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Tytuł:
The Symbolic and Allegorical Parallel “Kiev – Jerusalem” in Taras Shevchenko’s Writing
Autorzy:
Bigun, Ol′ga
Powiązania:
https://bibliotekanauki.pl/articles/440942.pdf
Data publikacji:
2013
Wydawca:
Fundacja Naukowa Katolików Eschaton
Tematy:
mythology
the Bible
Jerusalem
Kiev
Taras Shevchenko
Opis:
This article is a part of the bigger work entitled The Ambivalence of Byzantism in Taras Shevchenko’s Writings. The aim of the article is studying the problem of perception and interpretation of the mytheme of Jerusalem in the works by Taras Shevchenko. The crosscultural, semiotic, hermeneutic and comparative analyses allow for discovering deep semantic levels of the “Jerusalem” loci in the works by T. Shevchenko, for clearing out its subtexts and for defining its poetic structure and the levels of the artistic interpretation. In the result of the analyses it has been found that the association “Kiev–Jerusalem” in the works by Shevchenko has its loci of various meanings, which have been formed in the course of a long trajectory within the historic space. The mytheme “Jerusalem” is realized primarily in its Biblical and genetic aspect. The contents of the “Jerusalem idea” proves Shevchenko’s solid knowledge of the Old Testament dogmas in the field of the Judaic history and culture. The resemblance of/between Kiev and Jerusalem is formed on the basis of [the] allegories, the poetical means aiming at the context reading with regard to the urgent social and historic reality. Introducing the mytheme “Jerusalem” into a discourse of fiction, T. Shevchenko accounts for actualization/transposition of its Biblical semantic field/range unto the social, political, cultural and spiritual needs of the epoch. The image of Kiev in Shevchenko’s works has strong sacred characteristics/connotations which indirectly correlate with Christian viewpoints. The importance of Kiev as the spiritual habitable globe is underlined by frequent recollections about numeruous temples, monasteries, saints, monks, icons, pilgrimage traditions, etc. The results of the research can be used for courses in the Ukrainian History of Literature and Theory, for text-books and training aids, for further comparative studies of Shevchenko’s works. The results of the study are addressed to philologists and researchers of the Ukrainian literature. The academic novelty of this article lies in the fact that the mytheme “Jerusalem” in Shevchenko’s works has for the first time become the object of individual research and that theoretic aspects and comparative typological levels of this problem have been elaborated.
Źródło:
Religious and Sacred Poetry: An International Quarterly of Religion, Culture and Education; 2013, 2(2); 85-96
2299-9922
Pojawia się w:
Religious and Sacred Poetry: An International Quarterly of Religion, Culture and Education
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Об эпитафиях Амвросию Дубневичу в черниговской поэтике середины XVIII века
On Epitaphs to Ambrose Dubnevich in the Chernihiv Poetics of the Mid 18th Century
O nagrobkach Ambrożego Dubniewicza w poetyce czernichowskiej z połowy XVIII wieku
Autorzy:
Ciganok, Ol′ga
Powiązania:
https://bibliotekanauki.pl/articles/440959.pdf
Data publikacji:
2013
Wydawca:
Fundacja Naukowa Katolików Eschaton
Tematy:
Chernihiv poetics
epitaph
funeral poems
18th century
Ukraine
poetyka czernichowska
epitafium
wiersze funeralne
XVIII wiek
Ukraina
Opis:
The purpose of this publication is to examine the epitaph’s theory and practice in the Chernihiv poetics of 1749–1750 against the background of Ukrainian literary theory as well to analyse from a philological point of view the epitaphs dedicated to a remarkable personality of his time – the Bishop of Chernihiv and Novgorod-Siverskyi Ambrose Dubnevich – in comparative context. The research paper is based on the study of the little known, even in academic circles, handwritten Ukrainian treatises. The chapter on the epitaph in the Chernihiv poetics 1749–1750 is large and substantial compared to other Ukrainian courses; epitaph’s samples are chosen very carefully. The paper analyzes the epitaph’s theory in the Chernihiv poetics: definition, methods of epitaph’s presentation – narrative and by prosopopeia, epitaph’s species – rhetorical and poetic epitaphs, genologic functions of the samples. The epitaph genre in the Chernihiv poetics of the mid 18th century is seen as a kind of curious poetry. This is a trend of old Ukrainian literary theory (along with under-standing of the epitaph as an epigram and as an inscription). In the Chernihiv poetics of 1749–1750 the epitaph’s samples supplement the theory of genre. The paper focuses attention on the variety of formal solutions and features of an epic epitaph-epicedium, of lyrical elogia – an abuse elogium and the poetical one, rhetorical (historical) epitaph, the epitaphs’ cycle and a Christian epitaph written in leonine verse. The epitaphs of the Chernihiv poetics of the mid 18th century have not only historical value; they are also important for the reconstruction of our theoretical knowledge of old Ukrainian literature, and present a certain aesthetic value to the modern reader. Epitaph’s theory and practice in the Chernihiv poetics of 1749–1750 show how important it is to take into account not only the poetics of the Kyiv-Mohyla Academy, but also courses of regional Ukrainian institutions. A future task is to consider student funeral poems dedicated to Ambrose Dubnevich which are attached to the Chernihiv poetics.
Celem artykułu jest badanie teorii i praktyki epitafiów w poetyce czernichowskiej z roku akademickiego 1749–1750 na tle ówczesnej ukraińskiej myśli teoretycznoliterackiej, a także analiza epitafiów wybitnej osobowości swojego czasu – biskupa czernichowskiego i nowogrodzko-siewierskiego – Ambrożego (Ambrosiusa, Ambrozjusza) Dubniewicza – w szerokim kontekście porównawczym. Artykuł naukowy oparto o wyniki badań mało znanych nawet w środowisku akademickim rękopiśmiennych skryptów ukraińskich. Rozdział o epitafium w poetyce czernichowskiej z roku akademickiego 1749/1750 jest obszerny i znaczący w porównaniu z innymi traktatami ukraińskimi, wybrano przykłady o większym znaczeniu. W artykule zanalizowano teorię epitafium w poetyce czernichowskiej: definicję, metody prezentacji epitafium – narracyjną i przez prosopopeję, rodzaje – epitafium retoryczne i epitafium poetyckie, genologiczne funkcje przykładów. W poetyce czernichowskiej z roku akademickiego 1749/1750 gatunek literacki epitafium postrzegano jako rodzaj poezji osobliwej. To jeden z trendów ukraińskiej myśli teoretycznoliterackiej (wraz z rozumieniem epitafiów jako fraszek i napisów). Podane przykłady uzupełniają teorię gatunku. W artykule zwraca się uwagę na bogactwo rozwiązań formalnych i na cechy epitafium-epicedium o charakterze epickim, liryczne elogia (potępiającego i poetyckiego), epitafium retoryczne (historyczne), cyklu epitafiów, na epitafium chrześcijańskie w formie wiersza leonińskiego. Twierdzi się, że epitafia w poetyce czernichowskiej z roku akademickiego 1749/1750 mają nie tylko wartość historyczną, ale są one również ważne dla rekonstrukcji naszej wiedzy o teorii dawnego piśmiennictwa ukraińskiego, posiadają także pewną wartość estetyczną dla współczesnego czytelnika. Przykłady omówionej teorii i praktyki epitafium w poetyce czernichowskiej z roku akademickiego 1749/1750 dowodzą, jak ważne jest wzięcie pod uwagę nie tylko poetyk Akademii Kijowsko-Mohylańskiej (Kijowsko-Mohylewskiej), ale także kursów ukraińskich uczelni regionalnych. Zadanie na przyszłość – analiza literacka studenckich wierszy funeralnych, poświęconych Ambrożemu (Ambrosiusowi, Ambrozjuszowi) Dubniewiczowi, które są dołączone do poetyki czernichowskiej.
Źródło:
Religious and Sacred Poetry: An International Quarterly of Religion, Culture and Education; 2013, 3(3); 19-34
2299-9922
Pojawia się w:
Religious and Sacred Poetry: An International Quarterly of Religion, Culture and Education
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Typology of Sanctity: the Kiev-Pechary Patericon and the Kobzar of Taras Shevchenko
Typologia świętości: kijowsko-pieczarski Paterikon i Kobziarz Tarasa Szewczenki
Autorzy:
Bigun, Ol′ga Al′bertivna (Ol′ga Bigun)
Powiązania:
https://bibliotekanauki.pl/articles/440865.pdf
Data publikacji:
2013
Wydawca:
Fundacja Naukowa Katolików Eschaton
Tematy:
typology
reception
hagiographic literature
Kiev-Pechery Patericon
Kobzar (Piper)
Taras Shevchenko (1814-1861)
typologia
recepcja
literatura hagiograficzna
Kijowsko-Pieczerski Paterikon
Kobziarz
Taras Szewczenko (1814-1861)
Opis:
This article is a part of the thesis Ambivalency of the Byzantism in Taras Shevchenko’s Works. The aim of the article is to present the reception of one of the most important records of Orthodox-Christian literature – the Kiev-Pechery Patericon (The Patericon of the Kiev Caves Monastery (Lavra) reflected in the works of Taras Shevchenko. The cultural, historical and comparative analysis will describe the usage of the typology of the image of the sacred place in the Kiev- Pechery Patericon and the Kobzar of the Ukrainian poet. The examination of Shevchenko’s work in the context of the Byzantine spiritual tradition reveals the common and distinctive features (i.e. similarities and differences) in the reception of the concept of “sanctity”. First of all, the image of the sacred place or the shrine is particularly important in this context, as it corresponds to the Christian tradition and displays a number of important characteristics such as, for example, a personal intrusion of God, associated with a miracle, the connection of the place with other sacred centers, a special, beneficial influence of the sacred place on the people living in the vicinity, the ecclesiastical deeds of its inhabitants etc. It is noticeable that all the enumerated features are characteristic of the description of the cloisters in Shevchenko’s works. In addition of the conception “Kiev – Jerusalem”, the poet develops the idea “Kiev-Pechery Lavra – Athos”, which must have been borrowed from the hagiographies of the Kiev-Pechery Patericon. Moreover, the image of the Church is distinguished by its ambivalence. The results of the research can be used for courses in the History of Ukrainian Literature and in Literary Theory, in textbooks and training aids, in further comparative studies of Shevchenko’s works. The results are addressed to philologists and researchers of Ukrainian literature. The academic novelty of this article consists in presenting the typology of the image of the sacred place in the Kiev-Pechery Patericon and the Kobzar of Taras Shevchenko. For the first time it has become the object of individual research, in the course of which theoretical aspects and comparative levels of this problem have been delineated.
Artykuł jest częścią tezy (dysertacji) pt. Ambiwalencja bizantynizmu w dziełach Tarasa Szewczenki. Celem artykułu jest przedstawienie recepcji jednego z największych zapisów chrześcijańskiej literatury prawosławnej – Kijowsko111 Pieczarskiego Paterikonu (Paterikonu monasteru kijowskich pieczar, ławry) oświetlonego w dziełach Tarasa Szewczenki. Analiza kulturowa, historyczna oraz porównawcza opisze zastosowanie typologii do wizji świętego miejsca w Kijowsko- Pieczarskim Paterikonie i Kobziarzu ukraińskiego poety. Badanie dzieła Szewczenki w kontekście bizantyńskiej tradycji duchowej ujawnia wspólne i dystynktywne cechy (np. podobieństwa i różnice) w recepcji koncepcji „świętości”. Przede wszystkim, wizja świętego miejsca albo miejsca kultu jest szczególnie ważna w tym kontekście, tak jak to odpowiada chcześcijańskiej tradycji i obrazuje wiele ważnych właściwości, takich jak na przykład osobowe wtargnięcie (interwencja) Boga, skojarzone z cudem, złączenie (danego) miejsca z innymi ośrodkami świętymi, szczególny dobroczynny wpływ świętego miejsca na ludzi żyjących w okolicy, na duchowe uczynki jej mieszkańców itd. Godne uwagi jest to, że wszystkie wymienione cechy są charakterystyczne dla klasztorów w dziełach Szewczenki. Dodatkowo z koncepcji „Kijowa - Jerozolimy” poeta rozwija ideę „Kijowsko- Pieczarskiej Ławry – Atosu”, która musi mieć zapożyczenie z hagiografii Paterikonu Kijowsko-Pieczarskiego. Co więcej, wizję Kościoła rozpoznaje się (wyróżnia się) przez jego (tę) ambiwalencję. Wyniki badań mogą być zastosowane w kursach historii ukraińskiej literatury i teorii literatury, w podręcznikach i jako środek pomocniczy do ćwiczeń, w dalszych studiach porównawczych nad dziełami Szewczenki. Wyniki są adresowane do filologów i badaczy literatury ukraińskiej. Na nowość naukową artykułu składa się przedstawienie typologii wizji miejsca świętego w Paterikonie Kijowsko-Pieczarskim i Kobziarzu Tarasa Szewczenki. Po raz pierwszy stało się to obiektem indywidualnego badania, w toku którego zostały określone aspekty teoretyczne i porównawcze poziomy tego problemu. [polski przekład: Marek Mariusz Tytko]
Źródło:
Religious and Sacred Poetry: An International Quarterly of Religion, Culture and Education; 2013, 4(4); 97-116
2299-9922
Pojawia się w:
Religious and Sacred Poetry: An International Quarterly of Religion, Culture and Education
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Урачыстае красамоўства св. Кірылы Тураўскага ў даследаваннях Вацлава Грыневіча
St. Cyril Turowski’s homilies in the research of Waclaw Hryniewicz
Homilie św. Cyryla Turowskiego w badaniach Wacława Hryniewicza
Autorzy:
Krychko, Vol'ga
Powiązania:
https://bibliotekanauki.pl/articles/1953550.pdf
Data publikacji:
2005
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
homilia
teologia
Biblia
Ruś Kijowska
homily
theology
Bible
Kiev Ruthenia
Opis:
Niniejszy artykuł poświęcony jest literackiej spuściźnie Cyryla Turowskiego, wybitnej postaci XII-wiecznej Rusi. Autorka zajmuje się nie tyle analizą jego twórczości kaznodziejskiej, ile przede wszystkim skupia się na badaniach Wacława Hryniewicza, autora dwu pionierskich prac z kręgu dziejów staroruskiej kultury religijnej. Szczególną uwagę koncentruje natomiast na Homiliach paschalnych św. Cyryla Turowskiego, które zostały przełożone z języka cerkiewnosłowiańskiego przez Wacława Hryniewicza w 1993 roku i opatrzone wnikliwymi komentarzami historycznymi, teologicznymi i filologicznymi.
Źródło:
Roczniki Humanistyczne; 2005, 53, 7; 63-70
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Gramatika dyadického textu
Autorzy:
Škvareninová, Ol'ga
Powiązania:
https://bibliotekanauki.pl/articles/1921642.pdf
Data publikacji:
1995
Wydawca:
Uniwersytet Opolski
Opis:
In the text dyadic communication is defined as a specific type of dialogue which is realized interactionally in a concrete, maximal personal situation between two partners who use verbal and nonverbal elements of different semiotical levels. During dyadic communication dyadic text is being produced. Dyadic text has its own typical stylistics formed by verbal and nonverbal elements which represent grarnmar of dyadic text. Ali these elements are divided into the - following - groups: the opening of dyadic communication, the immediate activity, the request for activity, the repetiton of speaker's statement, the completion of speaker's statement, the request for clarification, the closing of dyadic communication. Our research shows that in dyadic communication such specific verbal and nonverbal elements are used that we can talk about grarnmar of dyadic text.
Źródło:
Stylistyka; 1995, 4; 204-209
1230-2287
2545-1669
Pojawia się w:
Stylistyka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The fulturae ("compound synapticulae"), their structure and reconsideration of their systematic value
Autorzy:
Gill, G.A.
Powiązania:
https://bibliotekanauki.pl/articles/21927.pdf
Data publikacji:
1980
Wydawca:
Polska Akademia Nauk. Instytut Paleobiologii PAN
Opis:
The study of the structure of fulturae in Recent Cycloseds cyclolites and various species of Fungia reveals an upward growth of fibers gradually diverging from the centre outwards. The distal end of each fultura Is rounded and rhythmic secretion leaves a succession of horseshoe figures on the outer surface. In their structure, the fulturae differ basically from "simple" synapticulae and from the design which had been ascribed to them in literature. The twofold notion of synapticulae ("simple" and "compound"), until now considered as fundamental distinctive character for the suborder Fungilda, should be abandoned. The suborder Fungilda, as delineated in recent classifications, seems to include at least two apparent, non-related groups: one common in Tertiary and Recent forms which bear fulturae and show a septal structure similar to the Montlivaltia type (e.g. Cycloseris) and the other including pennular corals (mainly Mesozoic) with or without "simple" synapticulae.
Źródło:
Acta Palaeontologica Polonica; 1980, 25, 3-4
0567-7920
Pojawia się w:
Acta Palaeontologica Polonica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
[Rev.:] Oksana Petrìvna Âkovina, Metaphysics in Poetry: Ukraine of the 17th Century, Scholarly and Publishing Centre “Opillya”, L′viv 2010, 216 p. (Series Depository Opillya. Education and Science)
Autorzy:
Ciganok, Ol′ga
Powiązania:
https://bibliotekanauki.pl/articles/441008.pdf
Data publikacji:
2013
Wydawca:
Fundacja Naukowa Katolików Eschaton
Tematy:
Oksana Petrìvna Âkovina
Opis:
For the first time in Ukrainian literature attention was drawn to metaphysical poems by compilers of the anthology Ukrainian Poetry: The Middle of the 17th century – Volodimir Krekoten and Mikola Sulima (Kyiv, 1992, in Ukrainian). They published some anonymous texts called metaphysical poetry (under the subtitle: religious and philosophical poems) dividing them into following groups: prayer poems, Christmas carols, homiletic poems and poems about death. The next step in the study of this topic in Ukraine was a monograph by Tetiana Riazantseva To Paint a Thought: Conceptism as a Trend of Metaphysical Poetry in European Baroque Literature (Kyiv, 1999, in Ukrainian). In fact, before that there had been no tradition of research into Baroque metaphysical poetry in Ukraine. Oksana Yakovyna’s monograph is based on her candidate thesis (Ph.D. thesis) Metaphysical Ukrainian poetry of the second half of the seventeenth century (2002). The researcher is well prepared to deal with such a topic. Oksana Yakovyna has a doctoral degree in Philology and an M. A. in Religious Sciences. She studied philology at the Taras Shevchenko National University of Kyiv and theology at the St. Thomas Aquinas Higher Institute of Religious Sciences of Kyiv (the Branch of the Pontifical University "Angelicum", Rome, Italy). Now Oksana Yakovyna carries out research on the subject of metaphysics in art and on Christian theology as a Fellow of the Shevchenko Institute of Literature at the National Acadamy af Sciences of Ukraine. As Dr Yakovyna points out herself, in her book she examines the ways of combining the metaphysical worldview of a particular person with the worldview of a particular epoch as a means of self-cognition through poetry. The method offered to the readers enables connecting modern problems of literary theory with medieval studies in the context of national mentality and religious tradition. By conducting comparative, cultural, philosophical, theological and literary analysises of Baroque poetic texts Oksana Yakovyna investigates problems of personalism and hierarchy, humility and dynamism of the will of man, freedom and dependence on God. The author’s purpose is to reconstruct the character of metaphysical thinking with the help of baroque texts. This enables an understanding of the affinity between Ukrainian and European spiritual and social traditions. The author follows the stages of her study and invites the readers to get to know the unique essential existence of the poetic world through metaphysics. Oksana Yakovyna explores the content and form of the Ukrainian metaphysical poetry of the 17th century (the works of Ivan Velychkovskii, Ivan Ornovskii, Samiylo Mokryevych, Danylo Bratkovskii, Stefan Yavorskii, Pylyp Orlyk, Ivan Maksymovyh). She draws the reader’s attention to different faces of metaphysical poetry in the works of these authors and to the striking richness and symbolic meaning of the metrics of their poetry. The principles of metaphysical existence of the man and the world can be expressed not only through the content but also through the form or unity of content and form. If we compare Ivan Velychkovskii’s epic and didactic poetry and Ivan Ornovskii’s lyric and ramatic poetry, we see that metaphysics of both authors is deeply rooted in an intimate, personal experience of reality. However, the firstmentioned poet is a man who looks at the world, as it were, from the side, noticing all its flaws and strengths. Ornovskii’s texts are different in this respect: they represent pain and a certain confusion of the man who is like an accomplice of these contradictory elements in this world. Metaphysical feelings of the poets are substantially different, in spite of the fact that they come from the same generation and that their biographies are similar. The Ukrainian metaphysical poetry of the 17th century dealt with the issue of human transience, impermanence and futility; it expressed a hope of salvation in God, and also referred to the temptations, weaknesses and passions of man's life in the world of the matter. These texts reveal an attitude of a man torn between the flesh and eternal life. He is aware that he should live in order to reach salvation, but cannot resist temptations of the world in which he lives, he cannot overcome his weaknesses. As Oksana Yakovyna says, the structure of “the image of the world”, created by Ukrainian metaphysical poets of the Baroque period is compiled from such oppositions as Christian, sacred and profane elements, multilingual environment and form’s unity in their complex and universal alloy, which integrates scholastic philosophy with a national experience of the world. The Ukrainian researcher tries to delimit metaphysical, religious and philosophical poems as separate categories. It is an ambitious task; there are more common features than differences between metaphysical, religious and philosophical poems: God, Love, Death, the Person and the World are key notions for all of them. Religious thinking was dominant in the Baroque period, the meditation’s poetic model was superimposed on the traditions of philosophical lyrics, which are derived from Antiquity and the Middle Ages. The art of meditation was the basis of the poetic art of the Baroque period. As Oksana Yakovyna says, metaphysical cognition in the Ukrainian Baroque poetry of the seventeenth century manifests itself primarily as rational process, through which poetic emotion associates with cognition, intuitive and supernatural (mystical). Philosophical cognition within Baroque poetry is usually linked with the sphere of ratio, in which emotion, unlike metaphysical poetic discourse, does not have transcendental functions of the connection with verum, bonum, pulchrum, but serves only as a means of filling the rational thought with a specific visual sense. Religious cognition is unique and, by its nature, does not create communicative situations. Thus, the basis of religious cognition is the practice of faith, the basis of philosophical cognition is ratio (including intuitional philosophy and religious philosophy), and the system knowledge is a result of rational intercourse, which is synthesized through faith with mentality. According to many researchers, the essence of the highly intellectualized metaphysical poetry defies precise definition. Neither thematic criteria, nor metaphysical consciousness are not enough. As T.S. Eliot in his classical essey The Metaphysical Poets (1921) said, not only is it extremely difficult to define metaphysical poetry, but difficult to decide which poets practice it and in which of their poems. “Metaphysical poets” is a term coined by the poet and critic Samuel Johnson to describe a loose group of British lyric poets of the 17th century, whose work was characterized by the inventive use of conceits, and by speculation about topics such as love or religion. Their style was characterized chiefly by wit. The metaphysical poetry was written in 17th-century England, France, Germany, Holland, Spain, Italy etc. Christoph Mrovtsevich (Krzysztof Mrowcewicz), who compiled an anthology of Polish metaphysical poetry of the Baroque (1993), believes that the discussion on metaphysical poetry is still open. As Oksana Yakovyna underlines, the Ukrainian metaphysical poetry of the seventeenth century was created within the cultural traditions of the the Polish–Lithuanian Commonwealth and predominantly in Polish (literary and state language). The features of metaphysical Baroque poetry were conditioned by a struggle of different traditions, cultures, religious faiths, ideologies and governments in the Ukrainian consciousness. The author sees the identity of the Ukrainian metaphysical poetry in striving for hierarchical unity of internal human life and in a especial role of the creative emotion. Orthodoxy, which traditionally did not stress the personal factor in man, placed the Common above the Personal. Oksana Yakovyna says that the Polish formula "Me and God" has something in common with the inversed formula of the Ukrainian metaphysical poetry - "God and Me". In our opinion, this view upon the features of the Ukrainian metaphysical poetry (compared with Polish) in the Polish–Lithuanian Commonwealth requires additional argumentation. A future task in this research field is to consider links between Ukrainian metaphysical poetry and logic, which was for the metaphysical poets a tool of emotions. It is significant that the sonnet, a lyrical form, so popular in metaphysical poetry, has been called by Herbert Grierson " a poetic analogy of the syllogism". In conclusion of the above it should be underlined that Oksana Yakovyna’s monograph is undoubtedly a significant contribution to the study of the Ukrainian metaphysical poetry of the 17th century.
Źródło:
Religious and Sacred Poetry: An International Quarterly of Religion, Culture and Education; 2013, 3(3); 155-58
2299-9922
Pojawia się w:
Religious and Sacred Poetry: An International Quarterly of Religion, Culture and Education
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
El problema de definición de la perífrasis verbal en español (dudas y contradicciones)
On the definition of periphrastic verbal constructions in Spanish language (doubts and contradictions)
Autorzy:
Lisyová, Ol'ga
Powiązania:
https://bibliotekanauki.pl/articles/1053014.pdf
Data publikacji:
2004-12-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Opis:
The theme of this contribution originated from contradictory understanding of the conception of periphrastic verbal constructions by different linguists. In spite of the fact that most of the grammars consider as being periphrastic the constructions consisting of a rigid form of the full-meaning verb (infinitivo, gerundio, participio pasado), they diverge in the definition of the auxiliary verb. We discuss the substantiation to name various verbal constructions as periphrastic. We come from the basic definition of the periphrasis as a descriptive expression, the semantic significance of which is formed by a synthesis of its constituents, but not by the constituents themselves.
Źródło:
Studia Romanica Posnaniensia; 2004, 31; 329-342
0137-2475
2084-4158
Pojawia się w:
Studia Romanica Posnaniensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Comparison of the impacts of climate change and anthropogenic disturbances on the El Arish coast and seaweed vegetation after ten years in 2010, North Sinai, Egypt
Autorzy:
El Shoubaky, G.A.
Powiązania:
https://bibliotekanauki.pl/articles/48246.pdf
Data publikacji:
2013
Wydawca:
Polska Akademia Nauk. Instytut Oceanologii PAN
Tematy:
anthropogenic disturbance
climate change
human activity
El Arish coast
El Arish Harbour
El Arish Power Plant
Sinai
Egypt
seaweed
vegetation
erosion
satellite remote sensing
coastal ecosystem
air temperature
water temperature
salinity
satellite image
Źródło:
Oceanologia; 2013, 55, 3
0078-3234
Pojawia się w:
Oceanologia
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 85

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