university development» covered the whole Central Europe. Problems of democratization and humanization of higher education became relevant in the late 20-th century. The transition to the market economy of competition and freedom of choice also affected higher education. In modern conditions, the development of its new model is economically determined and socially demanded. However, history and the present prove that a a high role of university in the education system, in the social and political life depends primarily on the level of its autonomy and academic climate. Autonomy is necessary for university to realize the interests of its social environment and its own internal goals. Ukraine faces a situation of overcoming the consequences of centralized management in higher education and developing of those features in academic life that are able to ensure the liberalization of higher education. The Law of Ukraine «On Higher Education» (2014) enshrines academic, organizational, financial autonomy of university and includes decentralization (a number of powers goes to the departments and faculties). University has to improve its status to provide services to many social institutions. Accordingly, it is necessary to coordinate priorities of the state policy in education, society interests, goals and objectives of university. Only then university can become an equal partner in relations with the state, civil society, labor market and individual. In this regard, it is important to determine the paradigmatic areas that set the differentiation and generate a variety in modeling of university: 1) education - research; 2) training - education; 3) patronage (public administration) - autonomy (self-government). The principle of autonomy is carefully protected by modern university, as it has been protected throughout the period of its development. This is required by the need to maintain academic status which allows to cultivate science, to educate intellectual elite, to develop spiritual potential of society. Autonomy remains the basis of university life, but today it should be redefined with a view to the internationalization of educational processes, the integration of university into economy, labor market and program of national development in the globalized world. Key words: organizational autonomy, academic autonomy, university autonomy, internationalization of higher education, historical practices, challenges of today

Abstract This article examines the work of the jurist and political and social theorist, Joseph Rey. It explores Rey’s role within a French and international network of intellectuals and conspirators who sought to overthrow established monarchies and replace them with popularly elected democratic republics. The article shows how Rey’s extensive writings on legal, political, social and educational questions give a unique insight into France’s political, intellectual, social and ideological life in the first decades of the nineteenth century. We argue that Rey’s contribution to the debates that defined the modern ideological categories of liberalism, republicanism and socialism was significant in its endeavour to reconcile all three. This attempt at reconciliation was motivated by a powerful desire to end the internecine struggles that marked France in the aftermath of the Revolution and Empire. This led Rey to draw on the utilitarianism of Jeremy Bentham and the Philosophical Radicals in order to nourish a French republican liberalism rooted in the work of the Idéologues and combine this with his profound reading of Robert Owen’s work on co-operation. It goes on to show how Rey became known as France’s principal representative of Owenism, and sought to shape the debates between the dominant schools of French Socialist thought, Fourierism and Saint-Simonianism, by introducing into those discussions a radical conception of equality and the idea of co-operation. Rey’s attempts to reconcile the liberal-republican preoccupation with liberty and self-governance with socialist considerations on equality and social justice stand out from the works of his contemporaries. It is this unique, and long-forgotten, contribution to French and European political and social thought that makes Rey worthy of renewed attention.

Yermak Timofeevich, the conqueror of Siberia, is a key figure of the Siberian frontier and a special “myth” about Siberia in Russian culture. The aim of the article is to find out the idea of Yermak that Siberian intellectual readers formed at the turn of the 20th century. The library of the eminent Tomsk teacher Gavriil Tyumentsev is a representative material for this study. During his life, Tyumentsev collected books and various materials about Siberia. The corpus of publications on Yermak belongs to the period from 1832 to 1897. The books are mainly issued by the capital’s publishing houses and include works of various genres, both fiction (historical story, novel, tragedy) and non-fiction (historical essay, research paper, materials of anniversary readings). Two fictionalized biographies of Yermak stand apart. Folklore is an important component of many works. Readers of the publications are heterogeneous, although most of the books are intended for the mass educated reader. The degree of preservation of the books, few notes, and a number of external signs—all this made it possible to assess what turned out to be the most interesting for the reader. Fictional works about Yermak are in the lead, especially the voluminous historical novel Yermak, or the Conquest of Siberia (1834) by P. Svinyin and the love story From Chopping Block to Honor (1890) by E. Nikolaeva. However, popular science publications, primarily fictionalized biographies of the hero, aroused no less interest. In both cases, the fascination of the narrative turns out to be no less important than the quality of the text: for example, the publication of the short story of the populist N. Polushin, which is much more inferior to the work of the famous journalist and publisher A.S. Suvorin, has been preserved worse, and the book with E. Nikolaeva’s woman’s novel falls to pieces as a result of repeated reading. However, a remarkable historical essay by the Petersburg teacher A.N. Ovsyannikov, in which the author gave the most balanced assessment of the conqueror of Siberia, also attracted the reader’s attention. The collection of reports of the “literary morning” in Tobolsk (1883) is a vivid example of how the Siberian intelligentsia understands the events of the 16th century. Against the background of the same type of interpretation of Yermak’s personality by the metropolitan authors, Tobolsk teachers freely express their assessment of the activities of the ataman and his army, and also criticize their presentation in literature, which is far from the historical truth. The significant number of books about Yermak in the Tyumentsev library testifies to the fact that the heroic plot, associated not only with the capture, but also with the domestication of Siberia, was in demand among Siberian readers. And the “diversity” of Yermak in the collection of the Tomsk teacher is the best proof of the breadth of views of the Siberian intelligentsia at the turn of the 20th century, the desire of the local reader to follow all the trends of both the literary process and the historical thought of Russia and form their own idea of the origins of the Siberian “transboundedness”.

The article studies Ukrainian graphic art of the late twentieth century, undergoing changes caused by political events in Eastern Europe. Two iconic exhibitions became the turning point for native art as they revealed the Ukrainian graphic arts, and broke through the "iron" curtain of the totalitarian regime. The ideological seclusion of the USSR focused solely on the themes celebrating the life of a happy worker, peasant, or intellectual, did not let the works of another content to be displayed in public. Moreover, all areas of art creativity were controlled by the Union of Artists of Ukraine, headed by people with party membership cards. This prohibition referred especially to works of national-patriotic, conceptual, abstract, or surrealistic nature. The idea to hold an international exhibition that would present Ukrainian graphics to the world arose in the heads of a few independent politicians. At the state level, that idea certainly did not gain any support, but some people contributed to its implementation. Interestingly, the first exhibition of graphics "Interdruk'90" took place just before the collapse of the USSR, and the second, "Interdruk'92", in an already independent Ukraine. The exhibitions showed a high level of Ukrainian graphics, which equaled and sometimes surpassed the works of foreign masters. Among the exhibited art were works by such masters of national graphics as Valeriy Demya- nyshyn, Oleg Denysenko, Mykhaylo Alexandrov, Volodymyr Gumenny, Konstantin Kalinovich, Ivan Kravetz, Pavlo Makov, Mychaylo Moskal, Volodymyr Pinigin, Igor Podolchak, Yuriy Pshenychny, Roman Romanyshyn, Yevgen Ravsky, Alexander Aksinin et al. Their works reflected the whole spectrum of current life themes, which were seen and interpreted in new ways, imaginative technical and formal solutions. Most of those national artists had been exhibited abroad and won the most prestigious graphic contests, yet they were little known in their Motherland. On the other hand, the Ukrainian audience got a chance to learn about the works and achievements of graphic artists from France, Great Britain, Argentina, Korea, Israel, Spain, Holland, Poland, Canada, Russia, Japan, Italy and other countries. We may state that those two exhibitions of printmaking art opened the way to the development of graphics in independent Ukraine.

This is a delightful book. It opens up a cultural arena much neglected in scholarship on China. Nine engagingly narrated chapters take us through the history of Sino-foreign musical contact since the late 19th century, with one digression, which goes back to encounters since the 16th century (chapter two). The book follows the life story of three important institutions (the Shanghai Municipal Orchestra, the Shanghai Conservatory and the Central Conservatory) and three important men: violinist Tan Shuzhen, who was the first Chinese to join the orchestra in colonial Shanghai; conductor Li Delun, who was trained in Moscow and managed to serve the government before, during and after the Cultural Revolution; and composer He Luting, one of the most outspoken protagonists in China's music world and long-time principal at the Shanghai Conservatory. The authors' approach of choosing “white elephants” to present the history of classical music in China, although unfashionable since Jauss, brings much cohesion and structural elegance to the volume.The book is at its best when using material from interviews conducted by the authors. Based on this evidence, the book comes to one important conclusion: contact between Chinese and foreign musicians in China was generally not antagonistic, either before or after 1949. Foreign musicians did not behave in a condescending manner, as “imperialists” and Chinese musicians hardly ever perceived them to do so. For obvious reasons, few Chinese (and, surprisingly, few foreign studies) on China's classical music scene have acknowledged this fact.The authors have done a beautiful job in telling their story. They must be lauded for having gone through a great variety of sources including contemporary newspaper articles, propaganda magazines, Party documents, as well as films, recordings and some of the very recent, and mostly biographical, secondary literature on the subject published in China. Since the book is conceived as a collective biography, it lacks detailed musical and historical analysis and it would have benefited from a few closer readings. For example, what precisely is the meaning of “national style” for people as different as Tcherepnin, Mao Zedong or Guo Wenjing? Musical analysis would have provided an answer. Why do the authors not make more of the fact that Jiang Qing advised the musicians writing a model symphony to watch – and, more importantly, listen – to music in Hollywood films in order to improve their compositional skills? A more explicit engagement with the technical and musical styles of the model works (the term model opera should really be reserved for the operas in the set and not all of the pieces which also comprised ballets and symphonic compositions) would have been illuminating here, for it would have shown how indebted they were to the same principles of music-making as Hollywood film music on the one hand and the Butterfly Violin Concerto on the other – both officially condemned during the Cultural Revolution. It is sad, too, that the balanced account of the Cultural Revolution years – which describes both the pain it caused to many an intellectual and the benefits it brought for Chinese musical life generally – focuses almost entirely on the first set of eight model works and leaves out the second, equally important set of ten produced later (chapter seven). There are a number of non sequiturs in this book that are inevitable in any pioneering work of this size.

Intellectual pursuits in general and in translation particularly cannot be conceptualized without resorting to metaphorical means relating this experience to more perceptible ones. In European languages the metaphor in question is TRANSLATION IS MOVEMENT / RELOCATION. The terms for translation in various European languages (translatio(n), traduction, perevod) all imply the idea of relocation of a physical object. Translatare and traducere, the latter introduced by Italian humanists, find parallels (prēlozhiti and prēvoditi respectively) in Slavic prologues of the period. Although its verbal realization is conventional and even trite now, this conceptual metaphor has survived in lexemes designating the agent, the process and the result of translation activity. The purpose of this paper is to discuss the terms used by several late antique, medieval, and modern translators in their prologues, epilogues, and metatexts on translation, and especially vivid metaphorical imagery that regularly appear in their texts. This fact must not be neglected by translation theory. All the constituents of translation process, namely, agents, source and target texts, translation method, the signifier (lesignifiant) and the signified (le signifié) in the translated text, the process of translation and the life of the translated text in a new culture are discussed metaphorically. The agent of the activity under study (translator) is mostly represented via the metaphor of a master’s (author’s) servant, although sometimes the relationship between the author and the translator is envisioned as a competition or even a conquest. The motivation behind translators’ endeavor is often discussed in terms of the monetary “talent” parable (where talentum is a unit of weight) quoted or alluded to by Aelfric in England and John the Exarch in Bulgaria in the 10th century and Marie de France and Theodosius from the Cave Monastery in Kiev two centuries later. The relationship between source and target texts is illustrated with an artistic metaphor, among others. The signified and the signifier in the text are often presented as a body and clothing or a jewel and its wrappings. The translation process is often shown as that of construction in medieval texts and work of machinery in modern ones. The life of the target text in its new surroundings is discussed through revitalizing the old metaphor of relocation (as the cargo of a ship unloaded onto a distant shore) or through various biological metaphors.

Dear readers, We are pleased to present to you Issue 2, 2022, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The issue opens with the article "NON-Realism of Alexander Burganov" by I.Sedova. The author believes that modern Russian sculpture, at its best, has long since moved away from direct depiction and has learned to speak about painful issues exclusively in the language of plastic arts. In this regard, the author naturally raises the question - what is the "realism in sculpture" concept today? In the process of analysing the plastic techniques of A.Burganov, the author managed to identify several patterns, including the principle of "opposition": realistic images, being in opposition to each other, begin to form the world of symbolism and surrealism. Summing up her research, the author introduces a new term, "symbolic realism", into scientific circulation. Fang Zhiyu studies the specificity of modern Chinese sculpture in the article "Traditions and Innovations in Modern Chinese Sculpture". The author believes that two directions are clearly visible in the creative work of modern Chinese sculptors. The first direction basically follows the creative method of sculptors who studied in France before the formation of the People's Republic of China; the second direction is based on traditional Chinese culture. In the formation of the modern plastic language of Chinese sculpture, both directions mutually enrich each other. In the article “On Two Viewpoints on the Dramaturgical Conflict Structure: from Hegel’s Aesthetics to the Identity of the Formalists”, V.Kolotaev analyses the nature of the dramaturgical conflict in Russian humanitarian knowledge, which occurred under the influence of aesthetic ideas about beauty, harmony, the sublime, the ideal, formulated by Hegel in Lectures on Aesthetics. The author believes that in line with classical ideas, the conflict was understood as a necessary condition for maintaining the compositional unity of the work and the development of the action. It led to the final equilibrium state of all its elements after the separation of the participants in the collision to the maximum distance. In addition to the aesthetic understanding of the conflict as the basis of the harmonic organisation of the text, the author analysed the idea of conflict as the primary condition for the development of all systems. Ding Liang continues the topic of dialogue in the space of culture between national tradition and world trends in the development of art. In the article “Analysis of Creative Education in Ceramics and Student Creativity in Colleges and Universities in China”, the author rightly argues that Chinese education and global arts education are closely related to each other in the face of the globalisation of culture and economy. A number of texts are devoted to the issues of musical culture. In the article "On the First Graduation of Vocalists of the Saratov Alekseyev Conservatory", A.Rudyakova recreates a picture of the early period of the Saratov Alekseyev Conservatory, founded in 1912, based on rare unpublished sources. In the article "Alexander Ryndin's 104 Psalm: the Problem of the Expression of Author's Will Within the Canon", I.Mertseva studies the problem of secularisation, which the traditional genres of Orthodox worship are exposed to, in connection with the renewal of the means of musical expressiveness of choral music. Biographical information about the composer and facts explaining the address to the composition on canonical liturgical texts are introduced into scientific use. The author uses an interdisciplinary approach typical of liturgical musicology, combining musicological analysis and interpretation of the liturgical text in the traditions of Russian liturgy. Also, the article provides an overview of the methods by which it is possible to study original works on canonical liturgical texts. In the article "Heraldic Motifs in Family Stained-glass Windows of the 16th Century of the von Disbach Family", D.Platonov considers the study and attribution of heraldic stained-glass windows of the Swiss Union of the 16th century, when the art of stained glass was in its heyday. The author notes that by this time, the formation of a new social class, the burghers, was completed and the rich families were able to have their own family coat of arms thanks to the special historical conditions of the Old Confederation development. Based on sources in the form of surviving armorials and official documents of the period under study, the author investigates the rules for the creation of heraldry, the artistic image, and the specifics of stained glass technology. In the article “Zaha Hadid in the United Arab Emirates. An Architect Ahead of Time”, J.Smolenkova considers the architect’s buildings from the point of view of innovative technologies, features of the artistic image and plastic design. Along with articles, this issue of the journal presents K.Lopatkina’s scientific review of the book “The Moscow Union of Artists. A Perspective from the 21st Century. Book Two” by B.Ioganson (Moscow: Booksmart, 2021). The reviewer believes that one of the essential tasks that the author of this monumental work solves is the need to demonstrate and prove that the Moscow Union of Artists was very different primarily because it included various artists. For the researcher, “the presence of a unique experience accumulated in the course of the life of this multifaceted and well-coordinated organism that regulates the artistic life of Moscow and spreads its influence far beyond the capital” comes to the fore. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.

RÉSUMÉLe principal objectif de cet article est d’encourager une approche plus large, supraconfessionnelle, du mariage et de la famille à l’époque moderne. La conjugalité a été “désacralisée” par les réformateurs protestants du 16e siècle. Martin Luther, parmi d’autres, a refusé le statut de sacrement au mariage, tout en valorisant celui-ci comme une arme contre le péché. En réaction, le concile de Trente a réaffirmé avec force que le mariage est bien un des sept sacrements chrétiens. Mais, promouvant la supériorité du célibat, l’Église catholique n’a jamais beaucoup insisté sur les vertus de la vie et de la piété familiales avant le 19e siècle. En parallèle, les historiens décèlent des signes de “sacralisation” de la famille protestante à partir du 16e siècle. Leurs conclusions doivent être relativisées à la lumière de recherches plus récentes et plus critiques, centrées sur les rapports et les représentations de genre. Elles peuvent néanmoins inspirer une étude élargie et comparative, inexistante dans l’historiographie traditionnelle, des réalités et des perceptions de la famille chrétienne au-delà des frontières confessionnelles.MOTS-CLÉ: Époque Moderne, mariage, famille, protestantisme, Concile de TrenteABSTRACTThe main purpose of this paper is to encourage a broader supra-confessional approach to the history of marriage and the family in the Early Modern era. Wedlock was “desacralized” by the Protestant reformers of the 16th century. Martin Luther, among others, denied the sacramental status of marriage but valued it as a weapon against sin. In reaction, the Council of Trent reinforced marriage as one of the seven sacraments. But the Catholic Church, which promoted the superiority of celibacy, did little to defend the virtues of family life and piety before the 19th century. In parallel, historians have identified signs of a “sacralization” of the Protestant family since the 16th century. These findings must be relativized in the light of newer and more critical studies on gender relations and representations. But they can still inspire a broader comparative study, non-existent in traditional confessional historiography, of the realities and perceptions of the Christian family beyond denominational borders.KEY WORDS: Early Modern Christianity, marriage, family, Protestantism, Council of Trent BIBLIOGRAPHIEAdair, R., Courtship, Illegitimacy and Marriage in Early Modern England, Manchester, Manchester University Press, 1996.Beaulande-Barraud, V., “Sexualité, mariage et procréation. Discours et pratiques dans l’Église médiévale (XIIIe-XVe siècles)”, dans Vanderpelen-Diagre, C., & Sägesser, C., (coords.), La Sainte Famille. Sexualité, filiation et parentalité dans l’Église catholique, Problèmes d’Histoire des Religions, 24, Bruxelles, Éditions de l’Université de Bruxelles, 2017, pp. 19-29.Bels, P., Le mariage des protestants français jusqu’en 1685. 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Sex and Marriage in England 1570-1640, Cambridge, Cambridge University Press, 1987.Jacobsen, G., “Women, Marriage and magisterial Reformation: the case of Malmø”, in Sessions, K. C., & Bebb, P. N., (coords.), Pietas et Societas: New Trends in Reformation Social History, Kirksville, Sixteenth Century Journal Press, 1985, pp. 57-78.Jedin, H., Crise et dénouement du concile de Trente, Paris, Desclée, 1965.Jelsma, A., “‘What Men and Women are meant for’: on marriage and family at the time of the Reformation”, in Jelsma, A., Frontiers of the Reformation. Dissidence and Orthodoxy in Sixteenth Century Europe, Ashgate, 1998, Routledge, 2016, EPUB, chapter 8.Karant-Nunn, S. C., “Une oeuvre de chair: l’acte sexuel en tant que liberté chrétienne dans la vie et la pensée de Martin Luther”, dans Christin, O., &Krumenacker, Y., (coords.), Les protestants à l’époque moderne. Une approche anthropologique, Rennes, Presses universitaires de Rennes, 2017, pp. 467-485.Karant-Nunn, S. C., The Reformation of Feeling: Shaping the Religious Emotions in Early Modern Germany, Oxford, Oxford University Press, 2010.Karant-Nunn, S. C., “The emergence of the pastoral family in the German Reformation: the parsonage as a site of socio-religious change”, in Dixon, C. S., & Schorn-Schütte, L., (coords.), The Protestant Clergy of Early Modern Europe, Basingstoke, Palgrave/Macmillan, 2003, pp. 79-99.Karant-Nunn, S. C., “Reformation Society, Women and the Family”, in Pettegree, A., (coord.), The Reformation World, London/New York, Routledge, 2000, pp. 433-460.Karant-Nunn, S. C., “Marriage, Defenses of”, in Hillerbrand, H. 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S. Zoruk was a bright representative of the artistic circle with an original view and individual ap- proach to art. His innovative methodological theories on academic drawing are organically included in the concept of scientific and methodological base of the Department of Drawing NAOMA and drawing school in general. S. Zoruk constantly studied and improved the technique of drawing, built his personal style. It is in the pictorial compositions that his authorial style with an emphatically refined aesthetic and philosophical subtext is most vividly revealed. The line, the stroke, the spot are combined and intertwined, creating elegant images of his paintings. His style of drawing is characterized by a light, free line. It is extremely interesting to see the evolution of the Zoruk artist: "Game-4" (1991), "Breath of the Wind" (1993), diptychs "Farewell to the Hat" (1993) on carnival themes and "Time to scatter stones, time to collect stones" (1993) for biblical motives. They are made in the technique of drawing. Thanks to the compositional techniques of including large sizes of clean planes of paper and the clarity of the line, the artist achieves the effect when the viewer’s imagination continues to paint the plastic life of the image. S. Zoruk’s creative style is characterized by refinement and detail of the image, elegance and lightness of the line and, at the same time, there is a pause, a colon in the story, which gives space for plot fantasizing. An important place in the artist’s creative activity was occupied by his teaching work, which he began in 1989 at the Department of Drawing KDHI. He alternately taught drawing at the Faculty of Architecture, and later at the restoration, theater, and graphic departments. He took a direct part in the forma- tion of the scientific and theoretical basis for the methods of teaching drawing and introduced methodological development, namely "Double productions in the 5th year" in the working program of the drawing. The level of professional qualification of the artist was marked in 1986 by admission to the National Academy of Arts, the rank — Honored Artist of Ukraine (1996), in 2000 the academic rank of associate professor, and since 2003 S. Zoruk held the position of professor. He successfully combined pedagogical and exhibition activities, repeatedly visited and collaborated with art galleries in Suzhou, Wu Xi (PRC). He has about 40 exhibitions in Ukraine and abroad. His works are in the funds of the Ministry of Culture of Ukraine, the National Union of Artists of Ukraine, the museum "Kachanivka" and the Museum of Contemporary Art (Kaliningrad), in private collections in the Netherlands, Russia, Belgium, France, Germany, Austria, USA, China. S. Zoruk’s creative and pedagogical activity were awarded in 2002 by the award of the Ministry of Culture of Ukraine "For out- standing merits in the development of culture and art". Philosophical sound in combination with intellectual- ism, together with high professional skill gave S. Zoruk’s works of extraordinary artistic value, made them an important phenomenon of Ukrainian art of the last quarter of the XX — beginning of the XXI century. His works have a sense of the space of the theatrical stage: the images, which is raised up to generalization are united by a certain game moment, the artist slowly unfolds in front of the spectator the dramaturgy of the plot, leaving a field for his own interpretations.