Wyniki wyszukiwania - Biblioteka Nauki

1

Gapienie się a prawo głosu. O przemianach obrazu niepełnosprawności we współczesnej polskiej literaturze dla dzieci

100%

Kwiatkowska A.

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nr 34

325-344

EN

The article analyses the way in which disability is portrayed in contemporary Polish literature for children, with a particular emphasis on the latest literature. Rosemarie Garland-Thomson’s theory of the baroque stare is applied in the analysis and allows the reconstruction of a network of stares in which the disabled are entangled, and also to reconstruct the place attributed to them in society. In a number of texts, a confrontation with onlookers turns out to be an introduction to a dialogue that gives a disabled person a chance to express their feelings and needs. However, the increasingly common portrayal of disability in the social category does not free literature from stereotypes.

2

Altarity/alterity смерті старої людини в українській літературі періоду „смерті молодих”

100%

Chomenko H.

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tom 163

363-375

EN

Rereading of one of the most interesting paradoxical death models built on age differentiation is offered in the article. Deconstructive principles of différаnce and Krinein, typical for mature Ukrainian modernism and first of all for the most outstanding representative Mykola Khvyliovyi, are taken into account. The emphasis is placed on the challenge of trivial experience of death difference at the process of acceptation of poetic, triumphal, sacral emotional experience which is corresponded with Friedrich Nietzsche’s Dionysus-Apollo values. The idea of fragmental thinking is explicated as a correlate of delimitation, ambivalence and hovering over a gap/emptiness, which provide radical novelty of opinions about death connected with the discovery of aporia of its fathomlessness. Texts of the 1920th are considered as the territory of rereading of classical works by modernist writers. The texts represent a part of occidentalis-oriental humanitarian fund.

RU

В статье предложено прочтение одной из интереснейших парадоксальных моделей смерти, построенной на возрастной дифференциации, с учетом деконструктивистских принципов différаnce и Krinein, органичных для зрелого украинского модернизма и прежде всего для самой яркой личности в нем — Миколы Хвылевого. Акцент сделан на опрокидывании тривиального опыта различения смертей в процессе акцептации поэтического, триумфального, сакрального переживания, соответствующего дионисийско-аполлоновским ценностям Фридриха Ницше. Эксплицируется идея о фрагментарности мышления как коррелята делимитации, амбивалентности и зависания над пробелом/пустотой, обеспечивающих радикальную новизну суждений о смерти, связанной с открытием апории ее бездонности. Тексты 1920-х рассматриваются как территория повторного прочтения писателями-модернистами классических текстов, вошедших в окцидально-ориентальный фонд гуманитаристики.

3

СПІЛЬНЕ ТА ВІДМІННЕ У ВІЗАНТІЙСЬКІЙ І ДАВНЬОКИЇВСЬКІЙ ХРИСТИЯНСЬКИХ ТРАДИЦІЯХ МУЗИЧНОГО ВИХОВАННЯ

84%

Марина Л.

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nr 8(62)

65-74

EN

The article tells about Christian traditions of music education in the context of “a dialogue” of two cultures – Byzantine and Old Kyivan Rus. After analyzing common and different features in upbringing and professional preparation of choristers of both countries the author proves, due to comparative-historical method, that Byzantine music education was not mechanically “transplanted” or “transferred” on Kyivan basis. Correspondence of music education contents to general level of Byzantine and Old Kyivan development of society, government’s requirements concerning preparation of choristers, differences in structure of educational establishments in Byzantine Empire and Kyivan Rus prove mutual enrichment of both cultures. It is stated in the article that music education and choir service were very important in both Byzantine Empire and Kyivan Rus. At the beginning Christian communities and then monasteries and government started to be concerned about high professional preparation of choristers. Although education in Byzantine Empire and Kyivan Rus has lots of common tendencies, the one in Byzantine Empire was more complicated, multilevel and it was planned not only for demands of the Church but for public requirements too. Prerogatives of ecclesiastic non-multilevel education can be seen in Kyivan Rus. It is difficult to define a character of “domestic yard” school. The contents of music education corresponded to general level of development of societies in both states. However, Byzantine Empire was an accumulator of culture and its bearer for young European barbarian countries. The contents of music education in Kyivan Rus were directed at Graeco-Christian religious tradition. It also absorbed Syrian and Jewish tunes, which were easier for perception due to texts written in the native language. Certain differences in Byzantine and Kyivan Rus spiritual singing can be seen from the origin of Bizatine liturgy in Kyivan territories, for example stress changes in cantorials.