scholarly journals Het labyrint in de letterkunde: Van de Barok tot het Postmodernisme

Literator ◽  
2001 ◽  
Vol 22 (1) ◽  
pp. 9-26
Author(s):  
H. Ester
Keyword(s):  
Middle Ages ◽  
Ancient Greece ◽  
The Other ◽  
Search For Meaning ◽  
Geometrical Figure ◽  
Garden Path ◽  
The World ◽  
History Of ◽  
Year 2000 ◽  
Significant Structure

The labyrinth in literature: From Baroque to Postmodernism The labyrinth has proved to be an essential symbol of postmodernist literature and the philosophy of our time. This symbol has apparently had the power to bridge the centuries between Ancient Greece and the year 2000. In reality the labyrinth as a geometrical figure has acquired various meanings in the course of time. The history of the labyrinth as symbol shows that the constant elements are as essential as the changes in meaning from the Middle Ages until the present day. Two of the new symbolic elements that accompany the labyrinth on its way through various cultural periods are the garden and the path of life. During the Baroque the labyrinth, for example, represented the synthesis of garden, path and maze. At the end of the twentieth century the labyrinth once more becomes a dominant and significant structure. The labyrinth reflects the inability and perhaps impossibility to find the key to the centre of the world and to discover the truth behind the words we use. On the other hand, the labyrinth suggests that the search for meaning and truth is an aim in itself or even that this search can lead to new forms of wisdom. The labyrinth therefore is an ambivalent and fascinating symbol of our time. Dedalus and Ariadne, however, have not yet brought the salvation we are waiting for.

scholarly journals Global Middle Ages ou as virtudes do anacronismo. A lição do texto medieval

2019 ◽  
Vol 02 ◽  
pp. 117-149
Author(s):  
Carlos Carreto
Keyword(s):  
Middle Ages ◽  
Medieval Literature ◽  
Global Perspective ◽  
The Other ◽  
New Meanings ◽  
The World ◽  
The Status ◽  
History Of ◽  
Literature Mapping ◽  
History Of Literature

Has the Middle Ages invented globalization or revealed a clear consciousness of globality? On the other hand, may this anachronistic notion prove to be an appropriate and productive operative and analytical concept for rethinking medieval literature beyond its territorial and linguistic boundaries and the epistemological view of the world imposed by a (neo)positivist conception of the history of literature? Mapping the medieval literature in a global perspective implies a methodological repositioning and a process of deterritorialization of the concepts themselves that leads us to reinvest motives, forms, structuring notions (from the chivalric queste to the concept of romance as translatio, passing through the status of the marvelous) with new meanings and, consequently, new cultural and poetic implications.

scholarly journals Culture forming characteristics of the Middle ages: Britain vs Russia

2021 ◽  
Vol 59 ◽  
pp. 96-108
Author(s):  
Ekaterina V. Sklizkova
Keyword(s):  
Middle Ages ◽  
The Other ◽  
New Wave ◽  
Anglo Saxon ◽  
The World ◽  
History Of ◽  
Forming Characteristics ◽  
Sociocultural Characteristics ◽  
The One ◽  
The Middle Ages

Any historico-cultural type creates its own model of the world which is formed by universal for the society ideas and thoughts. The Middle ages are one of the most complicated, very many-sided and contradictory epochs. It was built by several large and active strata. Such subdivision was manifested in mosaicism of cultural heritage, where different phenomena can be viewed as a pattern of separate culture, though coherent in sociocultural characteristics. The dualism of the epoch reflects on the one hand in cultural globalism for whole Europe, one the other hand in variations within. Aesthetic views were mostly manifested at court, accumulated and shown as a signs. Aristocracy partly artificially synthesized its culture, shaping in the most attractive form. It was structuralized in common European context, having absorbed local cultures, primary so called Anglo-Saxon. Though any 3–5 centuries the territory of the British Isles was being marched through by a new wave of invaders, changed the culture. So it is possible to examine the unique cultures of these peoples and their impact to British one. Although the history of Russia exists in another context, it is the history of not consequent main cultures but the history of one nation. Certainly, as the multiethnic state Russia includes many cultures of many peoples but the central and cementing one, made the country as it stands, is Russian.

Science Without God?

2019 ◽  
Keyword(s):  
Nineteenth Century ◽  
Middle Ages ◽  
Scientific Revolution ◽  
Ancient Greece ◽  
The Past ◽  
Scientific Naturalism ◽  
Scientific Disciplines ◽  
The World ◽  
History Of ◽  
Historical Periods

Modern scientific explanations invariably exclude reference to God and the supernatural. Science and naturalism thus go hand in hand. But in the past things were often different. Beginning with the naturalists of ancient Greece, and proceeding through the Middle Ages, the scientific revolution, and into the nineteenth century, the chapters of this volume examine past ideas about ‘nature’ and ‘the supernatural’. Ranging over different scientific disciplines and historical periods, they show how past thinkers often relied upon theological ideas and presuppositions in their systematic investigations of the world. In addition to providing material that contributes to a history of nature and naturalism, this collection challenges a number of widely held misconceptions about the history of scientific naturalism.

The World after the End of the World

2017 ◽  
Vol 39 (2) ◽  
pp. 265-276 ◽  
Author(s):  
Kas Saghafi
Keyword(s):  
The Other ◽  
The World ◽  
History Of ◽  
The Absolute ◽  
End Of The World

In several late texts, Derrida meditated on Paul Celan's poem ‘Grosse, Glühende Wölbung’, in which the departure of the world is announced. Delving into the ‘origin’ and ‘history’ of the ‘conception’ of the world, this paper suggests that, for Derrida, the end of the world is determined by and from death—the death of the other. The death of the other marks, each and every time, the absolute end of the world.

scholarly journals Hiketeia

1973 ◽  
Vol 93 ◽  
pp. 74-103 ◽  
Author(s):  
John Gould
Keyword(s):  
Dominant Role ◽  
Ancient Greece ◽  
Social Institutions ◽  
The Other ◽  
Sixth Century ◽  
Dead Body ◽  
Greek Literature ◽  
The World ◽  
The One ◽  
Working Out

To Professor E. R. Dodds, through his edition of Euripides'Bacchaeand again inThe Greeks and the Irrational, we owe an awareness of new possibilities in our understanding of Greek literature and of the world that produced it. No small part of that awareness was due to Professor Dodds' masterly and tactful use of comparative ethnographic material to throw light on the relation between literature and social institutions in ancient Greece. It is in the hope that something of my own debt to him may be conveyed that this paper is offered here, equally in gratitude, admiration and affection.The working out of the anger of Achilles in theIliadbegins with a great scene of divine supplication in which Thetis prevails upon Zeus to change the course of things before Troy in order to restore honour to Achilles; it ends with another, human act in which Priam supplicates Achilles to abandon his vengeful treatment of the dead body of Hector and restore it for a ransom. The first half of theOdysseyhinges about another supplication scene of crucial significance, Odysseus' supplication of Arete and Alkinoos on Scherie. Aeschylus and Euripides both wrote plays called simplySuppliants, and two cases of a breach of the rights of suppliants, the cases of the coup of Kylon and that of Pausanias, the one dating from the mid-sixth century, the other from around 470 B.C. or soon after, played a dominant role in the diplomatic propaganda of the Spartans and Athenians on the eve of the Peloponnesian War.

Camus's Absurd and the World of Melville's Confidence-Man

PMLA ◽  
1967 ◽  
Vol 82 (1) ◽  
pp. 14-27
Author(s):  
Leon F. Seltzer
Keyword(s):  
Careful Analysis ◽  
The Other ◽  
The Novel ◽  
The Past ◽  
The World ◽  
Critical Attention ◽  
Confidence Man ◽  
Ugly Duckling ◽  
History Of ◽  
The One

In recent years, The Confidence-Man: His Masquerade, a difficult work and for long an unjustly neglected one, has begun to command increasingly greater critical attention and esteem. As more than one contemporary writer has noted, the verdict of the late Richard Chase in 1949, that the novel represents Melville's “second best achievement,” has served to prompt many to undertake a second reading (or at least a first) of the book. Before this time, the novel had traditionally been the one Melville readers have shied away from—as overly discursive, too rambling altogether, on the one hand, or as an unfortunate outgrowth of the author's morbidity on the other. Elizabeth Foster, in the admirably comprehensive introduction to her valuable edition of The Confidence-Man (1954), systematically traces the history of the book's reputation and observes that even with the Melville renaissance of the twenties, the work stands as the last piece of the author's fiction to be redeemed. Only lately, she comments, has it ceased to be regarded as “the ugly duckling” of Melville's creations. But recognition does not imply agreement, and it should not be thought that in the past fifteen years critics have reached any sort of unanimity on the novel's content. Since Mr. Chase's study, which approached the puzzling work as a satire on the American spirit—or, more specifically, as an attack on the liberalism of the day—and which speculated upon the novel's controlling folk and mythic figures, other critics, by now ready to assume that the book repaid careful analysis, have read the work in a variety of ways. It has been treated, among other things, as a religious allegory, as a philosophic satire on optimism, and as a Shandian comedy. One critic has conveniently summarized the prevailing situation by remarking that “the literary, philosophical, and cultural materials in this book are fused in so enigmatic a fashion that its interpreters have differed as to what the book is really about.”

A Fontana de Lutécia: Contos Virais

2021 ◽  
Author(s):  
Wilson Alves de Paiva
Keyword(s):  
World War I ◽  
Middle Ages ◽  
Ancient Greece ◽  
World War ◽  
Marcus Aurelius ◽  
The North ◽  
The World ◽  
Spanish Flu ◽  
The Village ◽  
Water Spring

A fictional book with five short stories that address the main pandemics in the world. The first story takes place in Ancient Greece, in 428 BC at the time of the Peloponnesian War. Tavros, the main character flees the plague by traveling to Gaul and discovers a mysterious water spring near the village of the Parisii. In AD 166, when Rome, is devasted by the plague, Marcus Aurelius sends out soldiers to the North. One of them, Lucius, arrives in the region of Lutecia and finds the same fountain that Tavros had been to. The water from this spring gives him strength to escape from the persecution of Christians and Jews. In his old age, Lucius becomes a Church elder and writes letters. One of them was read, many centuries later, by a Franciscan Parisian monk during the Middle Ages, who decides to pilgrimage to Jerusalem but is surprised by the Black Death. Back home, he is saved by the water spring, builds an orphanage and has his life converted into a book - which is red by a young journalist who takes the ship Demerara with his fiancée to Brazil in order to avoid the World War I, the Spanish flu and some Russian spies. The last story is about a Brazilian professor, called Lucius Felipe who, in 2019, travels to Paris to develop his postdoctoral studies. Unfortunately he has to return to Brazil due to the COVID-19 pandemic. But not before having visited Lutetia’s fountain and felt its power and the memories it holds.

Art. XIX.—An old Hebrew Romance of Alexander

1897 ◽  
Vol 29 (3) ◽  
pp. 485-549
Author(s):  
M. Gaster
Keyword(s):  
Middle Ages ◽  
Early Period ◽  
Point Of View ◽  
The Other ◽  
The West ◽  
The Real ◽  
History Of ◽  
Bibliographical Information ◽  
Ancient Times ◽  
Great Mass

More marvellous and more remarkable than the real conquests of Alexander are the stories circulated about him, and the legends which have clustered round his name and his exploits. The history of Alexander has, from a very early period, been embellished with legends and tales. They spread from nation to nation during the whole of the ancient times, and all through the Middle Ages. Many scholars have followed up the course of this dissemination of the fabulous history of Alexander. It would, therefore, be idle repetition of work admirably done by men like Zacher, Wesselofsky, Budge, and others, should I attempt it here. All interested in the legend of Alexander are familiar with those works, where also the fullest bibliographical information is to be found. I am concerned here with what may have appeared to some of these students as the bye-paths of the legend, and which, to my mind, has not received that attention which is due to it, from more than one point of view. Hitherto the histories of Alexander were divided into two categories; the first were those writings which pretended to give a true historical description of his life and adventures, to the exclusion of fabulous matter; the other included all those fabulous histories in which the true elements were smothered under a great mass of legendary matter, the chief representative of this class being the work ascribed to a certain Callisthenes. The study of the legend centred in the study of the vicissitudes to which this work of (Pseudo-) Callisthenes had been exposed, in the course of its dissemination from the East, probably from its native country, Egypt, to the countries of the West.

1. On the Philological Genius and Character of the Neo-Hellenic Dialect

1875 ◽  
Vol 8 ◽  
pp. 31-31
Author(s):  
Blackie
Keyword(s):  
Middle Ages ◽  
Present State ◽  
Historical Review ◽  
Popular Literature ◽  
The Other ◽  
Greek Language ◽  
Modern Language ◽  
The Past ◽  
History Of ◽  
Of Greece

The Author showed by a historical review of the fortunes of Greece, through the Middle Ages, and under the successive influences of Turkish conquest and Turkish oppression, how the Greek language had escaped corruption to the degree that would have caused the birth of a new language in the way that Italian and the other Roman languages grew out of Latin. He then analysed the modern language, as it existed in current popular literature before the time of Coraes, that is, from the time of Theodore Ptochoprodromus to nearly the end of the last century, and showed that the losses and curtailments which it had unquestionably suffered in the course of so many centuries, were not such as materially to impair the strength and beauty of the language, which in its present state was partly to be regarded as a living bridge betwixt the present and the past, and as an altogether unique phenomenon in the history of human speech.

scholarly journals CULTURAL REPRESENTATION OF POWER AND THE COURT DURING THE PERSONAL REIGN OF CHARLES I STUART

2020 ◽  
Vol 30 (1) ◽  
pp. 104-110
Author(s):  
L. I. Ivonina
Keyword(s):  
Social Context ◽  
General Trend ◽  
Daily Life ◽  
Cultural Representation ◽  
The Other ◽  
Charles I ◽  
The World ◽  
King Charles I ◽  
History Of ◽  
The One

The article analyzes the main features of the Caroline era in the history of Britain, which were reflected in the cultural representation of the power of King Charles I Stuart and the court’s daily life in the 1630s. The author shows that, on the one hand, the cult of peace and the greatness of the monarch were the cultural product of the Caroline court against the background of the Thirty Years' War in continental Europe. On the other hand, there was a spread of various forms of escapism, the departure into the world of illusions. On the whole, the representation of the power of Charles Stuart and the court’s daily life were in line with the general trend of the time. At the same time, the court of Charles I reflected his personality. Thinly sensing and even determining the artistic tastes of his era, the English king abstracted from its political and social context.

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