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    Wyświetlanie 1-5 z 5
    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
    Artykuł
    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
    Artykuł
    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
    Artykuł
    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
    Artykuł
    Tytuł:
    Птичий Рай: о судьбе райских птиц на Руси в Новое время
    Autorzy:
    Кузнецова, Ольга
    Powiązania:
    https://bibliotekanauki.pl/articles/2034781.pdf
    Data publikacji:
    2021-12-23
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    райская птица
    книжная и народная культуры
    Новое время
    топос рая
    эклектичность
    bird of paradise
    high culture and folk culture
    Modern Times
    the Garden of Eden topos
    eclecticism
    Opis:
    Статья посвящена истории образов чудесных птиц в русской культуре XVII—XVIII веков. На стыке Средневековья и pаннего Нового времени сирин, алконост, феникс, гамаюн и дру- гие райские птицы претерпевают метаморфозы: они сближаются, приобретают общие черты и в конечном счете начинают смешиваться в текстах и визуальной культуре. Кроме того, в круг райских птиц включаются реально существующие виды с ярким оперением или необычным го- лосом: павлины, канарейки, попугаи, снегири. Этот новый «птичий пантеон» возникает под вли- янием перехода от средневекового книжного мышления к новому, рационалистическому, и од- новременно при переходе образов из элитарной культуры в массовую. Народное воображение создаёт идеализированный топос рая с лубочно-яркими персонажами и их диковинными свой- ствами: гротеск в этом художественном пространстве служит для усиления экспрессии. В то же время в литературе гиперболические описания птиц уходят в сферу комического: с помощью чрезмерных характеристик персонажи басен и публицистических произведений высмеиваются (ворона с «ангельским» голосом, в павлиньих перьях и др.).
    The article discusses the model of synthesising literary images (eclecticism) with reference to the history of birds of paradise in Early Modern Russia. In medieval Russian books, legendary birds (Sirin, Alkonost, Phoenix, Gamayun, etc.) are depicted and described with their individual characteristics. Some of them have human features (anthropomorphism), others have no legs and never sit on the ground; some can heal, others can be reborn; some fascinate with their singing, others control the elements. In medieval culture, the images of these miraculous birds almost never merge. In the Early Modern Russian culture, a new “bird pantheon” is being created, the representatives of which are united on a twofold basis: external splendour and special properties of voice. The pantheon includes both characters of medieval legends and real-life birds, especially exotic ones, with which the Russian people begin to get acquainted then, mixing truth and fiction in stories about them. Birds of the “paradise pantheon” replace each other and are being combined. The symbolic paradise in folk culture becomes a space in which their various features are permitted to interact. The hyperbolisation of brightness, beauty and magical properties is perceived in this context as natural and harmonious, and various birds, getting into the “pantheon”, lose their individual characteristics and acquire features of their “neighbours”. In a drawing a parrot is called a peacock. A canary and a parrot in a wood carving look like a rooster. Gamayun and Alkonost become anthropomorphic (like Sirin) and acquire peacocks’ tails. The Sirin’s images bear the inscription “Pharaoh”, because the siren (sirena) is called “faraonka” in the Russian culture. However, the same eclecticism of images and features receives an ironic interpretation in fables and journalistic genres of the 18th century. The enumeration of beauties and wonders turns into grotesque, the multiplication of birds’ names, where a peacock and a crow, a parrot and an eagle appear alongside, leads to ridiculing the overall image. The parrot and the raven can replace each other in different translations of a fable because both of them have the ability to speak, but the expectation of a beautiful singing from the crow is a subject of a comic story. Alexander Shishkov enhances the confusion, naming not only well-known allegories (the parrot as a stupid chatterbox and imitator; a crow in peacock’s feathers), but also turning the narrative (a peacock in a crow’s feathers). Beautiful and great things become comic and ridiculous in the new culture, but remain relevant in modern kitsch.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2021, 14; 9-16
    1427-9681
    2353-4834
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-5 z 5

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