scholarly journals MAGDALENE, A POEM BY INNOKENTY ANNENSKY: GOSPEL TEXT AT THE CROSSROADS OF LITERARY TRADITIONS

2021 ◽  
Vol 19 (1) ◽  
pp. 308-327
Author(s):  
Roman Mniсh
Keyword(s):  
Greek Tragedy ◽  
Ancient Greek ◽  
Literary Traditions ◽  
Mary Magdalene ◽  
Unrequited Love ◽  
Mikhail Lermontov ◽  
The World ◽  
Johann Wolfgang Goethe

The article offers an interpretation of Innokenty Annensky's poem Magdalene written in 1885, but published only in 1997. This early work of the poet differs significantly from his poetry, known from published collections (Quiet Songs and Cypress Box), which are not characterized by an appeal to biblical images and motifs. In the poem Magdalene Annensky offers his interpretation of the Gospel story, depicting the conflict and struggle between human feelings (Mary Magdalene) and divine vocation (Jesus) in the dialogues between Magdalene and Jesus. Analysis of the structure of the poem allows us to determine the presence of three literary traditions in it: 1) ancient Greek tragedy and the chorus as one of its main actors; 2) a romantic poem about unrequited love (first of all, The Demon by Mikhail Lermontov) and the concept of romantic duality; 3) Faust by Johann Wolfgang Goethe. The combination of antique concepts (fate, destiny, metamorphosis) with the ideas of Christianity, as well as allusions to the works of Russian romantics, allowed the author to combine three aspects in the image of Mary Magdalene: ancient fate (destiny), Christian (Orthodox) holiness and romantic alienation from the world. The combination of these three aspects in the poem by I. Annensky forms a new quality: the romantic poem did not provide for the chorus as a character, and the ancient Greek tragedy did not allow for such lyrical digressions typical for a romantic poem. The Gospel text in the poem by I. Annensky is transformed in line with the three mentioned traditions, and thus the theme “grows” into a dramatic poem.

Sandra Ramos Revisited

2020 ◽  
Vol 2 (4) ◽  
pp. 32-54
Author(s):  
Silvia Spitta
Keyword(s):  
United States ◽  
The United States ◽  
Ancient Greek ◽  
Graphic Arts ◽  
Left Behind ◽  
The World ◽  
The Usa ◽  
Political Choices ◽  
The Rich

Sandra Ramos (b. 1969) is one of the few artists to reflect critically on both sides of the Cuban di-lemma, fully embodying the etymological origins of the word in ancient Greek: di-, meaning twice, and lemma, denoting a form of argument involving a choice between equally unfavorable alternatives. Throughout her works she shines a light on the dilemmas faced by Cubans whether in Cuba or the United States, underlining the bad personal and political choices people face in both countries. During the hard 1990s, while still in Havana, the artist focused on the traumatic one-way journey into exile by thousands, as well as the experience of profound abandonment experienced by those who were left behind on the island. Today she lives in Miami and operates a studio there as well as one in Havana. Her initial disorientation in the USA has morphed into an acerbic representation and critique of the current administration and a deep concern with the environmental collapse we face. A buffoonlike Trumpito has joined el Bobo de Abela and Liborio in her gallery of comic characters derived from the rich Cuban graphic arts tradition where she was formed. While Cuba is now represented as a rotten cake with menacing flies hovering over it ready to pounce, a bombastic Trumpito marches across the world stage, trampling everything underfoot, a dollar sign for a face.

Θεωρία in Ancient Greek Exegetical Literature

2020 ◽  
pp. 85-104
Author(s):  
Борис Тимофеев
Keyword(s):  
Mystical Experience ◽  
Near East ◽  
Literary Form ◽  
Traditional View ◽  
Ancient Greek ◽  
Symbolic Form ◽  
Near Eastern ◽  
The World ◽  
Genesis 1 ◽  
Book Of Genesis

Современная научная богословская мысль склонна к унификации терминов и явлений в сфере своих компетенций. Эта тенденция в современных исследованиях в некоторых случаях распространяется и на древние христианские памятники. Так, например, слово θεωρία многие учёные определяют как мистический метод духовного толкования Священного Писания. Это определение нередко применяется в качестве универсального технического определения при анализе экзегетических произведений древних авторов. При этом игнорируется узус самих экзегетов, которые употребляют это слово в иных значениях. В рамках данной статьи предпринимается попытка выявить и показать основные значения слова θεωρία в древней греческой экзегетической литературе. The article deals with the theology, composition and literary form of the narrations which constitute the prologue part of the book of Genesis (1, 1-11, 26). During the second half of the 19th and at the turn of the 20th cent., following the emergence of the Documentary hypothesis as well as the comparison of the Holy Scripture with the newly-discovered literary monuments of Ancient Near East, the greater part of the narrations that constitute the Prologue were labeled myths and ancient Hebrew folklore (J. Wellhausen, H. Gunkel, J. Frazer). In addition to the then detected Near Eastern parallels, this new attitude towards the narrations of the Prologue was fostered by its lack of a clearly expressed historical dedication and the symbolic form of their exposition. Defending the traditional view of the Prologue as sacred history and prophetic revelation, bishop Kassian (Bezobrazov) proposed to consider all the biblical narrations that contain theophanies as metahistorical. Archpriest Sergey Bulgakov, A. F. Losev and B. P. Vysheslavtsev, who analyzed the phenomenon of myth-making, called the Biblical narration of the origins of the world a myth, but in a sense different from that proposed by Gunkel and Frazer. They have founded a new and positive conception according to which a myth is not fi but rather a kind of reality based upon mystical experience. The author of the article analyzes each of the terms enumerated - «history», «myth», «metahistory» - in their use relating them to the Prologue; he also examines the possibility of their harmonizing with the traditional ecclesiastical view of this part of the book of Genesis.

The Living Art of Greek Tragedy. By Marianne McDonald. Bloomington and Indianapolis: Indiana University Press, 2003; pp. 224. $15.95 paper.

2005 ◽  
Vol 46 (1) ◽  
pp. 167-168
Author(s):  
Edmund P. Cueva
Keyword(s):  
Twentieth Century ◽  
Greek Tragedy ◽  
Classical Period ◽  
Ancient Greek ◽  
Indiana University

Marianne McDonald's book provides a solid introduction to ancient tragedy and theatre. The author examines the works by the three major ancient Greek tragedians, Aeschylus, Sophocles, and Euripides, and supplies for each playwright biographies, synopses of their works, and modern and ancient translations and adaptations of their plays. The listing of the translations and adaptations is selective and spans from the classical period up to the twentieth century.

Tawus Protogonos: Parallels between the Yezidi Theology and Some Ancient Greek Cosmogonies

2014 ◽  
Vol 18 (1) ◽  
pp. 27-45
Author(s):  
Artur Rodziewicz
Keyword(s):  
Genetic Relationship ◽  
Early Christianity ◽  
Ancient Greek ◽  
The World

The paper concerns some crucial issues of theology and cosmogony of the Yezidis, which have distinct parallels in the writings of the ancient Greeks. A startling coincidence of certain topics and the manner of approach can lead to the conclusion that the Yezidi theology and mythology seem to have a distant genetic relationship with the Greek theology, or―which is also possible―we are dealing with distinct independent inscriptions of the same ideas, meaning here the highest factors governing the world. The paper also contains references to similar topics in the literature of Early Christianity and Gnosticism.

The Boat of the Dead in the Bronze Age

Antiquity ◽  
1941 ◽  
Vol 15 (60) ◽  
pp. 360-370 ◽  
Author(s):  
L. V. Grinsell
Keyword(s):  
Bronze Age ◽  
Pacific Islands ◽  
Ancient Greek ◽  
The Pacific ◽  
The World ◽  
The Dead ◽  
The Bronze Age

In many parts of the world and at many periods the practice has prevailed of depositing boats, or models or other representations of them, with the dead, either as a means of facilitating his supposed voyage to another world, or as a symbol of his maritime activities during his lifetime.That the former is generally the correct explanation of the custom there can be no doubt. This is shown by the evidence of the belief in a voyage to a future world, and the customs to which it has given rise, among living primitive peoples in the Pacific Islands and elsewhere, so well collected and presented by the late Sir J. G. Frazer. It is shown also by traditions such as that of our own king Arthur's journey by barge to ‘the island valley of Avilion, where falls not hail, or rain, or any snow’ It is shown also by the ancient Greek and Roman custom of placing a coin in the mouth of the dead to pay Charon's fee for ferrying him across the Styx.

scholarly journals The reflection of Ivan Kotlarevsky’s stylistics in Language of Artistic prose of Pavlo Zagrebelny

2019 ◽  
pp. 66-76
Author(s):  
Natalia Holikova
Keyword(s):  
Semantic Similarity ◽  
Language Game ◽  
Literary Language ◽  
Literary Traditions ◽  
Rhetorical Figures ◽  
Creative Personality ◽  
The World ◽  
The Creation ◽  
The Individual

The article explores the intertextual interaction of stylists, who in the works of I. Kotlyarevsky and P. Zahrebelny represent the concept of «laugh culture». The linguistic and aesthetic signs in the epic burlesque-travesty poem «Aeneid» by I. Kotlyarevsky, which served as a model for the creation of expressive and pictorial means – carriers of humorous axiology in the language of a number of P. Zahrebelny's novels, are revealed. Attention is drawn to the fact that the foundations for the formation of a ridiculous culture as a genre segment of Ukrainian literature are laid in the poem «Aeneid» by I. Kotlyarevsky, which is written in a syllabic-tonic verse (iamb) – the size most appropriate for the Ukrainian language. The linguistic and literary traditions of ridicule are at the heart of the humorously narrative tonality of P. Zahrebelny's two novels – «The Lion's Heart» and «Exile from Paradise», which form the thematic-storyline. It is emphasized that the figure of I. Kotlyarevsky is a significant creative personality for P. Zagrebelny, who often appeals to the creator of the creator of Ukrainian literary language in his prose. The novelist dialogues with the artistic texts of the laughingstock, introducing meaningfully expressive fragments of them into the intersemiotic field of prose works. The intertextual interplay of linguistic components of the individual-linguistic paintings of the world of two writers can be traced in the functional and structural-semantic similarity of a number of style word, which are often the result of stylistic reception of the language game: intertext (linguocultural and ethno-language characters), literary and artistic anthroponyms, as well as words-symbols, which are functionally significant components of the peripheral-evaluative sphere. The individual and authorial rhetorical figures of P. Zahrebelny are comprehensively analyzed within the limits of linguistics, ethno-linguistics, theory of intertextuality, literary onomastics. It has been concluded that the linguistic creation of the prose contains an important humorous-axiological segment of artistic narrative, which is organically incorporated into the context of Ukrainian laugh culture.

scholarly journals FROM PROMETHEUS TO AMRAN: ON THE CHAINED HERO IN THE OSSETIAN EPIC

Kavkaz-forum ◽  
2021 ◽  
Author(s):  
Р.Н. АБИСАЛОВА
Keyword(s):  
Greek Mythology ◽  
Ancient Greek ◽  
The Caucasus ◽  
National Myths ◽  
The People ◽  
The World ◽  
History Of ◽  
Ancient Times ◽  
The Difference

В статье рассмотрен один из мотивов осетинского Даредзановского эпоса – мотив прикованного героя, еще в древности вошедший в мифологию, фольклор, литературу многих народов и получивший название «мотив Прометея». Образ Прометея относится к «вечным образам» мировой художественной культуры. История прикования и освобождения Прометея и в древнегреческой мифологии, и в трагедии Эсхила позиционируется как топонимически привязанная к Кавказу. Именно здесь сюжет о наказанном Богом и прикованном богатыре получил распространение в национальных мифах и эпических преданиях – грузинских, осетинских, кабардинских, абхазских, вайнахских, армянских и др. Эти лаконичные предания об Амиране-Амране, по мнению Вс.Ф. Миллера, – кульминационные во всех источниках, рассказывающих об этом герое. Рассмотрены как древнегреческий Прометей, так и кавказские, в первую очередь осетинские, прикованные герои, представленные в работах Вс.Ф. Миллера, Г.Н. Потанина, Дз. Гатуева, Д.А. Калоевой, З.Г. Тменовой, Ю.А. Дзиццоты, Х.Ф. Цгоева и др. Образ Амирана сравнивается с соответствующими ему героями кавказских эпосов. При всей схожести мотивов богоборчества и наказания героя прикованием к скале или столбу нельзя не отметить отличия осетинского Амирана от остальных. В Даредзановских сказаниях он героическая личность, истинный богатырь, совершающий множество подвигов, побеждающий великанов, помогающий всем нуждающимся. Сын племянницы Бога, герой близок к народу, он побеждает врагов не только ради демонстрации силы, ловкости, хитрости, но и для спасения родных и друзей. В отличие от большинства кавказских прикованных героев, освобождение Амирана не предвещает гибель мира, напротив, осетинский Амиран, в случае освобождения, даст людям свободу и счастье. Многие мотивы в преданиях об Амране соотносятся с мотивами Нартовского эпоса. Амиран-Амран приравнивается к любимым героям осетинской Нартиады – Сослану, Батразу, Урузмагу, Шатане. В работе его образ рассмотрен для подтверждения объективной закономерности подобной репрезентации осетинского героя. The article deals with one of the motives of the Ossetian Daredzanian epic − the motive of the chained hero, which in ancient times entered the mythology, folklore, literature of many peoples and was called the "Prometheus motive". The image of Prometheus belongs to the "eternal images" of world art culture. The history of the chaining and liberation of Prometheus, both in ancient Greek mythology and in the tragedy of Aeschylus, is positioned as toponymically tied to the Caucasus. It was here that the plot about the God-punished and chained hero became widespread in national myths and epic legends − Georgian, Ossetian, Kabardian, Abkhaz, Vainakh, Armenian, etc. These laconic legends about Amiran-Amran, according to Vs.F. Miller, are culminating in all the sources telling about this hero. Both the ancient Greek Prometheus and the Caucasian, primarily Ossetian, chained heroes presented in the works of Vs.F. Miller, G.N. Potanin, Dz. Gatuev, D.A. Kaloeva, Z.G. Tmenova, Yu.A. Dzizzoity, Kh.F. Tsgoev and others. The image of Amiran is compared with the corresponding heroes of the Caucasian epics. With all the similarity of the motives of fighting against God and the punishment of the hero by being chained to a rock or a pillar, one cannot fail to note the difference between the Ossetian Amiran and the others. In Daredzan's legends, he is a heroic person, a true hero who performs many feats, conquers giants, and helps all those in need. The son of the niece of God, the hero is close to the people, he defeats enemies not only for the sake of demonstrating strength, dexterity, cunning, but also to save family and friends. Unlike most of the Caucasian chained heroes, the release of Amiran does not portend the death of the world, on the contrary, the Ossetian Amiran, if liberated, will give people freedom and happiness. Many motives in the legends about Amran correlate with the motives of the Nartov epic. Amiran-Amran is equated with the favorite heroes of the Ossetian Nartiada - Soslan, Batraz, Uruzmag, Shatana. In the work, his image is considered to confirm the objective regularity of such a representation of the Ossetian hero.

scholarly journals WAYS OF DEVELOPMENT OF “MINORITY” LITERATURE: POETRY BY NENETS PROKOPIY YAVTYSY

2019 ◽  
Vol 13 (4) ◽  
pp. 623-632
Author(s):  
Alexey Andreevich Arzamazov
Keyword(s):  
Comparative Studies ◽  
Far East ◽  
Minority Literature ◽  
Literary Traditions ◽  
Far North ◽  
The Far East ◽  
The World ◽  
Poetic Texts ◽  
North Siberia ◽  
Linguistic Phenomenon

The study of the manifold ethnocultural heritage of Russia is one of the paramount tasks, potentially the most important area of Russian humanities. At the same time, the literary traditions of the peoples of our country, representing a unique civilizational integrity, spiritual wealth, are of significant scientific interest. Focusing on the problems of the development of "minority" literature and the contexts of its updating, it must be emphasized that this is a complex and theoretically insufficiently comprehended artistic and aesthetic, ethnopsychological, linguistic phenomenon. It should be recognized that at present there is a need for fundamental comparative studies and the development of new approaches to the study of close and distant cultures, literature, and models of the world. The article discusses the realities of the development of a separate "minority" literature at the turn of the twentieth and twenty-first centuries on the example of poetic texts by the Nenets poet Prokopiy Yavtysy. A brief description of the main stages of the formation of the Nenets literature is given, a number of its key features that are important for heterogeneous typological, comparative studies are highlighted. P. Yavtysy’s work represents a set of artistic features and codes of expressiveness that are common to many literary traditions of the native minorities of the Far North, Siberia, and the Far East, and there are also separate stadial and typological correspondences with Finno-Ugric literature of Russia. The main poetic methods and contexts of Yavtysy’s poems are established, the most representative figurative and symbolic strata, plot and situational blocks are determined, the linguistic and poetic component is interpreted. The deep genetic connection of the poetic system of the Nenets author with the folklore and mythological ideas of the Nenets is emphasized. The question of the influence of socialist realism on the artistic rhetoric of P. Yavtysy is raised. In the article, a separate place is occupied by the problem of translating the works by the Nenets author into Russian.

Introduction

Ladies' Greek ◽  
2017 ◽  
Author(s):  
Yopie Prins
Keyword(s):  
Women Writers ◽  
Virginia Woolf ◽  
Greek Tragedy ◽  
Classical Antiquity ◽  
Elizabeth Barrett Browning ◽  
Ancient Greek ◽  
Collective Identification ◽  
Victorian Women ◽  
Greek Alphabet ◽  
Women Of Letters

This book examines why Victorian women of letters such as Elizabeth Barrett Browning, Sara Coleridge, and Virginia Woolf self-consciously performed collective identification with Greek letters and showed literary interest in their translations of with Greek tragedy. It considers how these women engaged with ideas about classical antiquity, and how much they contributed to the idealization of all things Greek. It discusses the ways in which women learned to read the Greek alphabet, to discover all the letters between alpha and omega, and how they turned ancient Greek into a language of and for desire. The book argues that nineteenth-century women writers turned to tragedy in particular as a literary genre for the performance of female classical literacy, and that their passionate reading of Greek led them into various forms of translation. Five tragedies are analyzed to elucidate the legacy of Ladies' Greek: Agamemnon and Prometheus Bound, Electra, Hippolytus, and Bacchae.

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