„Etika“, „Moralė“ Ir Augustino Liberum Arbitrium (original) (raw)
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Euskal ahozko literatura tradizionalari buruzko ikerketa XX. mendean
Anuario Del Seminario De Filologia Vasca Julio De Urquijo, 2013
This essay begins with a survey of the concepts Uliterature", "oral", upopular" and /ttraditional" as used by various different researchers in their studies. of Basque oral literature, since it has not always been accorded the status ofliterature, and the terms Utraditional" and .upopular" have receive~varying interpretations which have allowed them to encompass such distinct forms as both oral and written uhersolarism" and its related genres, as well as the various orally transmitted genres. In the early stages ofresearch into the Basque oral genres, one finds attempts to defend this phenomenon from a literary standpoint, and efforts to set it above mere folklore. Don Manuel Lekuona, one ofthe most outstanding of these figures, was much more active in this repect than others, and even more so than Azkue ofthe most important collators ofthis kind oforal genre. The essay continues with a more detailed examination ofresearch carried• out in this field during the 20th century, which starts by comparing it with the previous century's contributions. This shows that a geographical shift in this type of research took place around the turn ofthe century, since such work was in the 19th century almost entirely restricted to the French Basque Country, whilst the next century opened with the appearance in the south ofsuch great figures as Resurreccion Marfa de Azkue, Father Donostia and Manuel Lekuona, wose work then spread all over the Basque Country.• This is followed by a survey ofthe development of research into tradition as it has evolved from the Civil War up to the present day. It becomes clear that the scholars of Basque literature (Mitxelena, Villasante and Sarasola) have practically ignored this part ofour culture until very recently. By way ofconclusion, it is pointed out that the last few years have seen an increase in specialisation in research on tradition, which has produced studies devoted exclusively to the ballad, to lyric poetry, and to other genres, amongst which the traditional folk tale has received, and continues to receive, the least attention.
POSTOJI JEDNO OSTRVO: LJUBAV U POEZIJI BORE ĐORĐEVIĆA I ROMANIMA MIŠELA VELBEKA.pdf
Through a comparative analysis of themes and motives associating the love poetry of the “Serbian Bob Dylan” Bora Đorđević and the fiction of the French novelist Michel Houellebecq, with an emphasis on Đorđević’s collection of poetry Pusto ostrvo (i.e. “Desert Island”, 2017) and Houellebecq’s novel La possibilité d’une île (engl. transl. The Possibility of an island, 2005), we aim at showing a number of similarities in their approach to the problem of frailty and pain of love. Both authors explore the causes of and the solution for the antagonism between egoism and need for love in a couple. From the theoretical point of view, our comparison hinges on three basic dichotomies : eros/ agape (D. de Rougemont, L’Amour et l’Occident, 1960 ; Engl. Trans. Love in the Western World, 1940), love-need/ love-gift (C. S. Lewis, The Four Loves, 1960) and I-Thou/ I-It (Martin Buber, Ich und Du, 1923 ; engl. transl. I and Thou, 1937). Confronting the many aspects of love offered by the poet and the novelist, we argue that they both consider ageing, selfishness and romantic illusion as the major impediments to a lasting love. Love’s labor is always lost when reduced to sexual intercourse, which “has all too short a date”, so that the rest of life turns into solitude and pain. Still, the crucial trigger of love misery is in us: the self-centered love or eros is a beggar who takes pleasure in its own desire, whereas sexuality is that fundamental and life-long instinct of transcending the limits of self by knowing the other and belonging to him/her. Considered in such a context, the motif of island represents a new Eden where love and joy of two blended individuals become possible.
“Leading the Dead” – The World of János Major / „A halottak élén” – Major János világa (bilingual)
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János Major (1934–2008) was a major figure of the Hungarian neo-avantgarde, member of the so called IPARTERV generation that emerged in the sixties. This catalogue is dedicated to one characteristic segment of his oeuvre: works connected to death and demise, the world of tombs and cemeteries. The study offers one possible narrative for Major’s art; it does not aspire to be a short monograph, yet it is more than mere topical analysis. The chosen perspective is relevant for every period of the artist, therefore it can be considered as the common segment of his artistic production. Through a limited number of works, the catalogue offers an authentic, pars pro toto introduction to János Major’s world. Works presented here can also be understood as attempts to process traumatic experiences. Namely the Holocaust that effected Major’s family, the 1956 revolution and the Tiszaeszlár blood libel, which caused great social disturbance at the end of the nineteenth century. In all of these cases Major found a way to use tragic events as sources of inspiration. The title to this publication, “Leading the Dead” – borrowed from a famous Hungarian poet, Endre Ady – serves here to describe this artistic strategy. The value of Major’s art lies in its singularity, as it builds upon specifically East-Central-European, Hungarian and Jewish experiences. His oeuvre is important not only from an artistic point of view, but it also helps to understand the whole period – especially the sixties and seventies – better and more deeply. --- Major János (1934–2008) a magyar neoavantgárd kiemelkedő alakja volt, tagja a hatvanas években induló IPARTERV-generációnak. A katalógus életművének egy jellemző szeletét járja körül: a halálhoz, elmúláshoz, sírkövek és temetők világához kapcsolódó műveket. A tanulmány Major munkásságának egy lehetséges narratíváját nyújtja: nem kismonográfia, mégis sok tekintetben több egyszerű, tematikus elemzésnél. A választott nézőpont a művész minden alkotói periódusa szempontjából releváns, így az oeuvre legkisebb közös többszörösének tekinthetjük. A kötet korlátozott számú művön keresztül, pars pro toto jelleggel hiteles bevezetést nyújt Major János világába. A bemutatott művek sora értelmezhető traumát jelentő élmények feldolgozásaként is. Legyen szó a Majort és családját is érintő holokausztról, az 1956-os forradalomról, vagy éppen a társadalmat felkavaró tiszaeszlári vérvádról, a művész minden esetben megtalálta a módját annak, hogy a tragikus eseményeket művészetének ihletforrásaként használja. Erre a művészi stratégiára utal az Adytól kölcsönzött cím is. Major művészetének értéke annak sajátságos jellegében rejlik, hiszen specifikusan kelet-közép-európai, magyar és zsidó élményanyagra épít. Oeuvre-je nem pusztán művészeti szempontból jelentős, de fontos adalékkal szolgál a korszak, különösen a hatvanas-hetvenes évek jobb megértéséhez is.
Jean Mekol Garindañekoaren "Edipa" pastorala (1793)
Anuario Del Seminario De Filologia Vasca Julio De Urquijo, 2013
Pastorals or tragerias are popular plays characteristic of Zuberoa. Even nowadays they are staged every year by amateur actors during festivals. Additionally} pastorals are experiencing increased attention as objects ofstudy. Nevertheless} many manuscripts from the XVIII and XIXth centuries are still unpublished. I n this paper we include an edition for one these manuscripts. It contains a version of the pastoral Edipa and was written in 1793 by Jean Mekol de Garindafie. This play is named after the famous Greek mythological character} but it includes passages from the whole Theban cycle. As far as we knO'W, a pastoral under this name was staged in Zuberoa in 1759 for the first time and in 1816 for the last time. Undoubtedly} this is an important play for the study of how a classical tradition subject was received in the Basque Country. GIDOR BILBAO TElLETXEA 135-137. Onez atera direlako Jainkoari eskerrak eman beharra. 138-145. Artzainen kanta: eskerrak jainkoari. 146-148. Artzainen agurra. 149-162. Aita eta amaren bila doa Edipa. 149-155. Adio esaten diote Parrein eta Gillen artzainek hazia den Edipari. 156-160. Sokrastaren iragarpena Edipari: Tebasen Giganta hil behar du eta gero gurasoak bilatu. 161-162. Tebaserako bidean abiatzen da Edipa. Sonu. 163-185. Sataneria: Satanen tratua Komendanta, Bulgifer eta Kourrierarekin. Sonu. 186-244. Borrokaldiak Gigantarekin. 186-203. Izuturik du Gigantak Tebaseko hiria. 204-215. Bulgifer, Komendanta eta Satanak ihesean doaz, Gigantaren aurka borrokatu ondoren. 216-244. Edipak aurre egiten dio Gigantari eta hil egiten duo 245-260. Sataneria: infernura eraman nahi dute Gigantaren gorpua Satan, Bulgifer eta Komendantak, baina ezin dute mugitu su emanda ez bada. 261-292. Laia aita aurkitu eta hiltzen du ezagutu gabe Edipak. 261-265. Aitaren bila abiatzen da Edipa. 266-274. Laiaren laguntzaileak-Garda, Jolikur, Alexandre-aurkitu eta eurekin eztabaida izan ondoren borrokan hasten dira. 275-289. Laia agertzen da bake egin nahian baina berriro ekiten diote borrokari, Laia hi! arte. 290-292. Laiaren azken hitzak: berak ez zuen gerlarik nahi. 293-321. Edipa eta Jokastaren ezkontza. 293-297. Jokastaren deitorea. 298-309. Ediparekin ezkon dadin konbentzitzen du Olinpiak Jokasta. 310-313. Jokastarekin ezkon dadin konbentzitzen du Olinpiak Edipa. 314-321. Ezkontza ospakizunak eta Edipa errege egitea. Sonu. 322-345. Teresia itsua janari eske oturuntzan bere gida mutilarekin. 322-331. Teresia itsuaren bizitza Gidak kontagai: azeriak itsutu zuen sendagile ospetsua, begietara pisa eginez. 332-345. Itsua eta Gidaren arteko eztabaida janariarengatik. Sonu. 346-421. Edipak bere bekatua ezagutzean bere begiak atera, oinordetza ezarri eta bere buruaz beste egiten duo Bi anaien arteko gerla hasten da.