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1
Roskies, David. "The Jewish Anthological Imagination in the Holocaust, 1940−1945." Prace Filologiczne. Literaturoznawstwo, no. 12 (15) (June 12, 2022): 179–95. http://dx.doi.org/10.32798/pflit.796.
Анотація:
In this paper the author analyzes five anthologies published in Yiddish, Hebrew and English. They represent individual and collective Jewish responses to the Holocaust both inside and outside the occupied war zone. When we read synoptically, each of them can be perceived as different national, transnational or communal Jewish response to the catastrophe. When we read dialogically, however, each anthology betrays a dissonant or discordant voice, and it is precisely the anomalous utterance that calls out the Holocaust’s screaming contradictions. By “listening anthologically,” combining a synoptic and dialogical reading, the Jewish anthological imagination in wartime becomes audible in all its tragic complexity
2
Lee, Tong King. "Translating multilingual Singapore: An anthological perspective." Babel. Revue internationale de la traduction / International Journal of Translation 56, no. 1 (May 11, 2010): 64–89. http://dx.doi.org/10.1075/babel.56.1.05lee.
Анотація:
This paper explores the ideological function of translation in negotiating power relations among languages in multilingual Singapore. Based on an analysis of the discursive roles of translation in multilingual literary anthologies published between 1985 and 2008, the paper argues that the power relation between English and the mother tongue languages has shifted over the past two decades. Central to this ideological shift is translation, the underlying discursive mechanism in all multilingual publications in Singapore. It has been found that the potential of a language to be translated into, as opposed to its being translated out of, is directly proportional to its symbolic capital in a multilingual society. It has also been predicted that the future trend in multilingual literary translation in Singapore will tend towards a multi-directional approach whereby the four official languages engage one another multilaterally in a complex dynamic of translation relations.
3
Matan, Cela. "Design elements in anthological Zagreb buildings." E-Zbornik, elektronički zbornik radova Građevinskog fakulteta 12, no. 24 (December 22, 2022): 63–72. http://dx.doi.org/10.47960/2232-9080.2022.24.12.63.
4
Borić, Aras. "Anthological Canonizations of the Recent Bosnian-Herzegovinian Poetry." Društvene i humanističke studije (Online) 7, no. 2(19) (May 20, 2022): 45–62. http://dx.doi.org/10.51558/2490-3647.2022.7.2.45.
Анотація:
This work considers the question of canon as a „place of power“ and the position of literature in relation to the ideological dictates of the so-called „social reality“. In this sense, it discusses the general social, cultural, and poetic patterns on which the canon is based, that is, the canons in the most representative anthologies of recent Bosnian-Herzegovinian poetry in the last thirty years. Understanding canonization as a model of ideological impact in the production of „literary facts“, the paper explores the attitude of anthologists towards the composite integrity of Bosnian-Herzegovinian literature and at least three poietic formulas involved in the struggle for „cultural meaning“ („poetry of re-ethnicization“, „poetry of false universalism“, „poetry of differences“). The literary canon, monolithic in socialist society and reduced by political censorship, was first nationalized and later, especially in the post-war period, decentralized and turned into alternative canons. Anthologies of Bosnian- Herzegovinian poetry distinctly follow the mentioned evolution, and in that way contribute to the stratification of the canon and the breaking of its „hegemony“.
5
SCHBLEY, AYLA. "Defining Religious Terrorism: A Causal and Anthological Profile." Studies in Conflict & Terrorism 26, no. 2 (March 2003): 105–34. http://dx.doi.org/10.1080/10576100390145198.
6
Grigely, Joseph. "Blindness and Deafness as Metaphors: An Anthological Essay." Journal of Visual Culture 5, no. 2 (August 2006): 227–41. http://dx.doi.org/10.1177/1470412906066908.
7
Mastnjak, Nathan. "The Book of Isaiah and the Anthological Genre." Hebrew Studies 61, no. 1 (2020): 49–72. http://dx.doi.org/10.1353/hbr.2020.0012.
8
Tolmatchoff, Vassily M. "To the Symbolism of T.S. Eliot's Anthological Poem." Literature of the Americas, no. 13 (2022): 61–108. http://dx.doi.org/10.22455/2541-7894-2022-13-61-108.
Анотація:
The paper examines in detail the history of the creation of “The Love Song of J. Alfred Prufrock”, as well as the methods of its research in Western and Russian literary studies. The author proposes to combine a careful reading of this text with the notion of this poem as a spiritual autobiography of Eliot, which has various dimensions: from personal, proper poetic to esoteric. Based on the analysis of the biography of the young Eliot, the poet's relationship with J. Verdenal, the history of the poem, the drafts, the final text, the title of the poem, the epigraph, the poem's place in the poet's work, Eliot's statements about “Prufrock” the paper identifies the parameters of the symbolism of this work, which, playing on Eliot's complex relationship with the inexpressible (having an ambivalent nature), extends to its composition (the relationship of “I” and “you”; the paradoxical nature of the ending), the system of images and motifs (Prufrock as a theatrical person, the opposition of the male and female world), the special sense of reminiscences from Dante, Shakespeare, Goethe, Walter Pater, Oscar Wilde, the philosophy of creativity as a mystery (Prufrock as a poet, combination of eroticism and mysticism, the theme of sacred crime) and love (homoerotic theme), genre (elusiveness of genre, Faustian beginning in it), symbolism and esoterics (“Prufrock” as a Masonic text on initiation, on life as theatre). The author gave a special place to the concretization of ekphrases (Michelangelo, Leonardo da Vinci, Burne-Jones), the content of which confirms the thesis that the poem has a text in the text.
9
CHARINA, A., D. RYBKA, and Yu BOKHNO. "INNOVATIVE MANAGEMENT AS A SOCIAL PHENOMENON: THE ATTEMPT OF THEORETICAL METHODOLOGICAL INSECTION." Экономическая наука сегодня, no. 8 (December 22, 2018): 94–99. http://dx.doi.org/10.21122/2309-6667-2018-8-94-99.
Анотація:
The article presents a systematic analysis of approaches to the definition of the concept of "innovation management", social innovations and social entrepreneurship are considered. The general objectives of innovation management and the goals of managing social innovations are singled out. This allowed us to refine the theoretical and methodological approaches to innovative management as an anthological and phenomenological object of research.
10
Shere, Jeremy. "Collective Portraits: The Anthological Imagination of Leo W. Schwarz." Shofar: An Interdisciplinary Journal of Jewish Studies 23, no. 3 (2005): 25–47. http://dx.doi.org/10.1353/sho.2005.0123.
11
Сесорова, Анастасия Дмитриевна. "THE TRADITIONS OF ANTIQUE KALOCAGATIA IN THE POETRY OF A. POLEZHAEV." Tomsk state pedagogical university bulletin, no. 3(221) (May 16, 2022): 126–33. http://dx.doi.org/10.23951/1609-624x-2022-3-126-133.
Анотація:
Введение. Через Византию Древняя Русь оказалась прямой наследницей Древней Греции. Изучение взаимодействия этих культур способствует пониманию и сохранению ценностей, пришедших на русскую почву и переосмысленных русской культурой. В фокусе нашего внимания находится феномен калокагатии.Цель – анализ традиций античной калокагатии в поэзии А. Полежаева. Материал и методы. Материалом исследования послужили стихотворения А. Полежаева с антологической поэтикой, это позволило не только проследить общую эволюцию антологической поэтики в русской лирике, но и отметить особенности ее использования в творчестве поэта. Были применены следующие методы исследования: биографический, генетический, сравнительно-типологический. Биографический метод значим тем, что помогает вскрыть предпосылки интереса Полежаева к наследию античности. С помощью генетического метода можно выявить источники, генезис и эволюцию ведущих понятий антологической традиции, в том числе с центральным вниманием к интересующему нас идеалу античной калокагатии в русской поэтической традиции XIX в. Сравнительно-типологический метод дает анализу возможность найти и представить в системе сходства и различия в интерпретации поэтом интересующей нас темы.Результаты и обсуждение. Античная культура и ее ценности, воспринятые русской культурой через посредство Византии, давно закрепились и отразились в русской литературе. Для антологической традиции русской лирики и для поэтов, которым была близка антологическая поэтика, становится важным понятие красоты в калокагатийном смысле. Мы рассматриваем калокагатию как одно из проявлений античного феномена «пластической красоты», представляющего собой квинтэссенцию соединения внутренней и внешней красоты. Позже в европейской культуре уже Нового времени за данным феноменом закрепляются новые понятия – явление, возникающее на стыке разных искусств, т. е. экфрасис. Сам термин для обозначения этого явления, равно как и его теория и философия, возникает еще в античности. Важной вариацией живописного экфрасиса выступает явление воображаемого портрета, тесно связанного с антологической традицией, созданного поэтом в стихотворении «Картина». Анализ лирики А. Полежаева, в ряде стихотворений тяготеющего к антологической поэтике, показывает интерпретацию поэтом феномена калокагатии. Красота трактуется им не как проявление вселенской гармонии, наоборот, гармоничная красота лишь подтверждает недостижимость счастья для полежаевского героя. Полежаев создает недоступный и прекрасный идеал, к которому устремлен герой, однако он вызывает в душе героя лишь смятение, муки и кризис.Заключение. В нашей работе мы исследовали особенности восприятия, отражения и трансформации/перевоплощения античных идеалов в произведениях Полежаева с антологической поэтикой. Феномен пластической красоты тесно связан в своей истории с идеей калокагатии – гармонии внешнего и внутреннего содержания. Лирика Полежаева отличается особенностями восприятия героем красоты в калокагатийном смысле, преломляясь через черты богоборческого романтизма и мировосприятие поэта. Introduction. Through Byzantium, Ancient Russia turned out to be the direct heir of Ancient Greece. The study of the interaction of these cultures is the study of the history of the preservation of spiritual values that were significant in antiquity and perceived and rethought by Russian culture: beauty, harmony, kalokagatiya, eidos and many others. The focus of our attention is the phenomenon of kalokagatiya. The aim of the article is to analyse the traditions of ancient kalokagatiya in the poetry of A. Polezhaev. Material and methods. The material of the study was A. Polezhaev’s poems with anthological poetics, which made it possible not only to trace the general evolution of anthological poetics in Russian lyrics, but also to note the features of its use in the poet’s work. The following research methods were used: biographical, genetic, comparative typological. The biographical method is significant in that it helps to reveal the prerequisites for Polezhaev’s interest in the heritage of antiquity. With the help of the genetic method, it is possible to identify the sources, genesis and evolution of the leading concepts of the anthological tradition, including with a central focus on the ideal of ancient kalokagatia that interests us in the Russian poetic tradition of the 19th century. The comparative-typological method gives the analysis the opportunity to find and present in the system similarities and differences in the poet’s interpretation of the topic of interest to us. Results and discussion. Ancient culture and its values, perceived by Russian culture through the means of Byzantium, have long been entrenched and reflected in Russian literature. For the anthological tradition of Russian lyric poetry and for poets who were close to anthological poetics, the concept of beauty in the callocagation sense becomes important. We consider callocagation as one of the manifestations of the ancient phenomenon of ‘plastic beauty’, which is the quintessence of the combination of internal and external beauty. Later, in the European culture of the modern era, new concepts are assigned to this phenomenon – a phenomenon that arises at the junction of different arts, that is, ekphrasis. An important variation of pictorial ekphrasis is the phenomenon of an imaginary portrait, closely related to the anthological tradition, created by the poet in the poem ‘Kartina’. An analysis of the lyrics of A. Polezhaev, in a number of poems tending to antological poetics, shows the poet’s interpretation of the phenomenon of callocagation. Beauty is interpreted by him not as a manifestation of universal harmony, on the contrary, harmonious beauty only confirms the unattainability of happiness for the lying-down hero. Polezhaev creates an inaccessible and beautiful ideal to which the hero aspires, but he causes only confusion, torment and crisis in the hero’s soul. Conclusion. In our work, we explored the features of perception, reflection and transformation / reincarnation of ancient ideals in the works of Polezhaev with anthological poetics. The phenomenon of plastic beauty is closely linked in its history with the idea of callocagation – the harmony of external and internal content. Polezhaev’s lyrics are distinguished by the peculiarities of the hero’s perception of beauty in the callocagation sense, refracted through the features of the godless romanticism and the poet’s worldview.
12
Berciano, José. "Livedo racemosa generalisata: an anthological vision through Vladímir Lébedev painting." Journal of Neurology 266, no. 7 (April 4, 2019): 1801–2. http://dx.doi.org/10.1007/s00415-019-09303-2.
13
Schneeweis, Adina, and Katherine A. Foss. "“Gypsies, Tramps & Thieves”: Examining Representations of Roma Culture in 70 Years of American Television." Journalism & Mass Communication Quarterly 94, no. 4 (January 9, 2017): 1146–71. http://dx.doi.org/10.1177/1077699016682723.
Анотація:
Most Americans know little about the “Gypsies,” or Roma, other than what they learn in the media. Although research shows that media have perpetuated stereotypes, there is thin anthological attention to the representation of Gypsies in American media. This study examines portrayals of Gypsies in fictional and reality television programs 1953-2014, and reveals that American television has reinforced stereotypes, suggesting that Gypsies are consistently different, a closed ethnic community resistant to change. More recent representations convey that Gypsies may be misunderstood due to their cultural history, yet this considerably less visible depiction emerges as a mere nod toward tolerance.
14
Kay, Miriam. "La metempsicosi del viandante: percorsi lessicali e topica sepolcrale, dagli epigrammi greci alla lirica italiana." Caietele Echinox 44 (June 1, 2023): 97–112. http://dx.doi.org/10.24193/cechinox.2023.44.06.
Анотація:
In ancient times, the theme of the wanderer was prominent among the topoi of sepulchral poetry. The literary shift from ancient epigraphs to sepulchral epigrams contained in Alexandrian syllogies caused a progressive change in the use of such themes, which eventually morphed into sepulchral motifs which are recognizable in lyric poetry even centuries later. Through an anthological selection of Italian poems, the aim is to investigate the presence of the wanderer in Italian lyric poetry, as well as the transformations which progressively redefined this figure’s memorial function and its ambiguous location between the world of the living and of the dead.
15
Han, Jae Hee. ""Once Again He Speaks": Performance and the Anthological Habit in the Manichaean Kephalaia." Journal of Late Antiquity 14, no. 2 (2021): 435–70. http://dx.doi.org/10.1353/jla.2021.0024.
16
West, Adam Paul. "Reading Multiculturalism in the United States and Canada: The Anthological vs the Cognitive." University of Toronto Quarterly 69, no. 3 (May 2000): 689–715. http://dx.doi.org/10.3138/utq.69.3.689.
17
Fuentefría Rodríguez, David. "Fealdad y belleza en las representaciones del villano en el cine mudo europeo y estadounidense." Latente Revista de Historia y Estética audiovisual 20 (2022): 113–34. http://dx.doi.org/10.25145/j.latente.2022.20.05.
Анотація:
This paper proposes a brief anthological review of the main representations of the villain in European and American silent films, from 1910, covering their most characteristic faces, scenes and keys, under the aesthetic notions of beauty and ugliness. The text addresses evil from different perspectives as a construction element of antagonistic images, differentiating when it proceeds between representations based on reality, or totally fictional, teratological or non-teratological, in addition to abounding in the aspects of the characterization and aesthetic construction of the evil one, with some notes on the subsequent influence of specific characters. The face as a frontal or opaque mirror of evil, plus a review of the female villains at this stage, finally find their own space throughout the compilation.
18
Raźny, Anna. "Drogi i manowce kulturoznawstwa." Intercultural Relations 2, no. 1(3) (May 30, 2018): 31–40. http://dx.doi.org/10.12797/rm.02.2018.03.02.
Анотація:
PATHS AND MISCONCEPTIONS OF CULTURAL STUDIESThe problem raised in the article concerns the essence of cultural studies: What should it be in its diversity? What is the purpose of cultural studies in general? What anthological and axiological notions should construct its basis? These and similar questions form the leading idea of the text, presenting in an essential form the most important dilemmas faced by scientists involved in the study of culture, broadly understood. Truth, realism, instrumentalism or pragmatism are just some of the phenomena that set the path, or rather paths for cultural studies. The choice of these paths at the same time defines individual cultural studies (not only Polish, but also British, German, French or Russian) and leads to non-identical goals and “destinations”.
19
Tulegenova, Dina. "PHYTHONYMS AS A CONCEPTUAL OBJECT OF LINGUISTICS." Alatoo Academic Studies 2022, no. 1 (January 30, 2022): 264–69. http://dx.doi.org/10.17015/aas.2022.221.31.
Анотація:
In this article, the author analyzes the scientific and anthological significance of the name of the plant world and comprehensively investigates the linguo-conceptual content of phytoonyms as the basis of the carrier's understanding of the world as such. At the same time, specific examples show the relationship between the historical development of the national linguistic consciousness and the formation of a linguistic picture of the landscape, i.e., a phytonymic area. At the same time, the opinions of linguists regarding the cognitive and categorical foundations of phytonyms as such are being updated. Since these language units contain not only the mental characteristics of these peoples, but also at the same time most clearly reflect the typological forms of expressing concepts in different languages.
20
Jurdana, Vjekoslava. "Djetinjstvo, igra i zavičaj kao motivi čakavske poezije Drage Gervaisa." Magistra Iadertina 14, no. 2 (November 16, 2020): 103–18. http://dx.doi.org/10.15291/magistra.3149.
Анотація:
Chakavian poetry by Drago Gervais abounds with motifs of childhood, homeland and children’s games. The aim of this paper is to answer the question whether Gervais is a poet of childhood or a children’s poet. Starting from the question of how much his poetry corresponds to the poetic criteria of the children’s literature, the paper presents answers to the question: is Drago Gervais a children’s poet or a poet close to children’s literature because he wrote about (his) childhood? In conclusion it is proven that the poetry of Drago Gervais in general was not written as children’s literature, but certain poems can be designated not only as children’s literature, but also as anthological children’s poems. Drago Gervais is a regional, dialectal and children’s poet, but above all, he is a remarkable poet.
21
Gamalova, Natalia. "Osip Mandelstam in the French Anthologies of Russian Poetry (1925–1970)." Literatūra 62, no. 2 (November 2, 2020): 92–111. http://dx.doi.org/10.15388/litera.2020.2.5.
Анотація:
The fates and fortunes of any national literature in a foreign culture is a multifaceted subject. And this is where the perception of Russian culture in France belongs. In France, the general public became aware of the life and works of Osip Mandelstam in the early seventies, when Nadezhda Mandelstam’s memoirs were published. Before 1970, only some translations of Mandelstam’s poems, the first one made by Chuzeville back in 1925, found their way to periodicals and anthologies. Information about the poet was spread to a great degree thanks to anthologies, as befits this genre of reading matter. During that period, the publishers of anthologies could either collaborate with translators (Slonim, Reavey), or translate the poetry themselves (Rais, Granoff). Journal articles and translations chime in and resonate with anthological publications.
22
Sligh, Charles. "“Making Ready for Death”: Walter Pater and the Anthological Moment of “Dante Gabriel Rossetti”." Victorians Institute Journal 42, no. 1 (December 1, 2014): 70–98. http://dx.doi.org/10.5325/victinstj.42.1.0070.
23
Kotevska, Ana. "Serbian musicological society at the beginning of its second decade (2006-2017)." New Sound, no. 50-2 (2017): 285–99. http://dx.doi.org/10.5937/newso1750285k.
Анотація:
The purpose of the text is to present, on the occasion of the 10th anniversary of the establishment of the Serbian Musicological Society (SMS), the circumstances of its founding on 5 July 2006 and offer a panoramic survey of its accomplishments in research and publishing so far, which re-examine our stance toward our musical heritage and/or illuminate previously neglected chapters from the history of music in Serbia. The many and diverse contributions of the Serbian Musicological Society to the achievements of Serbian musicology, in general, are reflected in its conception and organization of scholarly meetings, publication of essay collections, scores, and sound recordings, organization of concerts, as well as initiation of large-scale projects in the reconstruction of individual anthological works of stage music, independently and in collaboration with related institutions and opera houses.
24
Sousa, Rui. "Surrealismo Português e Surrealismo Internacional a partir da correspondência de Mário Cesariny com Sérgio Lima, Laurens Vancrevel e Frida Vancrevel." Cadernos de Literatura Comparada, no. 49 (2023): 11–31. http://dx.doi.org/10.21747/21832242/litcomp49a1.
Анотація:
From the end of the 1960s onwards, Mário Cesariny established a prolific dialogue with the international surrealist movement, with repercussions on the way in which the Portuguese Surrealism came to be considered. In this paper, I propose a perspective on Cesariny's critical intervention in a moment of transition in the panorama of the international surrealist movement, represented, on the one hand, by a certain decentralization in relation to the Parisian paradigm and, on the other hand, by the pluralization of surrealist groups. Cesariny's correspondence with the Brazilian Sergio Lima and with the Dutch Laurens and Frida Vancrevel are taken as a starting point, articulated with his critical and anthological activity. These epistolography contains the fundamental aspects of Cesariny's criticism of the limitations of the narrative disseminated internationally regarding the Portuguese case and its integration in the context of a critical review of Surrealism.
25
Laura, Heidi. "Collected traditions and scattered secrets. Eclecticism and esotericism in the works of the 14th century ashkenazi kabbalist Menahem Ziyyoni of Cologne." Nordisk Judaistik/Scandinavian Jewish Studies 20, no. 1-2 (September 1, 1999): 19–44. http://dx.doi.org/10.30752/nj.69556.
Анотація:
There are many examples of authors of mystical works who consciously chose to retreat the role of copyists and collectors of already existing traditions. The emphasis in Kabbalistic works is on recording mystical tradition, while personal reports of mystical experiences or clearly individual expositions of mystical themes are rarely found in the large corpus of Kabbalistic works. This article attempts to illuminate the special place of mosaic works and collectanea in Kabbalistic literature and its specific character, using the works of an unjustly neglected 14th century kabbalist as a focus. The writings of Ashkenazi kabbalist Menahem Ziyyoni are exemplary of the problem of collected works. Kabbalistic anthological works had an especially golden period in the 14th century. The mosaic works of the 14th century became a new way of continuing the zoharic project of an overarching hermeneutical system, which integrated and legitimated a number of different interpretations of the same text.
26
Pascual Battista, Rosario. "José Emilio Pacheco: lector y antólogo del modernismo." Literatura Mexicana 32, no. 1 (January 20, 2021): 163–90. http://dx.doi.org/10.19130/iifl.litmex.2021.1.26857.
Анотація:
José Emilio Pacheco (1939-2014) devoted part of his essay production to reconstruct the past of letters and, in particular, was interested in the Modernist movement. From two anthological texts: Anthology of Modernism [1884-1921] (1970) and Modernist Poetry. A General Anthology (1982), and a selection of journalistic notes that he published in the Mexican magazine Proceso, Pacheco aimed at broadening the spectrum of Modernist figures and avoiding to keep to a single figure, such as that of the Nicaraguan Rubén Darío. This article reconstructs the dialogues and reciprocities that José Emilio Pacheco traces with the literary tradition of Modernism and that are sustained, on the one hand, in connections between poets, as it is the case of Manuel Gutiérrez Nájera and José Martí and, on the other hand, in the recovering of poets less well-known by literary criticism, such as Salvador Díaz Mirón.
27
Tulegenova, D. "Historical Formation of the Kyrgyz Phythonymy." Bulletin of Science and Practice 7, no. 5 (May 15, 2021): 600–604. http://dx.doi.org/10.33619/2414-2948/66/68.
Анотація:
In the article, the author analyzes the opinions of famous scientists regarding the names of the plant world and studies in detail the meaning of specific phytonyms in the Kyrgyz language. At the same time, the scientific-anthological, historical significance of the names of the plant world in the development of the linguistic structure as such is considered. Consequently, the names of the plant world clearly reflect the interaction of human society with nature in general. As we know, the Kyrgyz language, in turn, being a part of the Turkic language family, is one of the most ancient languages among them. This circumstance by itself is a favorable soil for the appearance of similarities between the names of the flora of a given territory. However, these similarities are found in lexical and affixal composition, and at the same time, many plant names are transparent in terms of their etymology.
28
Leuchter, Mark. "Another Look at the Hosea/Malachi Framework in The Twelve." Vetus Testamentum 64, no. 2 (April 16, 2014): 249–65. http://dx.doi.org/10.1163/15685330-12341149.
Анотація:
Abstract Though most scholars agree that the prophetic books identified as “The Twelve” (or “The Book of The Twelve”) have gone through extensive stages of redaction, debate ensues as to whether they should be read as a literary unity or as a collection of independent prophetic works. A closer look at the framework surrounding this material—the book of Hosea and the book of Malachi—suggests that the primary purpose of the redaction of The Twelve was not to be read as a literary unity or as an anthological collection, but to establish a model of how priestly scribes were to countenance and teach diverse textual corpora in the context of a single, dominant temple establishment. The redactors of the Twelve were probably a Levite scribal group, who created the work to affirm their own status within the hierarchy of the Jerusalem temple in the Late Persian period.
29
M, Chitra Manogari. "Inna Narpathu Affirmations on Impediments and Retributions." International Research Journal of Tamil 4, no. 3 (July 6, 2022): 145–51. http://dx.doi.org/10.34256/irjt22321.
Анотація:
Inna Narpathu (inna forty) is a sanga tamil poetic contributions in a didactic from which belongs to one of the tamil literature Anthology patinenkilkanakku (the eighteen lesser text) written by the great poet kapilar way back in 4th century. Inna Narpathu is the collective form of forty one venpas (metric prosody). Inna Narpathu poem concludes wish the tamil word inna (act brings Disgrace and Sadness). Which describing the undesirable acts individuals must refrain themselves in day today life. As these poems spells out the moral codes for all spheres. So the poem collection was entitled as ‘Inna Narpathu’. This paper emphasise the synonamised innards of the forty venpa. Which extends it’s focus on diverse topics such as friendship, domestic life, poverty, idol worship, Bhramin perspectives, offender’s nature and travel thus this paper evidently outlines the anthological aspects from Inna Narpathu. So this paper will gives us insights and importance of social anthropology and it’s Cultural Tamil heritage crux.
30
Evans, David. "Myths of Authenticity and Cultural Performance: Breton Identity in the Poetry Anthology, 1830–2000." Nottingham French Studies 60, no. 2 (July 2021): 159–74. http://dx.doi.org/10.3366/nfs.2021.0314.
Анотація:
This article examines the various constructions of Breton identity in twelve anthologies of poetry revealing three broad conceptual phases: celebration of an essential ethno-cultural otherness which nonetheless belongs within the French Republic (1830–1918), calls for independence which harness pan-Celtic or postcolonial discourses (1919–71), and a playful, performative notion of identity based on cultural affinity, inclusive of incomers (1976–2000). I focus on strategies of editorial framing which, in each phase, insist on the apartness, and the authenticity, of Breton expression. These anthological, quasi-anthropological projects both anticipate and encourage the reader's touristic gaze, betraying anxieties about Brittany's relationship to the nation within which it must negotiate a place. These negotiations are played out in texts which, in their use of the French language and French poetic forms, operate a constant dialogue with the national tradition, a mode of self-questioning to which the poem is particularly well suited.
31
Apetri, Dumitru. "The Reception of Romanian Literature from the Republic of Moldova in Ukraine: Plurigenural Anthologies." Philologia, no. 2(317) (September 2022): 90–98. http://dx.doi.org/10.52505/1857-4300.2022.2(317).07.
Анотація:
In the present article, the author highlights an important aspect of the RomanianUkrainian literary dialogue: the editing by Ukrainians in the years from 1953 to 1977 of four plurigenural anthological collections from the literary creation and partly from the folklore of the Republic of Moldova. These editions are seen by the researcher as a significant contribution to the above mentioned dialogue. But the dominance of the ideological dictatorship in that period left its negative mark on several works included in anthologies – a fact that determined a value discernment of the material in each editorial unit. This action is accomplished in the hope that the dialogue discussed will be reopened in the upcoming years. Therefore, the author’s comments pursued several purposes: listing the writings that have devalued in the meantime showing the causes of this phenomenon; indication of the selection criteria and directions for the development of new volumes such as plurigenural anthologies.
32
Giorgi, Emanuele, Angelo Bugatti, and Andrea Bosio. "Social and Spatial Experiences in the Cities of Tomorrow." Societies 10, no. 1 (January 16, 2020): 9. http://dx.doi.org/10.3390/soc10010009.
Анотація:
As described by the strong academic literature, (Vattimo, Bauman, Mumford, Simon, Haraway, Meschiari, Florida) the contemporary society is going through new challenges, such as the friction between youth, technology, and productivity. These challenges affect the way people live and experience the cities, but also the way cities need to evolve. An anthological analysis and a study of secondary sources is used to analyze the new spatial and social experiences, while the analysis of Milan (Italy) as a case study of a creative city is used to understand the rapid shift towards the virtualization of cities, in which consumption is progressively induced by a projected image of the city rather than its actual physical fabric. This manuscript opens a research front, with the goal to understand how architecture and urban design should leave the traditional typologies to propose a new way of creating and living architecture, caught in the middle between the real and the virtual.
33
Hirshman, Marc. "Rabbinic Universalism in the Second and Third Centuries." Harvard Theological Review 93, no. 2 (April 2000): 101–15. http://dx.doi.org/10.1017/s0017816000016722.
Анотація:
In the eye of a protracted political storm, the rabbinic sages of the first centuries of the common era preserved and nurtured their Jewish heritage. This was not a univocal heritage, but one of significant diversity. Although these rabbis were fully aware of the divisiveness that had plagued Jewish religious attitudes over the centuries, they turned debate and dissent into their very trademark. Whether in matters legal, ethical, or theological, differing and even contradictory opinions were the norm. A natural result of this rabbinic posture is that the entire rabbinic corpus is anthological. We do not possess individual works of the rabbis, great as they might have been. We have instead catenae or collections of statements. Sometimes they represent real conversations between sages, but other times they reflect an editorial juxtaposition of opposing views. These characteristics of rabbinic literature create a formidable challenge for those who wish to treat rabbinic thought systematically.
34
Pinto, Samantha, and Jennifer C. Nash. "Then and Now: Women of Color Originalism and the Anthological Impulse in Women's and Gender Studies." Feminist Studies 48, no. 1 (2022): 13–23. http://dx.doi.org/10.1353/fem.2022.0001.
35
Hsu, Alexander O. "Coming to Terms with “Engaged Buddhism”: Periodizing, Provincializing, and Politicizing the Concept." Journal of Global Buddhism 23, no. 1 (July 7, 2022): 17–31. http://dx.doi.org/10.26034/lu.jgb.2022.1991.
Анотація:
Whatever happened to “Engaged Buddhism”? Twenty years after a flurry of publication placing this global movement firmly on the map, enthusiasm for the term itself appears to have evaporated. I attempt to reconstruct what happened: scholars turned away from the concept for its reproducing colonialist understandings of traditional Buddhism as essentially world-rejecting, and they developed alternate discourses for describing Buddhist actors’ multifarious social and political engagements, especially in contemporary Asia. I describe the specific rise and fall of the term in Anglophone scholarship, in order for scholars to better grasp the evolution of contemporary Western, Anglophone Buddhisms, to better understand what Buddhists in Asia are in fact doing with the term, and to better think through what it might mean politically for us as scholars to deploy the term at all. In particular, I identify “Academic Engaged Buddhism” (1988–2009) as one hegemonic form of Engaged Buddhism, a Western Buddhist practitioner-facing anthological project of Euro-American scholars with potentially powerful but unevenly distributed effects on Buddhist thought and practice around the world.
36
Virolainen, Maria. "“Upon The Hills Of Georgia”. (From manuscript to poetics)." Vremennik Pushkinskoi Komissii 36 (2022): 122–33. http://dx.doi.org/10.31860/0236-2481-2022-36-122-133.
Анотація:
This paper focuses on the history of the poem “Upon The Hills Of Georgia” (1829) published in “Severnye Tsvety” in 1831 under the title “A Fragment”. The published version did not include stanzas from the original drafts, which alluded to memories of a past love. According to the traditional interpretation offered by S. M. Bondi, Pushkin, who in 1831 was soon to be married, did not want to publish lines devoted to another woman. However, in 2004, the Institute of Russian Literature received an autographic manuscript of the poem identical to the published version, but written in the autumn or winter of 1829, at a point when Pushkin as yet had no aspirations to marry Goncharova. The omission of stanzas from the rough copy can be explained not by biographical circumstances but by a change in artistic intention: the poem — originally conceived as an elegy, with typical elegiac motives of memories — later acquires a different generic form, which harkens back to A. Chenierʼs “fragments”, and is closer in its poetics to anthological lyrical poetry and ancient epigrams.
37
Jung, Sandro. "Ephemeral Spenser." Eighteenth-Century Life 44, no. 2 (April 1, 2020): 78–110. http://dx.doi.org/10.1215/00982601-8218613.
Анотація:
This essay approaches Edmund Spenser’s Renaissance masterpiece, The Faerie Queene, through a hitherto unknown series of twenty-four vignette illustrations that the eighteenth-century painter and book illustrator, Thomas Stothard, contributed to the nowadays little-known annual, The Royal Engagement Pocket Atlas, in 1794. Apart from making sense of Stothard’s visual interpretation of Spenser’s romance, the article will pay attention to how the painter creates an anthological miniature gallery of moments with which the users of the pocket diary may have been familiar. In other words, these vignettes may have conveyed mnemonically a prior reading experience of The Faerie Queene or have stimulated recall of other engagements with the moments represented. Understanding Stothard’s illustrations as iconic interventions in the reception history of Spenser’s work that, by being included in a disposable, annual pocket diary, were significantly more ephemeral than illustrations issued as part of an edition, I shall investigate how Stothard mediates the text by providing textual excerpts and how these one-line cues evoke a particular allusive experience of the text that affects the reading experience.
38
Ucciardello, Giuseppe. "‘Atticismo’, excerpta lessicografici e prassi didattiche in età paleologa." AION (filol.) Annali dell’Università degli Studi di Napoli “L’Orientale” 41, no. 1 (December 20, 2019): 208–34. http://dx.doi.org/10.1163/17246172-40010016.
Анотація:
Abstract The search for purity of language during the Palaeologan age has often been regarded as a revival of the Atticist movement of the second century AD. Students who had access to the higher education aimed at mastering this new form of Attic Greek: a large set of ancient authors deemed to be models of language and style served as repositories of lexical materials. Within this framework the need of school handbooks, dictionaries is quite understandable. In the first section of the paper I offer an overview of the multifarious typologies of scholarly texts largely used in the first Palaeologan age. Then, I focus more specifically on some miscellaneous excerpts merged into anthological manuscripts, by taking into account a largely overlooked series of grammatical and lexical annotations on Lucian. Differently from what is often stated in the catalogues, I show how the order of the items follows closely Lucian’s texts. These annotations could be the transcription of teachers’ notes and/or lecture notes taken during collective/private readings of texts.
39
Mancini, J. M. ""Messin' with the Furniture Man": Early Country Music, Regional Culture, and the Search for an Anthological Modernism." American Literary History 16, no. 2 (June 1, 2004): 208–37. http://dx.doi.org/10.1093/alh/ajh018.
40
Diamond, Christopher L. "The Strange Afterlife of Vidyāpati Ṭhākura (ca. 1350–1450 CE): Anthological Manuscripts, Linguistic Confusion, and Religious Appropriation". Manuscript Studies: A Journal of the Schoenberg Institute for Manuscript Studies 4, № 1 (2019): 72–92. http://dx.doi.org/10.1353/mns.2019.0000.
41
Al Sheikh, Hanan Muneer. "The ontology of resistance between power and knowledge." Global Journal of Sociology: Current Issues 11, no. 1 (April 15, 2021): 28–39. http://dx.doi.org/10.18844/gjs.v11i1.5455.
Анотація:
The ontology of human resistance accentuates its existence through several expressive means with the most important being Art; as art transforms the question of resistance into a self-practice that starts with the artists and transfers between the inside and the outside in a continuous, creative and effective mutual relationship in order to emphasise the battle of existence conflict, ideology and Epistemology within the general framework of power. This philosophic analysis is based on the hypotheses of having a multilateral factor that continues with the past legacy on the one hand and interprets the present while overpassing it on the other, in order to create a state of creativity that represents the intellectual, emotional, cognitive and historical inventory, while posing a situation of continuous wondering among individuals and groups. This artistic state unifies the indicators of symbolisations and makes resistance represented in a contemporary visual discourse that rejects dominance, accentuates the identity and transforms the theoretical intellectual question into a practiced anthological act that is featured of permanent activity as a perpetual act towards liberation and reproducing self-existence. Keywords: Art philosophy, resistance ontology, political caricature, photography.
42
Laila, Nur. "Description of Islamic Patterns in the Archipelago in the subjects of PAI in Elementary Schools." Mahaguru: Jurnal Pendidikan Guru Sekolah Dasar 1, no. 2 (May 9, 2020): 14–20. http://dx.doi.org/10.33487/mgr.v1i2.554.
Анотація:
Religion and culture of the elementary schools are two different things but very closely related the majority of people are very complicated or quite difficult to distinguish the absolute religion and which culture becomes an expression well as vehicle and relatively it. Of course the inability of a person to distinguish lack of clarity is causing chaos in thinking epistemological side, chaos in the sense of hierarchy where the value associated with the higher values and the lower values which is absolute and which are relatively of the elementary schools. Departing of the elementary schools from these problems .using the historical anthological approaches and methods of analysis –critical then this article tries to discuss about archipelagic Islam. The main stress ion is in the epistemological analysis of archipelagic Islam. The main critical analysis carried out toward archipelagic Islam is expected to map which aims unveil what should be retained and that what should be deconstructed the conclusion from this study is the dialectic between religion that have moral and universal values with the culture and traditions of the people of Indonesia to from a distinctive style of Indonesian Islam is commonly called archipelagic Islam especially the elementary schools.
43
Al Sheikh, Hanan Muneer. "The ontology of resistance between power and knowledge: A philosophical approach." New Trends and Issues Proceedings on Humanities and Social Sciences 8, no. 1 (June 4, 2021): 43–51. http://dx.doi.org/10.18844/prosoc.v8i1.5790.
Анотація:
The ontology of human resistance accentuates its existence through several expressive means with the most important being art, as art transforms the question of resistance into a self-practice that starts with the artists and transfers between the inside and the outside in a continuous, creative, effective mutual relationship, in order to emphasise the battle of existence conflict, ideology and epistemology within the general framework of power. This philosophic analysis is based on the hypotheses of having a multilateral factor that continues with the past legacy on one hand and interprets the present while overpassing it on the other. This is to create a state of creativity that represents the intellectual, emotional, cognitive and historical inventory while posing a situation of continuous wondering among individuals and groups. This artistic state unifies the indicators of symbolisations and makes resistance represented in a contemporary visual discourse that rejects dominance. It also accentuates the identity and transforms the theoretical intellectual question into a practised anthological act that is featured of permanent activity as a perpetual act towards liberation and reproducing self-existence.
Keywords: Art philosophy, resistance ontology, political caricature, photography.
44
Dragišić, Radmila. "Implied external competences of the European Union." Politea 12, no. 24 (2022): 129–41. http://dx.doi.org/10.5937/politeia0-38236.
Анотація:
The anthological ERTA case is considered to be a case in which the contours of learning about the implicit external competence of the European Union have been developed. That logically based teaching, which has already been elaborated in detail so far, celebrated its 50th birthday in March 2021. Therefore, it seems justified to remind ourselves of it and explore the extent to which it is relevant today. At the center of our interest is the substantive determination of external implicit competencies, their origin and genesis at the level of the Union, as well as the scope of their application in the post-Lisbon period expressed through selected jurisprudence of the Court of Justice of the European Union. We use analytical and synthetic methods in our research, with content analysis and historical-comparative analysis occupying a central place within them. Ultimately, we conclude that the concise clarification of cases in which the Union has external jurisdiction further strengthens the need to constantly follow the interpretations given by the Court in the ERTA judgment, which can be fertile ground for an overly extensive assessment by that judicial body.
45
Vasiljeva, Elina, and Karolīna Hrapāne. "Jewish Text in Howard Fast’s Novel “Torquemada”." Respectus Philologicus, no. 45(50) (April 10, 2024): 84–96. http://dx.doi.org/10.15388/respectus.2024.45(50).7.
Анотація:
The present study aims to identify the specifics of the Jewish text in Howard Fast’s iconic novel Torquemada. The study is based on the semiotic definition of the text. The Jewish theme in the oeuvre of Fast, a writer of Jewish origin, occupies a significant place. The specific construction of the Jewish theme allows one to highlight the boundaries of a certain Jewish text in the author’s work, which was clearly formed during the period of ideological and national quest. The novel Torquemada occupies a special place in the Jewish text of Fast. The Jewish text of the novel Torquemada is represented by a multi-level model. At the anthological level, the Jewish text of the novel can be correlated with the ideological quests of the author, Howard Fast. However, at the same time, it is an allegoric narrative about the fate of the Jews of the 20th century and the tragedy of the Holocaust. The events of the 15th century are the allegory of the events of the 20th century, and the times of the Spanish Inquisition are associated with the tragedy of the Jews of Europe.
46
Korneeva, L. N. "Anthology pro et contra as the most effective method of cultural cognition of the phenomenon of Athanasius Fet." Voprosy kul'turologii (Issues of Cultural Studies), no. 11 (November 30, 2023): 937–44. http://dx.doi.org/10.33920/nik-01-2311-03.
Анотація:
We offer a detailed review of the recently published anthology “A.A. FET: PRO ET CONTRA”, created by the famous researcher of the spirituality of Russian poetry T.A. Koshemchuk. The article actualizes the anthology as a significant achievement of Russian science on the way to overcoming historical unrighteousness in relation to the great Russian poet Afanasy Fet, who is still misunderstood in all the depth of his specialness and therefore underestimated. The new anthological reading of Fet is shown as the reduction of polemical flows about the poet to the desired effect of heuristic updating of his image. The work reveals the exceptional productivity of the comparative method pro et contra in combination with the depth and accuracy of the concept of the creator of the anthology for comprehending the uniqueness of the worldview of A.A. Fet, revealing the phenomenon of his “spiritual personality”, awareness of his “moral aristocracy”, designating the defining features of his poetics — “ethereal breath of thought”, “freely floating existence of meaning in sounds”. The author of the article nominates the reviewed anthology as an opening for readers of an unmistakable path of personal approach to the Fetal mystery.
47
Vasileva Krysteva, Gergina. "Personal and Anthological, or Some Observations on Authorʼs Lyric Anthologies in Contemporary Bulgarian Poetry in the Period 2010–2017". Stephanos. Peer reviewed multilanguage scientific journal 31, № 5 (30 вересня 2018): 15–26. http://dx.doi.org/10.24249/2309-9917-2018-31-5-15-26.
48
Ruiz Casanova, José Francisco. "Representación de la poesía de Andrés Sánchez Robayna en sus últimas antologías (2012 y 2016)." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 29 (January 31, 2018): 132–38. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2018292554.
Анотація:
A partir del análisis de una antología panorámica y una autoantología de la obra lírica del poeta Andrés Sánchez Robayna, en este trabajo se reflexiona sobre las cuestiones relativas a la poética de la antología, la representatividad, la trascendencia literaria e histórica y el canon. Se trata de un acercamiento comparativo a dos modos antológicos (la antología realizada por un antólogo-editor y la antología de autor) como medios de difusión y de proyección de la obra literaria. From the analysis of a panoramic anthology and a self-antology of Andrés Sánchez Robayna’s poetry, this essay studies questions about the poetics of anthology, representativeness, literary and historical transcendence and the canon. It is a comparative approach to two anthological modes (the anthology made by an anthologist-editor and the author's anthology) as means of diffusion and projection of the literary work. A partir de l'analyse d'une anthologie panoramique et d'une autoanthologie de l'œuvre poétique d’Andrés Sánchez Robayna, nous réfléchissons dans ce travail aux questions liées à la poétique de l'anthologie, la représentativité, la transcendance littéraire et historique et le canon. Il s'agit d'une approche comparative de deux modes anthologiques (l'anthologie réalisée par un anthologiste-éditeur et l'anthologie de l'auteur) comme moyen de diffusion et de projection de l'œuvre littéraire.
49
Moussedek, Leila. "Spectralité, Violence et Devoir de Mémoire dans Les Funérailles de Rachid Boudjedra." Traduction et Langues 15, no. 2 (December 31, 2016): 7–17. http://dx.doi.org/10.52919/translang.v15i2.701.
Анотація:
Spectrality, Violence and Duty of Memory in The Funeral of Rachid Boudjedra
To assume a right of historical justice and mourning the martyrs of the violence, spectrally as a form of writing does not, in this literature of urgency, a fascination with death, but it establishes a relationship or link between the latter and the romance between the real world and the fictional world. She wants a scriptural choice and a commitment adapted by Rashid Boudjedra to justice for victims of terrorism in Algeria 90s allowing them to take place in the collective memory of the country not to get lost in historical amnesia. This story does not appear as a "farewell" to victims but instead he emphasizes speaking, listening and dialogue for the disappearance does not become forgotten and that mourning is completed. We think that the spectral writing in Les Funérailles “The Funeral” is inspired by an anthological philosophy reflection because the spectrality linked to the principle of justice and the duty of memory is amply verified in this novel by Rachid Boudjedra and the questioning of the use of this technique in this literary production prompts us to serach answers for few questions: How is this spectral represented in this novel? What are its forms? What are its characteristics and dimensions? Could it reflect the author's vision and position? The findings of this resarch showed that The Funeral is a place of textual memory where the murdered and the living meet and get closer by consciousness and fidelity to memory, because this romantic fabric is not a fantastic text or a ghost story, but an incentive to save their memory by telling it by talking to them and listening to them. It is a work that allows the impossible encounter to take place through the anthology which remains here a logos whose main characteristic is to stage, to provoke and to describe at the same time, an encounter which, without it, would not exist, and to which the official historical discourse does not adhere. This is a textual encounter and not an attempt to magically bring a dead person back. Communication, when it takes place, remains in the realm of the story being told. Also, this anthological work is considered as a remedy for a suffering and tired memory. It is therefore necessary to reconstitute and assume his history, just as the psychoanalyst helps the analysed to reconstitute and support his own history. Futhermore, the spectral supports a historical reconstruction which presents itself as an obligation vis-à-vis the disappeared according to the djebarian vision. We think then that the anamnesic procedure allows the deficient and torn memory of the great History to take place in the small history. Accordingly, through spectrality and collective memory remain vivid and alive to fight against all forms of forgetting and historical amnesia and allow individual dramatic memory to become and transform into collective memory.
50
Kudelin, Alexander B. "West-Eastern Poetic Compositions of the First Third of the 19th Century: from Goethe’s Divan to the ‘Sonnet/Ghazal’ by Mickiewicz / Topczi-Baszy." Studia Litterarum 5, no. 3 (2020): 68–103. http://dx.doi.org/10.22455/2500-4247-2020-5-3-68-103.
Анотація:
The article is concerned with reciprocity between Western and Eastern literatures of the 19th century, when Orientalist motives began to take hold in European writings. Goethe, in his “West-Östlicher Divan” (1819), attributed this interest to the everlasting excellence and value, which the Eastern masterpieces hold for the West. However, as it is clear nowadays, the ‘West-Eastern’ compositions cannot be seen as truthfully retaining the spirit of the Eastern classics, which was based on a different system of meanings and values. On the other hand, it became clear that the Eastern reception of these European works in the 19th century could not be true to the Western original, either, since even most progressive Eastern literatures of the time kept to artistic principles and system of genres of the Late Middle Ages. Against this historical and critical background, the article investigates the outcome of one venture — the emergence of a Persian translation of Adam Mickiewicz’s poem, commissioned by himself for his “Sonnets” (1826). Dzafar Topczi-Baszy adjusted the sonnet for an Eastern audience. Having presented his translation as a sample of the medieval genre of tadhkira (which has to contain both biographical and anthological features), Topczi- Baszy supplied the Persian version of the poem with facts about Mickiewicz; he cast the poem into a Persian poetic form — ghazal; he replaced the elements of Romantic imagery with the Eastern ones.