scholarly journals Reinventing Ukraine: Ukrainian National and Supra-National Identity in Contemporary Polish Opinion-Making Press

2016 ◽  
pp. 141-163 ◽  
Author(s):  
Olha Tkachenko
Keyword(s):  
National Identity ◽  
Historical Events ◽  
Wide Audience ◽  
New Directions ◽  
The One ◽  
External Actors ◽  
To Receive ◽  
Identity Problems ◽  
Ukrainian Society ◽  
The Way

Reinventing Ukraine: Ukrainian National and Supra-National Identity in Contemporary Polish Opinion-Making PressUkraine in XXI century has been experiencing new social and political changes which resulted into shifts of the national identity. It has left resonance not only within Ukrainian society but abroad as well. Historical events such as Orange revolution or Euromaidan provided new directions for reconsidering Ukrainian identity by the external actors. The image of Ukraine has been created abroad with the help of mass media, which enable the wide audience to receive information about particular events and make own conclusions. Information, presented in the opinion-making press worth better for deliberating the issue of identity. Thus, this paper seeks to investigate how Polish intellectuals present Ukraine in contemporary Polish opinion-making press. This research on the one hand provides understanding of Ukrainian identity problems, and gives possibility to examine positive and negative aspects of the way identity has been expressed. On the other hand, it demonstrates the way public opinion-makers in Poland perceive, construct and reconstruct identity of Ukraine, Ukrainian nation and present them to their society. The article seeks to investigate what attributes of Ukrainian identity were crucial for Polish media. What factors, historical events, cultural and political features, myth and symbols were important for deliberating Ukraine in Polish opinion-making press. Ponowne odkrycie Ukrainy: Ukraińska narodowa i ponadnarodowa tożsamość we współczesnej polskiej prasie opiniotwórczejW XXI wieku Ukraina przeżywa nowe zmiany społeczne i polityczne, które prowadzą do zmian tożsamości narodowej. To spowodowało rezonans nie tylko w społeczeństwie ukraińskim, ale również za granicą. Najnowsze wydarzenia historyczne, takie jak Pomarańczowa Rewolucja czy Euromajdan, na nowo ożywiły wśród podmiotów zewnętrznych dyskusję o ukraińskiej tożsamości. Zewnętrzny wizerunek Ukrainy kształtują środki masowego przekazu, które dostarczają szerokiej publiczności informacji o wydarzeniach historycznych. Informacje prezentowane w prasie opiniotwórczej są istotnym źródłem dla rozważań nad kwestiami tożsamości w ogóle. Artykuł ma na celu zbadanie, jak polscy intelektualiści przedstawiają Ukrainę we współczesnej polskiej prasie. Badanie umożliwi zrozumienie problemów ukraińskiej tożsamości, będzie także prezentacją pozytywnych i negatywnych jej aspektów. Zarazem jednak unaoczni, w jaki sposób polskie środowiska opiniotwórcze postrzegają, konstruują i rekonstruują tożsamość Ukrainy i narodu ukraińskiego i jak przedstawiają te kwestie społeczeństwu. Staram się jednocześnie wyjaśnić, jakie atrybuty ukraińskiej tożsamości – wydarzenia historyczne, cechy kulturowe i polityczne, mity i symbole – były istotne dla rozważań nad Ukrainą w polskiej prasie opiniotwórczej.

scholarly journals ROME AND CARTHAGE BY A.V. TIMOFEEV: ON THE PROBLEM OF THE GENESIS OF “HISTORICAL FANTASY” AS A GENRE VARIETY OF RUSSIAN ROMANTIC DRAMA OF THE 19TH CENTURY

2021 ◽  
pp. 142-163
Author(s):  
ARKADII MAN'KOVSKII
Keyword(s):  
19Th Century ◽  
Religious Tradition ◽  
The Other ◽  
Literary Critic ◽  
Historical Events ◽  
Romantic Drama ◽  
The One ◽  
Historical Fantasy ◽  
The 19Th Century ◽  
The Way

The paper explores the genre of scarcely studied play by Russian minor writer Alexei V. Timofeev (1812-1883) Rome and Carthage (1837). Timofeev’s contemporary literary critic Osip Senkovskii treated like poet’s failure his use of romantic techniques in the play on ancient plot. Taking into account this opinion the paper analyzes the paratextual elements in the play, the way of describing characters, the division of the play into acts, the connection of the plot events with historical facts. The paper argues that the play approaches the kind of romantic drama, which the author suggests to call “historical fantasy” Its main feature is the coexisting in the plot mythology and religious tradition, on the one hand, and historical events, on the other, the heroes of historical chronicles and the heroes of folk legends, belief in miracles and rationalism. The goal of historical fantasy is to produce a generalized image of the time, to convey the spirit of the epoch while the dramatic action takes a secondary place. Samples of the genre were given in the works of Alexander A. Shakhovskoi, Alexander I. Gertsen, Apollon N. Maikov. Timofeev’s play was just in the way to this kind of drama.

scholarly journals Poetic Frameworks and Narrative Procedures of Bosnia and Herzegovina Novels about Kulin Ban

2021 ◽  
Vol 6 (4(17)) ◽  
pp. 57-72
Author(s):  
Melida Travančić
Keyword(s):  
Past History ◽  
The Other ◽  
The Novel ◽  
Historical Events ◽  
Narrative Texts ◽  
The Past ◽  
Historical Figures ◽  
The One ◽  
The Relationship ◽  
The Way

This paperwork presents the literary constructions of Kulin Ban's personality in contemporary Bosnian literature on the example of three novels: Zlatko Topčić Kulin (1994), Mirsad Sinanović Kulin (2007), and Irfan Hrozović Sokolarov sonnet (2016). The themes of these novels are real historical events and historical figures, and we try to present the way(s) of narration and shape the image of the past and the way the past-history-literature triangle works. Documentary discourse is often involved in the relationship between faction and fiction in the novel. Yet, as can be seen from all three novels, it is a subjective discourse on the perception of Kulin Ban today and the period of his reign, a period that could be characterized as a mimetic time in which great, sudden, and radical changes take place. If the poetic extremes of postmodernist prose are on the one hand flirting with trivia, and on the other sophisticated meta- and intertextual prose, then the Bosnian-Herzegovinian romance of the personality of Kulina Ban fully confirms just such a range of stylistic-narrative tendencies of narrative texts of today's era.

Crowd, mob, and nation in Boris Godunov: What did musorgsky think, and does it matter?

2011 ◽  
Vol 52 (1-4) ◽  
pp. 123-142
Author(s):  
Richard Taruskin
Keyword(s):  
San Francisco ◽  
The Other ◽  
Historical Events ◽  
Russian People ◽  
Political Ideas ◽  
Holy Fool ◽  
Single Production ◽  
Boris Godunov ◽  
The One ◽  
The Way

When Musorgsky revised his opera Boris Godunov in 1871–1872 as a condition for its eventual performance in 1874, he made many changes that went far beyond what the Imperial Theaters demanded of him. Among these changes was the composition of a crowd scene outside Moscow, in which the rebellious populace hails the Pretender, to replace a crowd scene at Red Square in which a submissive, hungry crowd beg Boris for bread. The original scene came, like the rest of the libretto, directly from Pushkin’s eponymous play. The new scene reflected a new view of the historical events, and Musorgsky wrote his own text for it. The two scenes are ideologically at odds, particularly as regards their view of the Russian nation in relation to the Russian people. Moreover, the two scenes share the episode of the Holy Fool and the thieving boys, which Musorgsky transferred from the one score to the other. Obviously, Musorgsky regarded them as incompatible within a single production and thought he had made conflating them impossible. And yet, at the Bolshoy Theater in 1939, the two scenes were indeed played that way, inconsistencies and redundancies be damned. The Bolshoy production (which became widely known through recordings and film) might be written off, the way we tend to write off the art of the Stalinist era, as a politically motivated anomaly. But other productions, including one in San Francisco in 1992, and one that was mounted in 2010 at the Teatro Regio in Torino, have included both scenes without any such evident motivation, possibly because the Bolshoy production is now regarded by some as canonical. Is the historiographical contradiction involving our theme of Opera and Nation to be regarded as a blemish? If not, what considerations can be seen to outweigh it? Can Musorgsky’s political ideas be deduced from the work in which we assume they are embodied? And if they can be, should they be regarded as an aspect of the work that performers need respect?

Hebrews

2001 ◽  
Author(s):  
Craig F. Koester
Keyword(s):  
Christian Theology ◽  
Christian Faith ◽  
Classical Rhetoric ◽  
Christian Community ◽  
God's Will ◽  
Early Christian ◽  
Epistle To The Hebrews ◽  
New Directions ◽  
The One ◽  
The Way

One of early Christianity's most carefully crafted sermons, Epistle to the Hebrewsaddresses listeners who have experienced the elation of conversion and the heat of hostility, but who now must confront the formidable task of remaining faithful in a society that rejects their commitments. The letter probes into the one of most profound questions of faith: If it is God's will that believers be crowned with glory and honor, why are the faithful subject to suffering and shame? Through the stories of Abraham and Sarah, Moses, and Rahab, whose faith enabled them to overcome severe trials and conflicts, and through the story of Jesus himself, whose sufferings opened the way to God's presence for all, the sermon confirms the foundations of the Christian faith. In a magisterial introduction, Koester presents a compelling portrait of the early Christian community and examines the debates that have surrounded Epistle to the Hebrews for two millennia. Drawing on his knowledge of classical rhetoric, he clarifies the book's arguments and discusses the use of evocative language and imagery to appeal to its audience's minds, emotions, and will. Providing an authoritative, accessible discussion of the book's high priestly Christology, this landmark commentary charts new directions for the interpretation of Epistle to the Hebrews and its influence on Christian theology and worship.

scholarly journals Treści ideowe polskich nowożytnych konfesjonałów jako wyraz potrydenckiego nauczania Kościoła

Artifex Novus ◽  
2019 ◽  
pp. 96-113
Author(s):  
Arkadiusz Gontarek
Keyword(s):  
Interior Design ◽  
The Other ◽  
Equal Footing ◽  
Counter Reformation ◽  
The Reformation ◽  
Apostolic Succession ◽  
The One ◽  
To Receive ◽  
The Way

SUMMARY The issue of the presence of confessionals in the interior of the post-Trent church has not yet been addressed by Polish researchers. Brief references in encyclopaedic or dictionary works focus primarily on the evolution of the form of furniture. Therefore, this text will be an attempt to extract the wealth of ideological content, which has so far been omitted or treated marginally, and which is carried by old Polish confessionals. The proposed study includes confessionals located within the borders of today’s Poland and dating back to the 17th and 18th centuries, on which there are paintings or woodcarving images of penitents and confession patrons (sometimes enriched with text), as well as emblematic representations – a total of about 140 modern confessionals in not quite 60 towns and cities. The decoration of “penitential furniture”, as permanent elements of the church’s furnishings, harmonised closely with its whole interior design. On the one hand, it was supposed to complement it, and on the other, it was supposed to be a transmitter of autonomous content. They wereaddressed not only to penitents (e.g. through the presence of images of converted expiators), but also to confessors (images of martyrs of the mystery of confession). Considering the form of the confessional and its iconographic setting in a broader context, it is necessary to indicate the points which expressed the Catholic Church’s response to the errors of the Reformation. This includes the need for individual sacramental confession, based on the apostolic succession, the ruthless presence of a clergyman forgiving sins with the “power of the keys” and the negation of predestination emphasising the truth that man himself consciously chooses good or evil. The ideational richness of the confessional was also greatly influenced by the fact that the three sacraments were concentrated in the confessional: it was the place where one of them was celebrated and the necessary point on the way to receive the Eucharist, at the same time as the necessary presence of an ordained priest. The aim of this article is, therefore, to look at the modern confessional who, in its formal and content layer, visually realises – on an equal footing with other elements of the church’s equipment – the counter-reformation doctrine of the postTrent Church.

scholarly journals Divine Thoughts in the View of Abdul Rahuman

2021 ◽  
Vol 4 (1) ◽  
pp. 55-65
Author(s):  
Yuvarani K ◽  
Siva Kumar R
Keyword(s):  
Daily Life ◽  
Review Article ◽  
The World ◽  
The One ◽  
To Receive ◽  
Land Water ◽  
The Way

The thought of the Lord appears when one looks at the events seen in daily life and thinks deeply about them. Therefore, “Irai Sinthanai Thoughts in the View of Abdul Rahuman' is chosen as the title of this review article to convey the ideas, thoughts, beliefs, etc. about God. The study is carried out in such terms as algorithms. In the sense that these creations are deified, all living and inanimate objects in the world were created by the one and only God, and that religions call these things by the names of heredity, paramanma, god, lord, and that religions and religious principles should be in place to dispel the prejudice of men who claim that their religious god is the best. Since God holds within Himself all the powers of the giants, such as land, water, air, fire, and sky, which are necessary for life to exist, it makes sense that discriminating against God in His creation is tantamount to distinguishing Himself. In the sense of divine experience, we must reach the Lord who bestows that pleasure so that the lives in the world may attain lasting happiness and pleasure. That is the bliss of eternal bliss, and when that life reaches that state of bliss the two become one with the Lord. There are many saints and saints who have attained such supremacy. They have realized and realized the divine vision and divine experience that they have seen through her experience. Thus, Abdul Rahuman is situated in the pleasure of music, in the rhythm of beauty, in the experience of bliss, in the expression of joy, in a way that is indescribable in words, and in the way he realizes his divine experience as one who has seen and experienced God. In the sense of the means of attaining the Lord, just as the pious theologians show how to receive the grace of the Lord, Abdul Rahman also exemplifies the pursuit of worldly pleasures and attachments, helping one another, living in harmony with virtues without succumbing to vices, such as arrogance. Abdul Rahman points out that the only way to attain God is through the attainment of maturity by realizing through his experience that God is responsible for all the deeds in this world.

scholarly journals Pentecostal Hermeneutical Considerations about Women in Ministry

2017 ◽  
Vol 43 (1) ◽  
pp. 122-137 ◽  
Author(s):  
Marius Nel
Keyword(s):  
Upward Mobility ◽  
Academic Background ◽  
Women In Ministry ◽  
Pentecostal Movement ◽  
The Bible ◽  
The One ◽  
To Receive ◽  
The Church ◽  
The Way

At first, the Pentecostal movement made no distinction between genders in the ministry. Anyone anointed by the Spirit was allowed to minister, whether to pray for the sick, testify about an encounter with God, preach or teach. The emphasis was not on the person of the one ministering, but on the Spirit equipping and empowering the person. Due to Pentecostals’ upward mobility and alliance with evangelicals in order to receive the approval of the society and government since the 1940s, women’s contribution to the ministry faded until in the 1970s some Pentecostals with an academic background started debating about Pentecostal hermeneutics; questioning also the omission of women from ministry. Although many Pentecostals still read the Bible in a fundamentalist manner, the article proposes a hermeneutical strategy—in accordance with the way early Pentecostals interpreted the Bible—that moves from the experience with the Spirit to the Bible, allowing one to experience the confusion and conflict necessarily associated with contradictory statements found in the Bible about issues such as women in the ministry. While the author agrees it is important that discrimination against women in the church should cease, the purpose of the article is not primarily to discuss this discrimination; it is rather to show how a movement’s hermeneutical viewpoint and considerations can cause the movement to change its stance about an important issue such as women in ministry.

“Haiti, I Can See Your Halo!”

2017 ◽  
Author(s):  
Carole Boyce Davies
Keyword(s):  
African Diaspora ◽  
The Other ◽  
Economic Difficulty ◽  
History Of ◽  
Christian Iconography ◽  
The One ◽  
External Actors ◽  
The Way

This chapter uses the logic of the halo not in the way it appears in Christian iconography, but in the way the halo of what Haiti means radiates as a series of spatial principles across the African diaspora. The contradictory history of Haiti that produced today's American hemisphere's poorest country runs up against a history of glory and transcendence. Thus, in many ways, Haiti becomes an important and extreme representation of the black condition: on the one hand, a past of dignity and legendary greatness; on the other, the starkness created by the initial history of dispossession, subsequent economic difficulty, brought on sometimes by horrendous leadership, often in collusion with external actors, environment, climate, location, but through it all, an amazing resistance of its people matched by an outstanding creativity.

Crowd, Mob, and Nation in Boris Godunov: What Did Musorgsky Think, and Does It Matter?

2011 ◽  
Vol 28 (2) ◽  
pp. 143-165 ◽  
Author(s):  
Richard Taruskin
Keyword(s):  
The Other ◽  
Historical Events ◽  
Russian People ◽  
Political Ideas ◽  
Holy Fool ◽  
Single Production ◽  
Boris Godunov ◽  
The One ◽  
The Way ◽  
New View

When Musorgsky revised his opera Boris Godunov in 1871–72 as a condition for its eventual performance in 1874, he made many changes that went far beyond what the Imperial Theaters demanded of him. Among these changes was the composition of a crowd scene outside Moscow, in which the rebellious populace hails the Pretender, to replace a crowd scene at Red Square in which a submissive, hungry crowd begs Boris for bread. The original scene came, like the rest of the libretto, directly from Pushkin's eponymous play. The new scene reflected a new view of the historical events, and Musorgsky wrote his own text for it. The two scenes are ideologically at odds, particularly as regards their view of the Russian nation in relation to the Russian people. Moreover, the two scenes share the episode of the Holy Fool and the thieving boys, which Musorgsky transferred from the one score to the other. Obviously, Musorgsky regarded them as incompatible within a single production and thought he had made conflating them impossible. And yet, at the Bolshoy Theater, beginning in 1927, the two scenes have indeed been played that way, inconsistencies and redundancies be damned. The Bolshoy production of 1939 (which became widely known and influential through recordings and film) might be written off, the way we tend to write off the art of the Stalinist era, as a politically motivated anomaly. But many other productions and most recordings since 1948 have included both scenes without any such evident motivation, indicating that the Bolshoy production is now regarded as canonical. Is the historiographical contradiction involving the theme of the conference at which this article was first presented (“Opera and Nation,” Budapest 2010) to be regarded as a blemish? If not, what considerations can be seen to outweigh it? Can Musorgsky's political ideas be deduced from the work in which we assume they are embodied? And if they can be, should they be regarded as an aspect of the work that performers need respect?

Self-sacrifice for in-group's history: A diachronic perspective

2018 ◽  
Vol 41 ◽  
Author(s):  
Maria Babińska ◽  
Michal Bilewicz
Keyword(s):  
Clinical Psychology ◽  
Historical Events ◽  
Emotional Events ◽  
Reciprocal Process ◽  
The Way

AbstractThe problem of extended fusion and identification can be approached from a diachronic perspective. Based on our own research, as well as findings from the fields of social, political, and clinical psychology, we argue that the way contemporary emotional events shape local fusion is similar to the way in which historical experiences shape extended fusion. We propose a reciprocal process in which historical events shape contemporary identities, whereas contemporary identities shape interpretations of past traumas.

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