How to Read the Word for Lazarus Resurrection? On the Question of Old Russian Myth-Making and Religious Imagination in the Slavic Medieval Apocrypha World

2021 ◽  
pp. 154-185
Author(s):  
Miura Kiyoharu ◽  
Keyword(s):  
Literary Work ◽  
Religious Imagination ◽  
Old Russian ◽  
The Third ◽  
Russian Word ◽  
Ancient Literature ◽  
History Of

The article sets the task of investigating, using the example of the apocryphal Word for Lazarus Resurrection, some of the features of old Russian myth-making and the manifestation of religious imagination reflected in the Slavic medieval apocrypha. For this, the concept of “divine sight” is introduced, which goes back to the principle of the image described by P. Florensky and called ‘the eyes of God’. In addition, the proposed article suggests that Old Russian Word for Lazarus Resurrection has a connection with ancient literature. The article is divided into three parts. To substantiate the proposed assumptions, the first part of the article is devoted to an overview of the history of the study of this apocryphal work before A.S. Nikolaev (a researcher of our time), who emphasizes the connection between the Word for Lazarus Resurrection with the Indo-European root. To substantiate the application of the “divine sight” technique in the analysis of a literary work, in the second part of the article, we will consider the cultural soil of the ancient Christian apocrypha. Further, on the basis of the first two parts in the third part, using the concept of “divine sight,” we will analyze the drama of the Word for Lazarus Resurrection.

The experience of non-traditional study of the poetics of literary works (on the example of the book “Fontanelle” by Meir Shalev)

2021 ◽  
pp. 58-75
Author(s):  
Vadim Markovich Rozin
Keyword(s):  
New World ◽  
Human Life ◽  
Literary Work ◽  
The Third ◽  
The Family ◽  
Gradual Development ◽  
History Of ◽  
Family And Marriage ◽  
Nontraditional Approach ◽  
Empirical Material

This article offers a nontraditional approach towards studying the poetics of literary work, which considers personality of the reader and analysis of the reality that he reconstructs and experiences. The empirical material is comprised on the authorial analysis of the poetics of Meir Shalev's novel “Fontanelle”. This literary work features the four major themes: love of the protagonist Michael, creation of the new world from its inception, the characteristic of life values of a person, and discussion of the peculiarities of reality that Meir Shalev builds as an artist. In the first theme, the author reveals several images of love, reflecting on the mystical love of the protagonist for the young woman Ana, love in the family and marriage, love for children. At the same time, the author discusses not only the way that Meir Shalev understands and describes love in “Fontanelle”, but also talks about the own interpretation of love. In the plotline of the second theme, the author also distinguishes two lines: the story the protagonist’s grandfather Apupa, who carries his beloved Amuma on his shoulders across the country, seeking a place where they could create a home and family; and the story of gradual development of a small settlement into a city, created by Apupa and Amuma on the mountain, and several Jewish families at the lower valley. Discussing in the third topic the anchors of human life, the author emphasizes such values as effort, love, family and family line, creativity, indicating that Michael is not alone, he is loved, he gets involved in family history, as well as the history of Israel and Jewish culture, drawing strength in the heroes of this story. The last part of the article gives characteristic to the reality of “Fontanelle” and explains why the author liked it.

scholarly journals Jeden z herezjarchów? Przedstawienia ikonograficzne Mahometa w rękopisie Рнб, f.IV.151 w kontekście staroruskich narracji na jego temat

Vox Patrum ◽  
2018 ◽  
Vol 70 ◽  
pp. 449-469
Author(s):  
Zofia Brzozowska
Keyword(s):  
Roman Empire ◽  
Russian Literature ◽  
Byzantine Empire ◽  
Extensive Sequence ◽  
Old Russian ◽  
The Third ◽  
Russian State ◽  
Identical Manner ◽  
History Of ◽  
Ivan The Terrible

The РНБ, F.IV.151 manuscript is the third volume of a richly illustrated his­toriographical compilation (so-called Лицевой летописный свод – Illustrated Chronicle of Ivan the Terrible), which was prepared in one copy for tsar Ivan IV the Terrible in 1568-1576 and represents the development of the Russian state on the broad background of universal history. The aforementioned manuscript, which contains a description of the history of the Roman Empire and then the Byzantine Empire between the seventies of the 1st century A.D and 919, includes also an extensive sequence devoted to Muhammad (Ѡ Бохмите еретицѣ), derived from the Old Church Slavonic translation of the chronicle by George the Monk (Hamartolus). It is accompanied by two miniatures showing the representation of the founder of Islam. He was shown in an almost identical manner as the creators of earlier heterodox trends, such as Arius or Nestorius. These images therefore become a part of the tendency to perceive Muhammad as a heresiarch, a false pro­phet, and the religion he created as one of the heresies within Christianity, which is also typical of the Old Russian literature.

The Polymorphous Pesaḥ

2017 ◽  
Vol 8 (3) ◽  
pp. 292-343
Author(s):  
Mira Balberg ◽  
Simeon Chavel
Keyword(s):  
Literary Tradition ◽  
Literary Work ◽  
Original Version ◽  
Subsequent Work ◽  
Creative Thought ◽  
Biblical Literature ◽  
Clear Sense ◽  
Ancient Literature ◽  
History Of ◽  
Rich History

Despite points of critical clarity in the scholarly tradition, the biblical account of Exodus 12 continues to be treated as a sufficiently coherent story of origins that relates how the Passover festival and the pesaḥ ritual were established and what makes all subsequent performances reenactments. This article surveys ancient literature presenting or invoking the pesaḥ, from its very first representation in biblical literature up to the debates about it in the Hellenistic and Roman periods, to show that the pesaḥ is an instance of “repetition without origin” and one that problematizes the very notion of reenactment. The article demonstrates that successive authors and editors do not provide any clear sense of how the pesaḥ was done in their time or what the general tradition was as to its origins; the original version was itself already fragmentary and unworkable; subsequent work to recast and re-present it is always interpretive and re-interpretive in nature, is conditioned by the argument of the larger literary work, and advances contradictory views. Because the early sources construct the pesaḥ in so many opposing ways, subsequent readers had unusual liberty to interpret and retold this important practice in whatever shape best suited their needs and understanding. The survey illustrates how completely the pesaḥ foils the attempt to write its history both as a practice and as a literary tradition, but also how it generated a long and rich history of creative thought around itself.

Die Hochzeit der Sprachen

Babel ◽  
1990 ◽  
Vol 36 (3) ◽  
pp. 167-177
Author(s):  
Astrid Seele
Keyword(s):  
Point Of View ◽  
Focus Attention ◽  
The Third ◽  
Ancient Literature ◽  
History Of ◽  
History Of Translation

The allegory of the marriage of languages was inspired by Herder's comparison of a language not yet profaned by translations with a virgin. This simile was logically extended to the simile of translation as marriage of languages. The first part of the treatise presents the allegory. The translator wanders through the centuries and goes courting. In the second part the allegory is solved. The third part tries to answer the question of how far the allegory is to be considered as a contribution to the history of translation. The greatest stress is laid upon the open end of the allegory: the modern translations of ancient literature are — in an intentionally exaggerated manner — criticized so as to focus attention on the question of how far a historian of translation should consider his present point of view and interest when writing a history of translation.

scholarly journals Pragmatics of the Secondary Text: Vlas Doroshevich as Mr. Ivan Ivanovich Ivanov

2020 ◽  
Vol 15 (1) ◽  
pp. 63-72
Author(s):  
A. E. Kozlov
Keyword(s):  
Life History ◽  
Russian Literature ◽  
Literary Work ◽  
Symbolic Capital ◽  
Unified Model ◽  
Behavioral Patterns ◽  
Russian Word ◽  
History Of ◽  
Secondary Text ◽  
Hard Labour

The article analyzes the behavioral patterns (gestures, roles, scripts) and texts of Vlas Doroshevich (in particular, articles and essays by Doroshevich written him about V. P. Burenin, A. I. Herzen, D. L. Mordovtsev). One of the most famous books during the life of the writer “The Way of the Cross” (1915) is almost forgotten today. However, historians and literary historians still study his book “Sakhalin. Hard Labour” (1903). Being a contemporary of A. P. Chekhov, Vlas Doroshevich, who lived after him for almost 20 years, repeatedly turned to the life history of his contemporary, recognized as a genius during his lifetime. In such an appeal, one can see not only the performance of newspaper and journal work due to the commercialization of literary work, but also life-creating practices. One of the most obvious practices is a trip to Sakhalin and a description of travel experiences in a book. On the material of essays, feuilletons, memories that were written by Doroshevich for the Sutin’s ‘Russian word’ this patterns are investigated. Firstly, it’s self-representation as Famous Other (often Genius). So Doroshevich wrote about Chekhov, however, most of the information is not related to the life and work of Chekhov, but closely connected to the life and work of Doroshevich. Secondly journalistic fiction filled the voids. The automatism of this type of writing is already exposed at the level of headings, among which the majority are built according to the unified model of ‘Chekhov and X’: Chekhov and Maupassant, Chekhov and criticism, Chekhov and Sakhalin, Chekhov and Suvorin, Chekhov and the title of writer, Chekhov and Marx, Chekhov and the stage, Chekhov, Tolstoy and Gorky. The last text, replicating the narrative model, chosen in the feuilleton Chekhov and Suvorin: X was very fond of Y, as Y was very fond of X. Thirdly, Doroshevich has not only parodied contemporaries, but also parodied himself. Thus “Memories of Chekhov” deceive the expectations of readers. The narrator Ivan Ivanovich Ivanov writes his text as Doroshevich himself wrote about Chekvov several years before. Lastly, pragmatics of Doroshevich'es texts is conceptualized in the pattern Simeon, who did not live to see the Christ. Doroshevich used this idiom when he's speaking about forgotten Russian writer Daniil Mordovtsev. Mordovtsev was so-called ‘little man’ of Russian literature. Doroshevich did not want to be the same, so Chekhov’s symbolic capital needed him as a way to change his own life, endow it with new, albeit secondary, meanings.

A Universe of Societies

2018 ◽  
Author(s):  
Didier Debaise
Keyword(s):  
Spatial Relations ◽  
The Third ◽  
The Status ◽  
History Of ◽  
Temporal And Spatial

Which kind of relation exists between a stone, a cloud, a dog, and a human? Is nature made of distinct domains and layers or does it form a vast unity from which all beings emerge? Refusing at once a reductionist, physicalist approach as well as a vitalistic one, Whitehead affirms that « everything is a society » This chapter consequently questions the status of different domains which together compose nature by employing the concept of society. The first part traces the history of this notion notably with reference to the two thinkers fundamental to Whitehead: Leibniz and Locke; the second part defines the temporal and spatial relations of societies; and the third explores the differences between physical, biological, and psychical forms of existence as well as their respective ways of relating to environments. The chapter thus tackles the status of nature and its domains.

The Origins of Gritty Realism on British Television: Euston Films and Special Branch

2014 ◽  
Vol 11 (1) ◽  
pp. 23-40 ◽  
Author(s):  
Max Sexton
Keyword(s):  
Cultural Discourse ◽  
Technological Changes ◽  
Television Drama ◽  
The Third ◽  
Fourth Series ◽  
History Of

Euston Films was the first film subsidiary of a British television company that sought to film entirely on location. To understand how the ‘televisual imagination’ changed and developed in relationship to the parent institution's (Thames Television) economic and strategic needs after the transatlantic success of its predecessor, ABC Television, it is necessary to consider how the use of film in television drama was regarded by those working at Euston Films. The sources of realism and development of generic verisimilitude found in the British adventure series of the early 1970s were not confined to television, and these very diverse sources both outside and inside television are well worth exploring. Thames Television, which was formed in 1968, did not adopt the slickly produced adventure series style of ABC's The Avengers, for example. Instead, Thames emphasised its other ABC inheritance – naturalistic drama in the form of the studio-based Armchair Theatre – and was to give the adventure series a strong London lowlife flavour. Its film subsidiary, Euston Films, would produce ‘gritty’ programmes such as the third and fourth series of Special Branch. Amid the continuities and tensions between ABC and Thames, it is possible to discern how economic and technological changes were used as a cultural discourse of value that marks the production of Special Branch as a key transformative moment in the history of British television.

Displace of Documentary Heritage from the Soviet Union to Poland during the Third Decade of the XXth Century

2014 ◽  
Vol 3 ◽  
pp. 127-137
Author(s):  
Tatsiana Hiarnovich
Keyword(s):  
Soviet Union ◽  
International Agreements ◽  
Peace Treaty ◽  
Actual Process ◽  
Xxth Century ◽  
The Third ◽  
The Soviet Union ◽  
History Of ◽  
Selection Of

The paper explores the displace of Polish archives from the Soviet Union that was performed in 1920s according to the Riga Peace Treaty of 1921 and other international agreements. The aim of the research is to reconstruct the process of displace, based on the archival sources and literature. The object of the research is those documents that were preserved in the archives of Belarus and together with archives from other republics were displaced to Poland. The exploration leads to clarification of the selection of document fonds to be displaced, the actual process of movement and the explanation of the role that the archivists of Belarus performed in the history of cultural relationships between Poland and the Soviet Union. The articles of the Treaty of Riga had been formulated without taking into account the indivisibility of archive fonds that is one of the most important principles of restitution, which caused the failure of the treaty by the Soviet part.

The Question of Authority: Deracinating Race, Repositioning Religion, and Regenerating Gender in the History of African American Islam

2010 ◽  
Vol 4 (1-2) ◽  
pp. 213-227
Author(s):  
Rosemary Hicks
Keyword(s):  
African American ◽  
Review Essay ◽  
Oxford University ◽  
The Third ◽  
History Of ◽  
American Islam ◽  
African American Islam ◽  
Oxford University Press

A review essay devoted to Islam and the Blackamerican: Looking Toward the Third Resurrection by Sherman A. Jackson. Oxford University Press, 2005. 256 pages. Hb. $29.95/£22.50, ISBN-13: 9780195180817.

Sign in / Sign up

Export Citation Format

Share Document