Lento, a “chronicler” of the events of March 9, 1956 (According to Otar Chkheidze’s novel “Revelation”

March 9, 1956 remains a controversial issue in Georgian historiography to this day, as the protest was ambivalent in its content ad demands. Despite differences of opinion, everyone agress, that this was the first anti-Soviet political rally in the Soviet Union. On the one hand, the demonastrators, insulted by Nikita Khrushov’s report on “The cult of personality” at the 20th congress of the CPSU, praised Stalin, and on the other hand, distanced themselves from the Soviet Union and demanded national independence. In the Soviet Union (obviously in Soviet Georgia) this topic has been avoided for decades; It did not have a wide response in public discourse. Lasha Berulava comments on the tragedy in the article “March 9, 1956 – Another Bood Drop of the dead Man” the following opinion is expressed:”Stalin,with his death, acted as a “dead body” and “organized the massacre of the capital of the Georgian people. This was March 9, 1956, when Georgians protested against the cult of Stalin; It was Stalin who wrote to Orjonikidze standing near Tbilisi surrounded by Russian troops:”Attack now, take the city, I will command you!” {Berulava, 2011:09}.In this article we will try to briefly discuss the events of March 9, 1956, which take place agaibst the background of the life of a boy from the village, Lento. Lento, as a “chronicler” of “Looker” events from afar, tries to remember the “shots” which camera in his hand. Lento does not appear to be the leader’s apologist either, but he still has trouble and loses his brother and sister in these “dumb” people.

Dead man sign of ECG: An unique predicting sign of acute coronary syndrome

Coronary artery disease is the most common cause of morbidity and mortality worldwide. Acute coronary syndrome which includes STEMI, NSTEMI and unstable angina commonly diagnosed with the help of 12 lead in ECG in ER with or without elevated biomarkers. Inferior wall myocardial infarction is common cause of ST elevation myocardial infarction with low mortality rate. In this case report, we present a 52 years old male presented to ER with the complain of typical chest pain for more than 2 hours duration. Pain was in center of chest with radiation to back and left arm and associated with excessive sweating. Patient is a known smoker for past 10 years. At presentation Blood pressure was 110/70 mmHg and pulse rate of 55/min. Troponin I level was five times of upper normal limit. Basic investigations including ECG were done at presentation. ECG was showing typical changes of inferior wall myocardial infarction with infarction of right ventricle with hidden unique sign known as dead man sign commonly predict the location of obstruction and course of disease in the setting of acute coronary syndrome.

Serbian Oral Tales of the AaTh 505-508 Type

Рассказ о благодарном мертвеце (AaTh 505-508) широко распространен в прозаическом фольклорном фонде многих народов мира. В его основе находится повествование о человеке, хоронящем мертвеца, который потом становится помощником и спутником, помогающим герою рассказа в женитьбе и приобретении богатства. В многочисленных исследованиях выделяются, среди прочего, разные варианты этого рассказа, определяются типы, модификации типов и их сложные взаимосвязи, регистрируются мотивы и сюжеты в письменных текстах, анализируются их сходства и отличия в рамках поэтических систем, к которым они относятся. В настоящей работе автор уделяет внимание тем вариантам этого рассказа, которые существуют в сербском прозаическом фонде, их тематическо-мотивной структуре, основным характеристикам главных персонажей в повествовательных ситуациях и событиях, а также сравнению с литературными источниками и элементам взаимопроникновения устных текстов разных жанров: сказки, легендарного рассказа и предания. Сербские устные рассказы о благодарном мертвеце записывались с первой половины XIX в., имеются и записи более позднего времени - второй половины XX в. Зафиксированные в самых ранних перечнях вариантов, эти рассказы свидетельствуют о наличии определенных международных моделей, а также о примерах их модификации в разных масштабах, в зависимости от территории и рамок традиции. The tale of the grateful dead man (AaTh 505-508) is widely known in the folklore of many nations of the world. In it the protagnist buries a dead man who comes alive and turns into the protagonist’s ally and companion and who helps the hero marry and acquire wealth. In this article, the author concentrates on the variants of this folktale type in Serbian, examining their theme-motif structure and the essential characteristics of the main protagonists. She also analyzes their literary sources and the interpenetration of oral texts of different genres (fairy tales, legendary stories and legends). Serbian oral stories about the grateful dead have been recorded since the first half of the nineteenth century; there are also accounts from the second half of the twentieth century. These stories, for which their earliest variants are preserved, reveal the existence of particuar international types as well as of adaptations to particular locations and traditions.

Don Quixote and Saint John of the Cross’s Spiritual Chivalry

Despite its ludic appearance, “The adventure Don Quixote had with a dead body” (part I, chapter XIX) is one of the most complex pieces of Cervantes’ famous novel. In the midst of a dark night, the Manchegan knight errant confronts an otherwordly procession of robed men carrying torches who transport a dead “knight” on a bier. Don Quixote attacks them to “avenge” the mysterious dead man, discovering they were priests secretly taking the body from Baeza to Segovia. He wants to see face to face the relic of the dead body, but humbly turns his back, avoiding the “close encounter”. Curiously enough, his easy victory renders him sad. Cervantes is alluding to the secret transfer of St. John of the Cross’ body from Úbeda to Segovia, claimed by the devoted widow Doña Ana de Peñalosa. However, Cervantes is also establishing a surprising dialogue with St. John’s symbolic “dark night”, in which he fights as a brave mystical knight. Concurrently, he is quoting the books of chivalry‘s funeral processions and the curiosity of the occasional knight who wants to glance at the dead body. Furthermore, we see how extremely conversant the novelist is with the religious genre of spiritual chivalry, strongly opposed to the loose fantasy of the books of chivalry. Unable to look at St. John’s relic, an authentic knight of the heavenly militia, Don Quixote seems to silently acknowledge that there are higher chivalries than his own that he will never reach. No wonder he ends the adventure with a sad countenance, gaining a new identity as the “Caballero de la Triste Figura”.

Sir 34:30 and Forensic Rhetoric in Augustine’s Conflict with the Donatists

The book of Sirach plays a larger part within Augustine’s theology than has hitherto been appreciated. This article helps fill this lacuna by examining the role of Sir 34:30 – “What does the bath profit one who is baptized by a dead man?” – in Augustine’s conflict with the Donatists. In addition to showing the significance of this verse within the conflict, I further argue that it allows us to espy the forensic rhetoric that shapes much of Augustine’s anti-Donatist polemic. In particular, I point to techniques of inventio that provide not merely stylistic but also argumentative forms and approaches that Augustine deploys on several fronts.

‘That’s What Art Does’: Disclosing Religious and Ethical Possibilities Through Film

The significance of narrative artworks as resources for, and possibly as instances of, philosophical thinking has increasingly been recognized over recent decades. Utilization of such resources in philosophy of religion has, however, been limited. Focusing on film in particular, this article develops an account of film’s importance for a ‘contemplative’ approach to philosophizing about religious ethics, an approach that prioritizes the elucidation of possibilities of sense over the evaluation of ‘truth claims’. Taking Dead Man Walking as a case in point, the article shows how this film facilitates an enhanced comprehension of specific concepts, most notably the concepts of faith, truth and love, as they feature within a characteristically Christian form of life.

William Blake in Contemporary Russian Literature and Culture

The article discusses the creativity of the English romantic William Blake comprehended in contemporary Russian literature and culture. These facts are quite significant, since many Russian thinkers and writers, such as Igor Garin and Merab Mamardashvili, mention Blake in their works. Blake, partly remembered as a symbolist and mystic, loomed large in the cultural universe of the Moscow mystical “Yuzhinsky” circle, members of which were, in particular, Yuri Mamleev, Yevgeny Golovin, Alexander Dugin, Yuri Stefanov. For them, Blake was an integral part of the great Tradition or ancient knowledge, lost by the civilization. Blake has been mentioned and quoted in the prose by Yuri Buida, Alexey Gryakalov, Ivan Ermakov, Ksenia Buksha, Oleg Postnov and in the poetry by Olga Kuznetsova, Maria Galina, Alla Gorbunova, Maxim Kalinin and others. Andrei Tavrov enters into a creative dialogue with the English Romanticist in his poetic cycle Lament for Blake (2018). Tavrov creatively renders Blake’s metaphysics of human physiology. The poem “Blake. Sparrow” shows an impressive fusion of Blake’s motives and lyrics. in particular, the multilevel character of the mythological world (from Ulro to Eden), conversations with Angels and traveling through the stars in “The Marriage”, the image of a sparrow and a visionary bird in general, images of insects guided through the night (“Dream”), the image of Milton like the meteorite in the heel of the narrator, the figure of Flaxman and the philosophy of creation by the word. In Tavrov’s work, Blake inhabits in a bizarre world of metaliterature, including Gogol and Derzhavin, Velasquez and Newton, Lear and Oedipus, Pan and Melchizedek. Blake, as the creator of overlapping worlds, becomes for Tavrov the key to the total poetization of the universe; where a transition is made from the hermetic principle “as above, so below” to the principle “everything in everything”. This principle turns out to be the most important for contemporary poetry. Blake’s paintings and drawings have become a part of Russian book culture: the famous engraving of the Creator God with a compass “The Ancient of Days” is often used in book graphics; the Moscow conceptualist Viktor Pivovarov, the author of samizdat, admitted that Blake inspired him with his experience in book printing. Blake’s influence can also be seen in the works of contemporary sculptor Alexander Kudryavtsev (1938–2011), namely, his ceramic fresco “The Creation of the World”. Thus, Blake, who came, among others, through the work of The DOORS and Jarmusch’s Dead Man, plays a significant role in the space of contemporary Russian literature. In these terms, the most significant of his works are “Songs” and “The Marriage of Heaven and Hell”, as well as mystical revelations of prophetic poems and his creative life of a genius unrecognized during his lifetime in general.

La narration autothanatographique dans « Tropique de la violence » de Nathacha Appanah

"Treating the theme of death in such and such a fiction undoubtedly represents an archaic, recurrent subject that has already been addressed in the literature. What about when the narration is entrusted to a dead character? It is by this narratological modality that Nathacha Appanah built her novel entitled ""Tropic of violence"". The importance of this work is reflected in the fact that the author highlights a new poetics of narratology: ""to make a dead man speak"". In this context, it is not the words of the deceased which are reported by a living character, but the deceased himself takes charge of the narration while recounting an action specific to him, or events concerning other subjects in fiction. Our problematic aims to treat the Autothanatographic Narration in this novel distinguished by the alternation of the narrative voices and the diversity of the perspectives. Our essential objective is to implement a kind of applied narratology since we will try to approach what is called autothanatographic narration, to highlight its different criteria, to demonstrate to what extent it has effects on the other constituents of the diegesis, as well as on the voices telling."