Anafora最新文献_第9页

Mitsko kao filozofska metoda u Vergilijevoj Eneidi 米特斯科：维吉尔《Eneida》中的一种哲学方法

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Anafora Pub Date : 2019-01-01 DOI: 10.29162/anafora.v6i1.4

F. Krajina, Zdravko Perić

{"title":"Mitsko kao filozofska metoda u Vergilijevoj Eneidi","authors":"F. Krajina, Zdravko Perić","doi":"10.29162/anafora.v6i1.4","DOIUrl":"https://doi.org/10.29162/anafora.v6i1.4","url":null,"abstract":"U ovom radu razmatramo moguća tumačenja Vergilijeve Eneide iz filozofske perspektive, što uključuje homerski, stoički i epikurejski element, jer usporedba Homerovih epova i Eneide u oblikovanju književnog teksta i filozofičnosti pokazuju podudarnosti. Platonički utjecaj na Vergilija, posredstvom Cicerona i njegova eklektičkog filozofskog pristupa, stoji u učenju o vrlini. Stoga je bitno razdvojiti ideje navedenih filozofskih sustava u Vergilijevu epu te obrazložiti njegov modus izlaganja mitskom filozofskom metodom. Fabulu i uzročno-posljedične veze epa vodi Božja sudbina koja je stoički shvaćena, što znači da je cjelokupna fabularna konstrukcija podređena stvaranju podloge za osnutak Rima kao carstva kojem je Bog namijenio da vlada pravedno i dobro. Uz etičku sastavnicu veže se i ontološka, zato što filozofiju epikurejaca i stoika karakterizira podjela filozofije na etiku, logiku i filozofiju prirode. Enejin model karakterizacije nije stvoren prema stoičkom modelu mudraca, a ni prema epikurejskom, nego glavnu ulogu igra homerski faktor, jer Eneja ipak izražava emocije ljutnje i bijesa kao većina antičkih junaka poput Ahileja i Odiseja, koji, vođeni emotivnom boli i tugom zbog gubitka voljene osobe, postaju osvetnički nasilni. Razlog takvom pripovjednom motivu je idealiziranje emotivnih muškaraca u helenskom, a takvim utjecajem onda i u rimskom razdoblju. Dakle, ono što je bilo presudno u oblikovanju glavnog junaka te njegova odnosa prema božanskom je rimska kultura i njezini etičko-ontološki zahtjevi manifestirani religijski. Začetnik mitske filozofske metode strukturirane u epskom pjesništvu je Homer, čiji kasniji utjecaj uspostavlja princip oblikovanja epa. Radi se o metodi iznošenja ideologizirane etike, zbog čega i je kulturalna, a formira se estetiziranjem mitološkog.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69708843","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Wilde Mädchen der Deutschsprachigen Literatur in Slawonien 大陆狂热女子在斯拉沃尼亚创作

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Anafora Pub Date : 2019-01-01 DOI: 10.29162/ANAFORA.V6I1.7

Stephanie Jug

{"title":"Wilde Mädchen der Deutschsprachigen Literatur in Slawonien","authors":"Stephanie Jug","doi":"10.29162/ANAFORA.V6I1.7","DOIUrl":"https://doi.org/10.29162/ANAFORA.V6I1.7","url":null,"abstract":"Der Beitrag untersucht die literarische Figur des jungen Mädchens in Slawonien. An drei Beispielen (Victor von Reisners Das angenehme Erbe, Roda Rodas Die Streiche des Junkers Marius und Wilmea Vukelichs Spuren der Vergangenheit) werden die literarischen Eigenschaften von Mädchen gezeigt, um sie mit der Tradition der sogenannten Mädchenbücher auf dem deutschsprachigen Gebiet vergleichen zu können. Die Figurenanalyse stützt sich auf die von Christa Stocker vorgeschlagenen Elemente: explizite und implizite Beschreibung von Bewegung, Natürlichkeit, Auffälligkeit, mentalitätsgeschichtliche Implikationen und Personenbezeichnungen. Die vergleichende Analyse zeigt, dass sich nur Victor von Reisner in seiner Rollengestaltung innerhalb des Rahmens der von Mädchenbüchern vorgeschriebenen Normen bewegt. Roda Roda und Wilma von Vukelich verleihen ihren Mädchenfiguren ungewöhnliche Eigenschaften, die sich nicht in die Einteilung zwischen wohl erzogenem und unerzogenem Mädchen einfügen lassen. Obwohl sie Eigenschaften von wilden Mädchen, d. h. Mädchen, die sich untypisch benehmen, zeigen, werden sie in den analysierten Texten nicht als unerzogen eingeschätzt oder sanktioniert. Ganz im Gegenteil: Ihre Eigenschaften, die sie als wild erscheinen lassen, geben ihnen eine Besonderheit und Charaktertiefe, die sie als erwachsene Frauen beibehalten. In allen drei Texten prägen die Eigenschaften der Region den Charakter der literarischen Mädchenfigur.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69709106","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Body, Space, and Sensations in Edgar Allan Poe’s “A Predicament” 埃德加·爱伦·坡《困境》中的身体、空间与感觉

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Anafora Pub Date : 2019-01-01 DOI: 10.29162/anafora.v6i2.2

Justine T. Kao

引用次数: 0

Barok kao kulturološki koncept 巴洛克作为一种文化概念

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Anafora Pub Date : 2019-01-01 DOI: 10.29162/anafora.v6i1.10

A. Sirca

{"title":"Barok kao kulturološki koncept","authors":"A. Sirca","doi":"10.29162/anafora.v6i1.10","DOIUrl":"https://doi.org/10.29162/anafora.v6i1.10","url":null,"abstract":"Nakon što je Heinrich Wölfflin uveo pojam baroka u povijest umjetnosti, taj se izraz brzo proširio na sva područja humanistike, nalazeći svoje mjesto i u znanosti o književnosti. Usporedno s takvim, u osnovi historijskim razumijevanjem, od Nietzscheova se doba razvijalo i transhistorijsko shvaćanje baroka kao dekadentnog stila koji se može javiti u svakoj epohi. U posljednjih nekoliko desetljeća književna teorija izrodila je i pojam „neobaroka“, kako bi razjasnila konstrukciju alternativnih povijesti modernosti, imunih na esencijalističku logiku suvremenog kapitalizma. U članku se, nadalje, oslanjam na „heterološku“ interpretaciju modernosti kakvu je razvio francuski teoretičar Michel de Certeau. On je u djelu La Fable mystique (1982) ustvrdio da u baroknoj mističkoj književnosti odlučujuća uloga ne pripada radikalnom prijelomu sa srednjim vijekom, već da je riječ o novom načinu uporabe (re-employment) postojećih diskursa, koji izbjegavaju svako zatvaranje u okvire institucije. Uvjet mogućnosti takvih diskurzivnih strategija je poseban odnos prema radikalnoj drugosti. Iz takvog odnosa ne nastaje stabilni kartezijanski subjektivitet, već subjekt koji biva za drugog/Drugoga. Pretpostavka da je mistična književnost simptom modernosti kao takve utire put uvidu u izvorni, „atopični“ prostor, koji nadilazi puke društvene i političke projekte emancipacije. Tu je riječ o svojevrsnom transcendentalnom razumijevanju modernosti kao uvjeta mogućnosti onog modela subjektivnosti, diskurzivnosti i prakse koji je svagda usmjeren ka jednoj heterološkoj etici.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":"61 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69709164","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The narrative-theological function of Matthew's baptism command (Matthew 28:19b) 马太受洗命令的叙事神学功能(马太福音28:19b)

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Anafora Pub Date : 2019-01-01 DOI: 10.29162/ANAFORA.V6I1.2

Gregory S. Thellman

{"title":"The narrative-theological function of Matthew's baptism command (Matthew 28:19b)","authors":"Gregory S. Thellman","doi":"10.29162/ANAFORA.V6I1.2","DOIUrl":"https://doi.org/10.29162/ANAFORA.V6I1.2","url":null,"abstract":"The triadic name given in the baptism command of Matthew 28:19b has often been considered awkward in its context and perhaps anachronistic in light of later Christian Trinitarian doctrine. This article argues that Matthew 28:19b is rather a fitting climactic conclusion to a narrative-theological motif throughout Matthew’s Gospel where triadic or at least dyadic language is employed within revelatory contexts that affirm Jesus’ divine sonship and messianic mission: either in small apocalypses or within apocalyptic discourse. This argument finds its crux in the baptism of Jesus itself (3:13–17) which is presented as an apocalypse in which the heavenly fatherly voice reveals the identity of the Son and anoints him with his Spirit, with the stated goal of “fulfilling all righteousness.” The revelation is presented by Matthew so that it is directed to the public within the narrative and implicitly to the reader disciple. The baptism revelation is then closely associated both with the lengthy citation of Isaiah 42:1–4 in Matthew 12:18–21, another triadic text, and with the visionary transfiguration account (17:1–8). Other passages are analyzed in order to trace the pattern throughout the Gospel. In the resurrection narrative (28:1–20) it is demonstrated that the resurrected Jesus is portrayed as a now heavenly, yet still embodied, revealer who is worshipped such that the Great Commission passage (28:16–20) is presented as a divine revelation. Within this “ultimate apocalypse” the risen Jesus commands his followers to make disciples of the nations by teaching and baptizing in the triadic name. The baptism command, in light of the triadic motif throughout the Gospel has the rhetorical effect of inviting Matthew’s reader-listener disciples to identify with Jesus in his own triadic baptism such that they too have an affirmed filial relationship with God and receive the anointing of the Holy Spirit to continue and extend Jesus’ messianic mission into the world under his universal authority and with his promised presence.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69709275","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

From tradition to modernity 从传统到现代

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Anafora Pub Date : 2019-01-01 DOI: 10.29162/anafora.v6i2.3

Ali Salami, F. Pirayesh

{"title":"From tradition to modernity","authors":"Ali Salami, F. Pirayesh","doi":"10.29162/anafora.v6i2.3","DOIUrl":"https://doi.org/10.29162/anafora.v6i2.3","url":null,"abstract":"The paper explores the liberating power of Bhabha’s concept of hybridity in Manju Kapur’s novel The Immigrant. By concentrating on Nina’s immigration to Canada, the novel addresses her early affliction due to the cultural clash between the East and West, tradition and modernity, her assimilation problems, as well as her gradual assimilation, her in-betweenness, transformation in her roles and identity, and survival in the host world. She opens a space in-between the home and host culture, mediates between them, and becomes the citizen of two worlds; she thus enters the third space, i.e. she stands in-between two cultures prioritizing neither the home nor the host culture but the middle ground and emerges as a hybrid who occupies the in-between space and develops a double vision. Using Homi Bhabha’s insights, this study seeks to demonstrate that being positioned in the third space, i.e. moving beyond the polarities and challenging the fixedness of identity and experiencing in-betweenness – being neither one nor the other, might pave the way for her liberation. The paper is to show that Nina is neither one nor the other, i.e. neither a traditional nor a modern woman but both, simultaneously transcending and reconciling the tradition and modernity.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69709251","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Who can stand before a holy God? Literary artistry and theological imagination in the Ark Narrative 谁能在圣洁的神面前站立得住呢?方舟叙事中的文学艺术与神学想象

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Anafora Pub Date : 2019-01-01 DOI: 10.29162/ANAFORA.V6I1.6

Marcel V. Măcelaru

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Fantastični motivi uprizoreni lutkom u Kazalištu lutaka Zadar 扎达尔玩偶城堡中玩偶的奇妙动机

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Anafora Pub Date : 2018-12-31 DOI: 10.29162/ANAFORA.V5I2.1

Teodora Vigato

引用次数: 0

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