Temat: топос - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Топос явления Святой Троицы святому Александру Свирскому в Житии и Акафисте
Topos of revelation of the trinity to St Alexander Svirsky in the live and the akathist
Autorzy:: Anchimiuk, Olga
Powiązania:: https://bibliotekanauki.pl/articles/950935.pdf
Data publikacji:: 2015
Wydawca:: Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
Tematy:: топос
житие
акафист
Opis:: The article deals with the problem of topos – a miracle of The Trinity revelation, which connects The Live and The Akathist dedicated to saint Alexander Svirsky. The hagiographical text is represented by Pamiat’, which could be read in the saint’s name day. In this text both hagiographical canons and figures of speech are presenting. The Akathist – it is a kind of Easter Orthodox liturgical poetry praising with magnificent a saint in given topos (Ikos 7).
Źródło:: Studia Wschodniosłowiańskie; 2015, 15; 521-532
1642-557X
Pojawia się w:: Studia Wschodniosłowiańskie
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 2.

Tytuł:: Топика юродства. «Salos» как культурный топос
Autorzy:: Гаевская, Надежда
Powiązania:: https://bibliotekanauki.pl/articles/2168544.pdf
Data publikacji:: 2021
Wydawca:: Akademia Supraska
Tematy:: юродство
подвиг
эсхатология
топология
топос
Opis:: In Christianity and Judaism, Gehenna (Hebrew ~NOhI-wb< yGe “Ge-hin nom”, Greek γέεννα) is associated with an image of the punishing fire and eternal torment of sinners in the fire. Many Christian apologists have offered their own interpretations to this concept. Thus, in his 8th Commentary on the First Epistle to the Thessalonians, St John Chrysostom describes Gehenna as the punishing fire and draws parallels with Sodom and Gomorrah, the biblical cities burnt down for the sins of their inhabitants. Church Slavonic reading collections dating back to the 16th century contain a fragment of this Commentary, entitled [поѹченїе їѡанна Злауⷮстаго. ѡ съгрѣшающиⷯ и не приемлющиⷯ здѣ казни], inc.: Аще ли кто не вѣрѹеть гееннѣ. содомьскаѧ да помышлѧеть. гоморьскаѧ да разѹмѣеть. бывьшее мѹченїе… As one of the texts that rarely appear in the East Slavonic book tradition, this sermon is only known through reading collections created in the Kyiv Metropolitanate. The sermon appears in the reading for the 1st of September of the Navahrudak edition of the Prologue, the Museum version of the main edition of the Emerald (ch. 166), and its third (Lithuanian) edition (ch. 61.I). The attribution of the source of this sermon (the so-called Letovnik) attests to the familiarity of the scribes of the Grand Duchy of Lithuania with the second translation of the Chronicle of George Hamartolos, a text that remained unknown in the Great Russian lands, and confirms the strong links of the scribes with the Balkans and Athos.
Źródło:: Latopisy Akademii Supraskiej; 2021, Obraz - Słowo - Litera, 12; 361-374
2082-9299
Pojawia się w:: Latopisy Akademii Supraskiej
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 3.

Tytuł:: Рецепцiя Варшави князем Василем-Костянтином Острозьким у романi Шестиднев, або Корона дому Острозьких Петра Кралюка
Reception of Warsaw by prince Vasil-Konstantin Ostrozky in the novel Six days, or the crown of the Ostrozky house by Peter Kralyuk
Autorzy:: Чмир, Андрiй
Powiązania:: https://bibliotekanauki.pl/articles/29519428.pdf
Data publikacji:: 2022
Wydawca:: Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
Tematy:: reception
historical novel
topos
colors
landscape
рецепцiя
iсторичний роман
топос
колористика
пейзаж
Opis:: The article analyzes the topos ofWarsaw in the historical novel Six Days, or the Crown of the Ostrozky House by modern Ukrainian writer Petro Kralyuk. The capital of Poland is depicted from the point of view of the main character of the work – Prince Vasyl-Konstantin Ostrozky. It is established that from the 16th century Warsaw was one of the key cities of the newly created state – the Polish-Lithuanian Commonwealth. Ostrozky was forced to visit it quite often. It was found that the above-mentioned city was perceived negatively for Vasyl-Konstantin. This fact is explained by the numerous personal and national losses that, in one way or another, affected Warsaw. The author’s means of tracing the image of the Polish capital (the status of the city, natural resources, colors, landscape, its connection with historical events and figures) are traced. It is emphasized that one of the sections of P. Kralyuk’s work has an eloquent title Black color. Warsaw. Due to paratextuality, the opposition of this part of the Six Days to other chapters of the novel (Color of Gray. Kyiv, Color of Yellow. Derman) is emphasized.
Źródło:: Studia Wschodniosłowiańskie; 2022, 22; 7-21
1642-557X
Pojawia się w:: Studia Wschodniosłowiańskie
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 4.

Tytuł:: «Гости съезжались на дачу...»: к вопросу о дачном топосе в лирике Александра Кушнера
“The guests were arriving at the dacha...”: on the dacha topos in the poetry of Alexander Kushner
Autorzy:: Sadzińska, Ewa
Powiązania:: https://bibliotekanauki.pl/articles/651311.pdf
Data publikacji:: 2018
Wydawca:: Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:: дача
топос
дачное пространство
Вырица
А. С. Кушнер
поэзия
dacha
topos
dacha space
Vyritsa
Alexander Kushner
poetry
literary tradition
Opis:: The topos of the dacha – like the topos of the city (St. Petersburg) and that of the garden – is an important element of the spatial dimension of Alexander Kushner’s poetic world. The article attempts to trace the productivity and functionality of the topos in selected texts of this contemporary poet. Attention is drawn to the characteristics of the categories of time and space, the constituents of the life on the dacha , as well as connections with the literary tradition. When taking up the subject, Kushner updates the rich semantics of the topos: the dacha as a place of retreat for a poet, a place of rest and work, the little homeland, a paradise on Earth.
Топос дачи – наравне с топосом города (Петербурга) и сада – является существенным элементом пространственной картины мира А. С. Кушнера. В статье рассматривается функционирование топоса в выбранных стихотворениях поэта, выявляется своеобразие пространственно-временной характеристики дачи и ее бытовых составляющих, а также указываются связи с литературной традицией. Обращаясь к дачной теме, поэт актуализирует богатую семантику топоса: дача как место уединения, приют поэта, место отдыха и труда, малая родина, (земной) рай.
Źródło:: Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2018, 11; 143-155
1427-9681
2353-4834
Pojawia się w:: Acta Universitatis Lodziensis. Folia Litteraria Rossica
Dostawca treści:: Biblioteka Nauki

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