Search

It is well established that George Herbert was a sacramental poet. It was C.A. Patrides who said “the Eucharist is the marrow of Herbert’s sensibility,” and scholars like Regina Schwartz, Kimberly Johnson and others have since fleshed out ways in which this claim might ring true. Schwartz argues that Herbert’s poetry was part and parcel of a larger cultural movement, following the English Reformation, to displace the much eschewed doctrine of transubstantiation onto the literary function of poetry. On Schwartz’s account, Herbert’s poetry functions sacramentally insofar as it engages the notion of signs “containing” what they signify. Johnson, however, argues that Herbert’s poetry is preoccupied with “its own surface, asserting the sign as such as an object rather than treating the text as a transparent conduit to content.” Herbert’s sacramentality, according to Johnson, is a function of his poetry foregrounding its own surface qualities as its substantial significance, thereby rendering its physical text on the page a “site of immanence.” Though distinct in their expository claims and approaches, these scholars assume that Herbert’s sacramentality is primarily informed by and preoccupied with the semiotics of traditional sacramental theology the Church of England had inherited from the Roman Catholic Church. This thesis aims to articulate an alternate reading of sacramentality in Herbert that: a) foregrounds the role of the Anglican via media in shaping the eucharistic sensibility Herbert brings to bear on his lyrics; and b) that registers his lyrical mobilization of Anglican sacramentality as a function of tuning readers’ perceptions to a more immediate experience of divinity in and through poems and their material referents, rather than apprehension of them as divine signs.

Heroism is a fundamental element for the creation of all sorts of narratives, as such novels, plays, comics or graphic novels. Besides, Heroism has evolved over time, preserving certain classic features but also including some innovations. In thisFinal Degree Project I will analyze how the hero Paul Atreides, protagonist of Frank Herbert’s Science Fiction novel Dune (1965), might be able to perpetuate both the classical and contemporary canon of Heroism. For such purpose I will research the origins of Science Fiction and its connection with Classical Reception Studies. Likewise, I will develop two analyses in which Paul Atreides will be compared, on the one hand, with the classic hero Achilles and, on the other hand, with the monomyth of the superhero. Finally, I will conclude by examining if Herbert opts for Ancient or Contemporary Heroism to create the history of the young Paul Atreides.

[spa] Esta investigación prioriza la concepción del ser humano como animal social envuelto o alicatado de material cultural para abordar la interpretación de un texto novelesco considerado un hito de su género, sus continuaciones literarias y sus traducciones audiovisuales generadas por la industria creativa cinematográfica o televisiva. El punto de partida es el castillo teórico de la “Fashion theory” levantado por la sociolingüista italiana Patrizia Calefato. Su alterdisciplinariedad permite situar el análisis en una posición crítica constructiva respecto de la posmodernidad. Este prisma especulativo es transversal y fluido y dialoga satisfactoriamente con otras visiones de la realidad, académicas u ordinarias, relacionadas tanto con la cultura popular de los últimos decenios como con tradiciones milenarias que subyacen sutilmente en la cotidianidad. También sirve para proyectar la mirada hacia el futuro, hacia los mundos galácticos imaginados por el genial Frank Herbert. Pasar por el tamiz calefático la obra del escritor norteamericano permite obtener lecturas singulares y sorprendentes que clarifican el avanzado grado de su propuesta intelectual. [cat] Aquesta investigació prioritza la concepció de l’ésser humà com a animal social envoltat o revestit de material cultural per abordar la interpretació d’un text novel·lesc considerat una fita del seu gènere, així com les continuacions literàries i les traduccions audiovisuals generades per la indústria creativa cinematogràfica o televisiva. El punt de partida és el castell teòric de la “Fashion theory” aixecat per la sociolingüista italiana Patrizia Calefato. La seva alterdisciplinarietat permet situar l’anàlisi en una posició crítica constructiva respecte de la postmodernitat. Aquest prisma especulatiu és transversal i fluid i dialoga satisfactòriament amb altres visions de la realitat, acadèmiques o ordinàries, relacionades tant amb la cultura popular dels darrers decennis com amb tradicions mil·lenàries que trobem subtilment en la quotidianitat. També serveix per projectar la mirada cap al futur, cap als mons galàctics imaginats pel magnífic Frank Herbert. Passar pel sedàs calefàtic l’obra de l’escriptor nord-americà permet obtenir lectures singulars i sorprenents que esclareixen el grau avançat de la seva proposta intel·lectual. [eng] This research prioritizes the conception of the human being as a social animal surrounded or cloaked by cultural material to approach the interpretation of a fictional text considered a milestone in its genre, as well as its literary sequels and its audiovisual translations generated by the creative film or television industries. Its starting point is the theoretical creation Fashion theory, written by the Italian sociolinguist Patrizia Calefato. Its alterdisciplinarity allows us to place the analysis in a critical constructive position regarding postmodernity. This is a cross-cutting and fluid speculative perspective and it dialogues satisfactorily with other visions of reality, both ordinary and academic and related to the popular culture of recent decades and to millenarian traditions that subtly underlie everyday life. It also works to take a critical eye towards the future, towards the galactic worlds imagined by the great Frank Herbert. Scrutinizing the work of the North-american author through the calefatian lens lets us obtain singular and surprising readings that clarify the advanced degree of his intellectual proposal.

Oppgaven tar for seg den britiske filosofen Herbert Spencers bok om oppdragelse Education: Intellectual, Moral, and Physical (på norsk: Oppdragelse), og resepsjonen av den i Norge på slutten av 1800-tallet. Dette i kontekst av den svekkende bruken av fysisk avstraffelse i samfunnet på denne tiden, og den begynnende debatten om fysisk avstraffelse i den norske skolen. Spencer forfektet et syn på visse kunnskaper som naturvitenskapen som overordnet andre kunnskaper, som for eksempel språkfag. Han ønsket å organisere skoleundervisningen etter dette synet. Ifølge Spencers oppdragelsesteori skal barnet ikke «straffes», men heller opplevde de negative konsekvensene av sine handlinger. Dvs. at foreldre skal gripe inn i så liten grad det er mulig, og i de tilfellene der de må blande seg inn, burde straffen reflektere handlingen, for eksempel ved å nekte et barn som ikke har ryddet opp lekene sine å få leke med dem igjen. En stor del av Spencers oppdragelsessyn går ut på å forberede barnet på å bli en ansvarlig samfunnsborger. Han argumenterte for ideene sine ut fra et utilitaristisk, liberalistisk og sosialdarwinistisk grunnlag. Den norske resepsjonen ble særlig formulert av forfatteren Bjørnstjerne Bjørnson, teologen Christian A. Bugge, pedagogen Matias Skard og høyrepolitikeren Nils Hertzberg. Spencer fikk en betydelig innflytelse på Bjørnson, som tok til seg ideene hans og presenterte dem i positive trekk i fortellingen «Støv» (1882) og romanen Det flager i byen og på havnen (1884). De tre andre var mer kritiske. Christian A. Bugges Spencers opdragelseslære: En fremstilling og en bedømmelse (1889) kritiserer religionens manglende rolle og forsvarer den «kunstige» straffen Spencer angriper. Matias Skards Om Herbert Spencers opdragelsestanker: Gjengivelse og kritik (1890) forsvarer også religionens rolle som det moralske fundamentet i oppdragelsen, og kritiserer Spencer for å kun fokusere på det negative barn gjør, i stedet for å gi positiv veiledning. Niels Hertzbergs artikkel «Om Herbert Spencers Opdragelseslære» (1892) er også kritisk til religionens manglende rolle i den naturalistiske oppdragelsen, og argumenterer imot Spencers utilitaristiske ideer om moral. I likhet med de andre kritikerne mente Hertzberg at den naturalistiske oppdragelsens reaksjon mot alvorlige ugjerninger ikke var tilstrekkelig nok, og han argumenterer for fysisk avstraffelse som en forsvarlig straffeteknikk. De tre norske kritikerne deler altså synet på religionen som en nødvendig bestanddel i oppdragelsen, og anerkjenner i litt ulik grad den fysiske straffens nødvendighet i oppdragelsen.

The book offers an overview of the configuration of the category of authors from the literary-historical and literary- theoretical point of view. The analytical and interpretive part of the book is dedicated to the poets Czesław Miłosz, Tadeusz Różewicz and Zbigniew Herbert, therefore the construction of three paradigmatic authorial models.

The Italian endemic Crocusbiflorus usually shows white or lilac flowers with three-to-five striking violet longitudinal stripes on the outer tepals, but unstriped plants were recorded in the past. These plants were originally described as C.annulatussubvar.estriatus, and subsequently recombined as a variety of C.biflorus. The rediscovery of such plants in Toscana gave us the opportunity to clarify their systematic relationships, so that we typified the name, and performed karyological and ITS analyses. These plants share the same chromosome number (2n = 2x = 8) and ITS sequence with C.biflorus s. str.

Dos relatos sobre el dolor ajeno. Dos madres convalecientes en una cama de hospital, dos hijos sentados en el sillón contiguo a esa cama. Dos hijos que escriben en primera persona para intentar escaparle al dolor, con la simple diferencia de que uno usa su nombre para hacerlo y el otro elige modificarlo. Me interesa leer juntos El desierto y su semilla de Jorge Baron Biza y Canción de tumba de Julián Herbert, para indagar en el problema del nombre propio. En el análisis sobre la ambigüedad entre autobiografía y novela que revelan ambas autoficciones, quisiera problematizar sobre la elección del nombre para poder, primero, establecer la operatividad del término autoficción; y segundo, señalar, en cada caso, la singularidad de la voz narrativa a través de la técnica que pone en tensión los mecanismos de recuerdo y memoria.

Alvise Cornaro’s Treatises on the Sober Life (Discorsi della vita sobria) was one of the most popular books on diet and hygiene across the whole of Europe from its publication in the sixteenth century up to the early twentieth century. In this chapter, I show that the reasons for the success of Cornaro’s work in early modern England lie in the fact that two very different communities of practice saw the work’s conclusions as grounded upon a particular configuration of evidence that resonated with them: one spiritual, where it was used as part of an attempt to forge a via media between Puritans and Anglicans; the other medical, where it served as a case study from which more general conclusions about how to prolong life might be extrapolated. The unique context in which the first English translation of the Discorsi was conceived, produced, and published—involving some of the most prominent intellectual figures of the time, such as Francis Bacon, Nicholas Ferrar, and George Herbert—make this an important case study, useful for the reconstruction of a significant chapter of the history of dieting and hygiene, and the history of conceptions of evidence and their relationship to different communities of practice.

Dissertation, “Works of Mercy: Literature, Compassion, and Devotion in Early Modern England,” argues for the crucial role of literature in shaping, expanding, and contesting the limits of compassion in early seventeenth century England. Reading Shakespeare’s Measure for Measure, Donne’s Devotions Upon Emergent Occasions, and Herbert’s The Temple—texts which hold affliction at their very core—alongside contemporary prayer books, sermons, and devotional manuals, I show how compassion occupies a vital and under-explored space at the nexus of early modern understandings of body, religion, and community. Saturated in the visceral vocabulary of roiling bowels and melting hearts, early modern compassion—literally “to suffer with”—is the means through which literary and devotional writers work through questions of how to respond to human suffering, and to whose suffering one should respond. Literary explorations of compassion, I argue, are thus uniquely situated as spaces in which vital questions of belonging and relationship can be articulated outside of the emerging discourse of nationhood and across the fraught divides of confessional identity. Taking seriously both the bodily and spiritual rhetoric of compassion, I show how shared practices and communal rituals surrounding the experience of human suffering are reimagined through literary texts that work to both theorize compassion, and to arouse compassion within their readers. In so doing, these early modern attempts to write compassion are always attempts to work compassion: to reduce the self to make room for the suffering of the other, to acknowledge affliction as the common tissue of humanity.Each chapter takes up a different author, genre, and work of mercy to demonstrate how these writers approach the ethical work their texts can do, in the reader and in the world. The introduction, “Writing Compassion in Early Modern England,” explores the vocabulary of early modern compassion, which relies on vividly visceral terms of roiling bowels and melting hearts, and which connects implicitly with the topos of the Christian community imagined as the mystical body of Christ. Chapter 1, “Executing Mercy: Measure for Measure and the Impossibility of Compassion,” focuses on the most critically ignored characters in the play—Mistress Overdone, Pompey, Kate Keepdown—and on the play’s little-discussed obsession with the traditional merciful work of visiting prisoners, to argue that Shakespeare appropriates familiar cultural touchstones of compassionate action to explore how compassionate identification is both stirred and stymied through dramatic form. Chapter 2, “Curing Mercy: John Donne’s Pedagogy of Compassion,” takes up questions of the edificatory value of suffering by reading Donne’s paradoxical treatment of affliction as compassion in his Devotions Upon Emergent Occasions (1624) and in two closely contemporary sermons. Suffused with the language of the Book of Common Prayer’s “Order for the Visitation of the Sick,” I argue that Donne’s text implicitly argues against a theology of suffering (articulated in the early modern ars moriendi tradition) which attempts to convert worldly pain into spiritual joy, and to understand the suffering of others as beneficial to the self. Chapter 3, “Consuming Mercy: George Herbert and the Poetics of Compassion” reads devotional lyrics from The Temple (1633) alongside the pastoral manual A Priest to the Temple (pub. 1652) to argue that Herbert’s poetry—and specifically his frequent deployment of clusters of related images surrounding food, hunger, and thinness—becomes a site of compassionate engagement which demands that we understand these bodily references as always both literal (referring to the corporeal body) and metaphorical (referring to the corporate and mystical Body of Christ). The Coda, “Considering Compassion,” reflects on the nature of compassion as shared suffering, and as worthy work.

Dos relatos sobre el dolor ajeno. Dos madres convalecientes en una cama de hospital, dos hijos sentados en el sillón contiguo a esa cama. Dos hijos que escriben en primera persona para intentar escaparle al dolor, con la simple diferencia de que uno usa su nombre para hacerlo y el otro elige modificarlo. Me interesa leer juntos El desierto y su semilla de Jorge Baron Biza y Canción de tumba de Julián Herbert, para indagar en el problema del nombre propio. En el análisis sobre la ambigüedad entre autobiografía y novela que revelan ambas autoficciones, quisiera problematizar sobre la elección del nombre para poder, primero, establecer la operatividad del término autoficción; y segundo, señalar, en cada caso, la singularidad de la voz narrativa a través de la técnica que pone en tensión los mecanismos de recuerdo y memoria. Two texts about the pain of the other. Two convalescent mothers in hospital beds, two sons sitting in chairs next to their beds. Two sons writing in first person in order to escape the pain, with the simple difference that one of them uses his own name to do it and the other chooses to modify it. In this article I propose a parallel reading of Jorge Baron Biza ́s El desierto y su semilla [Desert Seeds] and Julián Herbert ́s Canción de tumba [Tomb Song], to examine the use of the proper name in both. In the analysis of the ambiguity between autobiography and novel, I ask questions about the use of the proper name in the two texts, in order, first of all, to establish the way in which the term “autofiction” operates; and secondly, to point, in each case, to the singularity of the narrative voice through this technique that creates tension between remembrance and memory. Deux récits sur la douleur d’autrui. Deux mères convalescentes dans un lit d’hôpital, deux fils assis dans un fauteuil á côté de ce lit. Deux fils qui écrivent en première personne pour échapper à la douleur. L’un utilise son mon, tandis que l’autre le modifie. On veut faire une lecture du roman Le désert et sa sémence de Jorge Baron Biza et de Canción de tumba de Julián Herbert pour étudier la problématique du nom propre. Il y a une ambiguïté entre autobiographie et roman dans les deux autofictions. Ainsi, dans une première partie, nous nous demanderons dans quelle mesure le choix du nom permet d’établir l’efficacité du terme autofiction. Dans une deuxième partie, nous signalerons la singularité de la voix narrative, dans chaque cas en particulier, à travers la technique qui met en tension les mécanismes de souvenir et mémoire. Fil: Musitano, Julia. Universidad Nacional de Rosario. Facultad de Humanidades y Artes. Instituto de Estudios Críticos en Humanidades. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - Rosario. Instituto de Estudios Críticos en Humanidades; Argentina

Resumen Dos relatos sobre el dolor ajeno. Dos madres convalecientes en una cama de hospital, dos hijos sentados en el sillón contiguo a esa cama. Dos hijos que escriben en primera persona para intentar escaparle al dolor, con la simple diferencia de que uno usa su nombre para hacerlo y el otro elige modificarlo. Me interesa leer juntos El desierto y su semilla de Jorge Baron Biza y Canción de tumba de Julián Herbert, para indagar en el problema del nombre propio. En el análisis sobre la ambigüedad entre autobiografía y novela que revelan ambas autoficciones, quisiera problematizar sobre la elección del nombre para poder, primero, establecer la operatividad del término autoficción; y segundo, señalar, en cada caso, la singularidad de la voz narrativa a través de la técnica que pone en tensión los mecanismos de recuerdo y memoria. Abstract Two texts about the pain of the other. Two convalescent mothers in hospital beds, two sons sitting in chairs next to their beds. Two sons writing in first person in order to escape the pain, with the simple difference that one of them uses his own name to do it and the other chooses to modify it. In this article I propose a parallel reading of Jorge Baron Biza's El desierto y su semilla [Desert Seeds] and Julián Herbert's Canción de tumba [Tomb Song], to examine the use of the proper name in both. In the analysis of the ambiguity between autobiography and novel, I ask questions about the use of the proper name in the two texts, in order, first of all, to establish the way in which the term "autofiction" operates; and secondly, to point, in each case, to the singularity of the narrative voice through this technique that creates tension between remembrance and memory. Résumé Deux récits sur la douleur d'autrui. Deux mères convalescentes dans un lit d'hópital, deux fils assis dans un fauteuil á côté de ce lit. Deux fils qui écrivent en première personne pour échapper à la douleur. L'un utilise son mon, tandis que l'autre le modifie. On veut faire une lecture du roman Le désert et sa sémence de Jorge Baron Biza et de Canción de tumba de Julián Herbert pour étudier la problématique du nom propre. Il y a une ambiguité entre autobiographie et roman dans les deux autofictions. Ainsi, dans une première partie, nous nous demanderons dans quelle mesure le choix du nom permet d'établir l'efficacité du terme autofiction. Dans une deuxième partie, nous signalerons la singularité de la voix narrative, dans chaque cas en particulier, à travers la technique qui met en tension les mécanismes de souvenir et mémoire.

Mit der Ausstellung „800 Jahre Kreuzchor? Fragen an die älteste Musikinstitution Dresdens“ lud die SLUB in den letzten Monaten ein, die Geschichte und die Geschichtsbilder des renommierten Dresdner Knabenchors zu hinterfragen. Am Ende des Jubiläumsjahres gelang es nun, den Nachlass des langjährigen Kreuzorganisten Herbert Collum zu erwerben, der für eine weitere künstlerische und wissenschaftliche Auseinandersetzung mit dem Dresdner Musikleben zahlreiche neue Impulse geben wird.

In all religions throughout the world, the mountain has always been represented as a privileged place, where the divine touches the terrestrial. In many countries or regions there are one or several "sacred mount(s)" where the Godhead is supposed to dwell and towards which one needs to turn oneself in order to find salvation. This is notoriously the case throughout the Bible in both the Ancient and the New Testaments, although some ambivalence can be identified in the symbolic value of the mountain which proves to be either a place of divine revelation or of spiritual contest. The Christian mystics down from Gregory of Nyssa to John of the Cross take this double dimension on board. So do the English metaphysical poets, in particular George Herbert and John Donne, as well as the puritan author of The Pilgrim’s Progress

Monografia poświęcona analizie awangardowych problemów (obiekt, miasto, eksperyment, liberatura, poezja konkretna, obecność dadaizmu i surrealizmu w Polsce) oraz tekstów literackich twórców środkowoeuropejskiej awangardy (Witkacy, Tzara, Czyżewski, Herbert, Tucić, Kolar, Todorović, Dróżdż). The monograph examines Avant-garde problems (object; city; experiment; liberature; concrete poetry; presence of dada and Surrealism in Polish culture) and literary works by Central-European Avant-garde authors (Witkacy, Tzara, Czyżewski, Herbert, Tucić, Kolar, Todorović, Dróżdż).

Denne oppgaven handler om filosofen Herbert Marcuse (1898 - 1979) og hans bidrag til totalitarismeteorien. Med utgivelsen "Det endimensjonale menneske" i 1964, forsøkte han å utvide begrepsbruken av totalitarisme til å også handle om vestlige, demokratiske industrielle stater. Dette var kontroversielt, ettersom begrepet hadde blitt brukt for å styrke forståelsen om fascisme, nazisme etc. Oppgaven ser på denne boken, samt Marcuses tekster om totalitarisme fra mellomkrigstiden, for å undersøke hvordan totalitarismebegrepet var i disse periodene, samt hvordan utviklingen hans var. I tillegg sammenligner oppgaven Marcuses begrep "totalitarisme" med tradisjonell totalitarismeteori, i hans samtid og ettertid.

The paper presents results of a theoretical investigation, which focuses on the possibility of survival of Education ideal in the technological society, according to the Herbert Marcuse’s contributions, whose axis is the body place in the contemporary society. According to him, the excessive importance granted to the technique weakens the subjective formation. The emphasis on the middles makes us forget the ends and does not lead to understanding, knowledge and emancipation, but eclipses this process. Marcuse points out the presence of such technical mastery over the subjects and bodies, so replacement education and politics by repressive desublimation. El texto presenta resultados de una investigación teórica que a cerca de la posibilidad de supervivencia del ideal formativo en la sociedad tecnológica, segundo contribuciones de Herbert Marcuse, teniendo como eje el lugar del cuerpo en la sociedad contemporánea. De acuerdo con el autor, la excesiva importancia diferida de la técnica debilita la formación subjetiva. El énfasis en los medios que hace olvidar los fines no lleva al entendimiento, al conocimiento y a la emancipación, pero eclipsaría ese proceso. Marcuse apunta la presencia de la técnica como dominio sobre los sujetos y cuerpos, modo de substitución de la formación y de la política por medio de la desublimación represiva. O texto apresenta resultados de uma investigação teórica que se debruça sobre a possibilidade de sobrevivência do ideal formativo na sociedade tecnológica, segundo as contribuições de Herbert Marcuse, tendo como eixo o lugar do corpo na sociedade contemporânea. Segundo ele, a excessiva importância deferida à técnica enfraquece a formação subjetiva. A ênfase nos meios que faz esquecer os fins não levaria ao entendimento, ao conhecimento e à emancipação, mas eclipsaria esse processo. Marcuse aponta a presença da técnica como domínio sobre os sujeitos e corpos, modo de substituição da formação e da política por meio da dessublimação repressiva.

Przedmiotem rozważań jest próba odpowiedzi na pytanie, dlaczego to właśnie Vermeer stał się dla Herberta jednym z najbardziej cenionych malarzy i "Mistrzem z Delft". Pierwszą część poświęcono uwagom na temat malarstwa holenderskiego, najważniejszym twórcom, charakterystycznym cechom dzieł holenderskich mistrzów. Przypomniana została pokrótce biografia Jana Vermeera, wymieniono też najważniejsze płótna "Mistrza z Delft". W drugiej części poruszone zostały zagadnienia związane z "miłością konkretu" w twórczości Zbigniewa Herberta. Przejawia się ona w różnoraki sposób - przede wszystkim poprzez zwrócenie uwagi na świat rzeczywisty, realny oraz nieufność wobec kreacyjnej mocy wyobraźni. Ważne jest uczynienie z niepozornych, prostych rzeczy "bohaterów" literackich. Istotna jest też "czułość" okazywana przedmiotom, które zasługują na uznanie przez to, że stanowiąc "towarzystwo" człowieka, współtworzą w pewnym sensie jego życie, wspomnienia i świat (zob. m.in. Elegia na odejście pióra atramentu lampy). Podkreślić należy ponadto uczynienie z opisu rzeczywistości przedmiotowej jednego z najistotniejszych zadań poezji. Takie podejście odnaleźć można w dramacie Rekonstrukcja poety, w którym prawdziwa sztuka polega na "poznawaniu świata na nowo", co jest możliwe dzięki pochyleniu się nad "kamykiem, sandałem, sprzączką przy sandale". Zakończenie przynosi próbę odpowiedzi na pytanie, w jakim miejscu Herbert i Vermeer są sobie najbliżsi. Poetę i malarza łączy nie tylko podobne (czułe, precyzyjne) podejście do przedmiotów. W krótkim Herbertowskim apokryfie List zadanie artysty zostaje określone między innymi jako "mówienie światu słów pojednania; mówienie o radości z odnalezionej harmonii, o wiecznym pragnieniu odwzajemnionej miłości" - w takim właśnie sposobie patrzenia na świat są do siebie podobni dwudziestowieczny polski poeta Zbigniew Herbert i żyjący w XVII wieku holenderski malarz Jan Vermeer. The most important question raised by this article is: why is Vermeer so important for Zbigniew Herbert? The first part of the article is devoted to Duch painters - especially to Johannes Vermeer, his works and the themes of his painting (simple, domestic scenes which show people and the objects surrounding them). The second part focuses on objects as presented in Zbigniew Herbert's poetry. Objects (for example chairs, stools, pens, lamps) from daily human life are so important, because they "anchor" men in the world, contributing to their identity, accompanying them in their everyday life and creating this life. An object plays the role of a memory "carrier," and it enables contact with the past, one's memories, and other people. We can say that Herbert and Vermeer had a similar sensitivity for objects; both the poet and the painter tried to "prolong e the existence" of the object in their works.

The writers in this study would like to find out whether there is any difference between Indonesians and Americans in responding to compliments. This study also attempts to discover whether both the Americans and Indonesians in this study show a preference for certain types of compliment responses. Lastly, it also tries to see if a certain variable like status can play a role in determining the types of compliment responses chosen. To collect the data, the writers use the elicitation method. They use two sets of role-play consisting of four situations made as close as possible to the real-life situations. The first is for the Indonesian respondents; the other for the Americans. The respondents are asked to respond to the situations and their responses are then recorded on the tape for further analysis. The data are then analyzed using Herbert's Twelve Types of Compliment Responses. The research finds that both the Indonesians and Americans show differences in responding to Compliments. They are different in terms of both the types of Compliment Responses chosen and the frequencies made. The findings also reveal that status is an important variable affecting the choice of a particular response.

Artykuł jest językową analizą pojęć 'Bóg', 'anioł', 'Mesjasz' w poezji Zbigniewa Herberta.

L'articolo intende indagare le rielaborazioni della tradizionale Imitatio Christi in alcuni testi della poesia metafisica inglese composti nel protrarsi della crisi religiosa e dei dibattiti sull'eucarestia che accompagnarono la nascita della Chiesa inglese. A questo scopo, si ricorre alle possibilità ermeneutiche offerte da due idee della teoria sul desiderio mimetico di René Girard - la triangolarità del desiderio e il meccanismo del capro espiatorio come fondamento del sacrificio - per interpretare in una nuova luce componimenti tratti da Songs and Sonnets di John Donne (1572-1631) e da The Temple di George Herbert (1593-1633). L'analisi testuale mostra come sia possibile rintracciare, in contesti profani e in contesti sacri, triangolazioni del desiderio nelle quali la figura di Cristo riveste il ruolo di un mediatore non più esterno e irraggiungibile, ma anzi così vicino da essere oggetto più o meno apertamente di desideri di sostituzione e di rivalità.Attraverso queste riproposizioni anche witty dell'imitatio Christi, la poesia di Donne e Herbert, pur mettendo in scena un abbassamento dello statuto divino della figura di Cristo, allo stesso tempo rivela il desiderio di provare a compensare, almeno nello spazio del linguaggio poetico, la minacciata scomparsa della sua "Presenza Reale"., Between, Vol 3, N° 5 (2013): Figure del desiderio. Retorica, temi, immagini

At the center of this thesis are seven psalms, commonly known as the Penitential Psalms. The Penitential Psalms were often used in connection to corporeal expressions of the sacrament, and though sacramental practices changed, they retained this association, and even became a catalyst for literary change and experimentation. In this thesis, I will show how these psalms were connected to the sacrament of penance throughout the medieval period, and well into the religiously tumultuous sixteenth century. This thesis explores four texts that take up the Penitential Psalms, adapting, refashioning, and reappropriating them to be used in different ways. The Introduction outlines the history of the Penitential Psalms and their interconnectedness with sacramental theology and practice; it further establishes the cultural and theoretical context within which the four examined texts must be considered. These sacramental ties with the Penitential Psalms are not found only in theological writings, but they also infused lay practice and experience, as I will show in Chapter One, where I examine the staunchly Protestant Actes and Monuments by John Foxe. Additionally, I argue that Foxe’s accounts of Marian martyrs point to Psalm 51 both as a text of protest and memorialization. Chapter Two then moves to Sir Thomas Wyatt’s A Paraphrase of the Penitential Psalms; there I examine the presence of the male body within the work, placing the text within the setting of a visual history that illustrates David’s illicit desire for Bathsheba. With this tradition in mind, I examine trajectories of ocularity within the narrative, tracing the redirection of sexual desire. Anne Lock’s Meditation of a Pentient Sinner is the center of Chapter Three. Meditation, when considered in relation to the dedicatory epistle, reveals connections to the standardized penitential process, and I argue that Lock presents a modified form of repentance to her reader. The final chapter looks at The Sidney Psalter’s Penitential Psalms, which reveal an incoherent view of the penitential body merging with the body of the dead war-hero, Philip. It is within this penitential affect that the penitent displays and partitions his or her own body slipping into an otherness predicated by sin.

This article discusses Czesław Miłosz as a poet-translator of the poetry of his younger colleagues: Herbert, Różewicz and Szymborska. The comparative analysis focuses on features largely neglected in translation studies, such as Polish-English linguistic asymmetries and the poetics of grammar, that is, the functions of defi nite, indefi nite and zero articles, verbs and their aspects, personal pronouns as well as the auxiliary verb jest/is. Whereas some of these items cannot be translated adequately because they cause aesthetic loss in any translation, others allow for adequate, sometimes even “optimal” translation.

Herbert Gadsch, geboren 1913 in Mittweida, gestorben 2011 in Großenhain, war sächsischer Kirchenmusiker und Komponist. Das Herbert Gadsch - Werkverzeichnis (HGV) gibt einen systematischen Überblick über alle zum Zeitpunkt der Veröffentlichung bekannten vollständigen sowie fragmentarischen, bereits publizierten sowie unveröffentlichten Werke Gadschs. Im ersten Hauptteil finden sich zudem eine biographische Notiz Herbert Gadschs, Hinweise zur Quellenlage, eine allgemeine Beschreibung der Kompositionen Gadschs sowie eine Einführung und Hilfestellungen zum Gebrauch des Verzeichnisses. Die gewählten Register (Abkürzungsverzeichnis, Verzeichnis der Sammelautographe, Alphabetisches Register nach Titeln, Untertiteln, Sach- und Stichworten, kritischer Bericht, Literatur- und Quellenverzeichnis) sollen das schnelle Auffinden gesuchter Kompositionen und Informationen ermöglichen.:Inhaltsverzeichnis Vorwort 3 Eidesstattliche Erklärung 5 Inhaltsverzeichnis 6 HAUPTTEIL I 1 Herbert Gadsch – Biographische Notiz 10 2 Die Kompositionen von Herbert Gadsch 12 2.1 Quellenlage 12 2.2 Beschreibung 15 3 Zum Aufbau des Werkverzeichnisses 18 4 Vorbemerkungen 21 HAUPTTEIL II Verzeichnis der Werke von Herbert Gadsch INSTRUMENTALWERKE I Orgelwerke 1 Orgel solo i. Partiten (HGV 1-22) 26 ii. Weitere choralbezogene Werke (HGV 23-56) 31 iii. Freie Werke (HGV 57-137) 37 2 Orgel- (Cembalo-) Kammermusik (HGV 138-142) 52 II Klavierwerke (HGV 143-145) 54 III Werke für Blechbläser 1 Bläserensemble i. Gemischte Instrumente (HGV 146-209) 55 ii. Gleiche Instrumente (HGV 210-213) 68 iii. mehrchörig / Bläserchor und Orgel (HGV 214-250) 69 iv. Bläseroratorium (HGV 251) 77 v. Lehrstücke (HGV 252) 78 vi. Liturgiebegleitung (HGV 253) 78 2 Soloinstrument(e) und Begleitung (HGV 254-267) 79 IV Werke für Blockflöten 1 Blockflötenensemble (HGV 268-279) 82 2 Soloinstrument(e) und Begleitung (HGV 280-292) 85 V Instrumentalwerke verschiedener kammermusikalischer Besetzungen 1 Ensemble (HGV 293-304) 88 2 Soloinstrument(e) und Begleitung (HGV 305-331) 91 VI Choralvorspiele, Intonationen und Begleitsätze (HGV 332-803) 97 VOKALWERKE VII Chorwerke 1 Oratorien, weitere nicht-liturgische Großformen (HGV 804-813) 193 2 Passionen, weitere liturgische Formen (HGV 814-819) 197 3 Messen (HGV 820a-831b) 199 4 Kantaten (HGV 832-852) 202 5 Chorwerke mit Begleitung i. Gemischter Chor (HGV 853-870) 207 ii. Gleiche Stimmen (HGV 871-898) 210 6 Chorwerke a cappella i. Gemischter Chor a zweistimmig (HGV 899) 219 b dreistimmig (HGV 900-936) 219 c vierstimmig (HGV 937-985) 226 d mehrstimmig (HGV 986-999) 235 e mehrchörig (HGV 1000-1005) 238 ii. Frauenchor (HGV 1006-1037) 239 iii. Männerchor (HGV 1038-1049) 245 VIII Werke für Kinderchor 1 Kinderchorkantaten, -messen, Singspiele (HGV 1050-1069) 248 2 Kinderchor mit Begleitung (HGV 1070-1091b) 253 3 Kinderchor a cappella (HGV 1092-1108) 258 IX Werke für Singstimme und Begleitung 1 Solokonzerte (HGV 1109-1119b) 263 2 Lieder und Zyklen (HGV 1120-1192) 265 ANHANG I Bearbeitungen fremder Werke (HGV Anh. 1-Anh. 4) 281 II Choralvorspiele und Begleitsätze (HGV Anh. 5-Anh. 15) 282 III Chorwerke – liturgische Kleinformen (HGV Anh. 16-Anh. 27) 284 REGISTER 1 Abkürzungsverzeichnis 288 2 Verzeichnis der Sammelautographe 290 3 Alphabetisches Register nach Titeln, Untertiteln, Sach- und Stichworten 294 4 Kritischer Bericht 320 5 Literatur- und Quellenverzeichnis 321

Herbert Windt wurde am 15.9.1894 in Senftenberg in der Niederlausitz als Sohn eines Kaufmanns geboren. Seine Familie war sehr musikalisch veranlagt und brachte ihn schon früh zum Klavierspiel und zum Notenstudium. Als junger Mann verließ er die Schule und ging 1910 an das Sternsche Konservatorium, wo er bis zu seiner freiwilligen Meldung zur Teilnahme am Ersten Weltkrieg im Sommer 1914 studierte. 1917 wurde er als Feldwebel bei Verdun so schwer verwundet, dass er zu 75% als kriegsbeschädigt galt und eine Karriere als Dirigent oder Pianist nicht mehr in Frage kam. Windt studierte daher ab 1921 unter dem renommierten Opernkomponisten Franz Schreker an der Hochschule für Musik in Berlin weiter und widmete sich zusehends eigenen Kompositionen, von denen die Oper Andromache (1932) die bedeutendste ist (obgleich sie nur vier Aufführungen erlebte).

Autorica je prevela esej Zbigniewa Herberta Kamen s katedrale. Esej je dio hrvatskoga izbora iz Herbertova stvaralaštva naslovljenog Moć ukusa.

"Slučaj Samos" naslov je eseja Zbigniewa Herberta prevedenog za hrvatsko izdanje izbora iz autorova opusa - Moć ukusa.

Labirint na moru naslov je eseja Zbigniewa Herberta. Esej je objavljen u hrvatskom izboru Herbertove poezije i proze ukoričene u izdanju pod naslovom Moć ukusa.

Prijevod eseja Zbigniewa Herberta pod naslovom Gorak miris tulipana. Esej je objavljen u knjizi Moć ukusa koja sadrži izbor iz Herbertove poezije i proze.

Radosław Kaleta

This essay attempts to develop a close reading on construction of body and homosexuality relations as they are presented in Herbert Daniel's Meu corpo daria um romance. Constitutive elements ofMeu corpo daria mn romance's biologic body, social body and a queer theory of protagonist are focused in order to analyse that interface. O presente ensaio tenta desenvolver uma leitura sobre a construção do corpo e da homossexualidade como figuras representadas em Meu corpo daria um romance, de Herbert Daniel. Elementos constitutivos daquela representação como corpo biológico, corpo social e a representação do ser homossexual pelo personagem narrador serão enfocados a fim de analisar as interfaces desta proposta.

MENTION: très honorable avec félicitations du jury.; This doctoral thesis sets the task of studying a category of science fiction novels commonly named as the "universe-book". Five literary works illustrate the theory with a special leaning for _Noo_ (Stefan Wul, 1977).The first part of the dissertation tends to locate the "universe-book" 's orientations within the realm of science fiction. As a matter of fact, the "universe-book" has its roots in the mid XXth century. A few editorial clues distinguish the "universe-book" from the standard space opera by its significant size making it closer to the saga genre and by the critics work which celebrates it as a literary event and, at last, by its success among its amateur readership. The "universe-book" presents a structured world with condensed and original components from which it keeps up the interest after even several readings. In order to set up a first definition, we've started from the planetary romance one (which is a story whose basic element is a planet, excepted the Earth, and whose plot focuses upon the nature of this element). The former definition has been widened because the "universe-book" has got a galactic background which is often many planets. The "universe-book" draws on many sources that is to say the space opera and the planetary romance, the themes of the history of the future and the galactic empire, the hard science that confers on the "universe-book" 's world a likelihood background.The second part of the thesis moves on the singular structures that stand out through the story and themes set up in the "universe-book". The systemic approach gives a analogy between the characteristics of a system and those of the "universe-book". As a matter of fact, a system is distinguished by the whole that it constitutes and by its transformation and self-regulation. The world universe is considered as an autonomous whole with frontiers that are symbolized by its distance from the story and also by its embedding in the supernatural that removes it from contemporary reality. The whole is made up of various meaningful elements whose interactivity forms the world system. This one is divided into three spheres in which the component elements of the imaginary universe can be included that is to say the cosmosphere (nuclear conditions), the biosphere (the whole of the living), and the noosphere (human products such as technology and language). The connections between the three spheres, more than the elements themselves, determine the existence of the world system (examples of such interactions are given in the thesis). Thus, the systemic analogy sets up a genuine ecology of the "universe-book" with bounds which are those of a formalization. A scientific analysis applied to a literary material has to remain a comparative one. In the systemic view, the "universe-book" as it is a work of fiction can be easily compared to a game with which it has many things in common that is to say rules fairly set up, a virtual space, a political development, a taste for magnification and excessiveness.The general form of the "universe-book" is now set up. The third part of the thesis roughly presents its constructive elements. Consequently to the setting of the patent elements of the story (the typical characters, the scenery, the bestiary, economics, politics and religion), a certain number of interactions that aim at exertion to form the world system's coherence and a sense of willingness to "make the world" have been pointed out. The standard themes of the science fiction genre (robots and IA, aliens, science...) also feed the word system to the detriment of a certain denaturation because these themes are no longer dealt for themselves.The "universe-book" gives to the reader's mind a vision of a world whose elements are closely connected. In the fourth part of the thesis, the "universe-book" is considered as an artistic expression of the world and as a interpretation of the universe as well. The "universe-book" follows a temporal elaboration. It is the outcome of a long process a maturation that can undergo a preliminary and often significant work (notes, maps...) (_Noo_). The study of the style and language is revelant. As a matter of fact, the preponderance of the lexical variety (levels of language, neologisms...), the narative scheme which can be multilinear or composite, the baroque trend, all these elements converge towards a vision that favours complexity and at the same time a manifold apprehension of reality that marks the modern novel's features.The "universe-book" fairly conveys a Weltanschauung even though it doesn't express the illustrative values of the global novel. This ones give way to the fictive world that aspires to live by itself. The interest of the creation of such a world is aesthetic (or even more in the case of _Noo_ or _Hyperion_) as well as ideological. Each "universe-book" shows the point of view of its author's reality. F. Herbert develops an ecological philosophy based upon the continuous adaptation of groups to the outside and inside world. B. Aldiss reveals a tendancy to sociobiologism which is also perceptible in S. Wul's works but in a more distorted manner through a poetic depiction of the world. As for G.J. Arnaud, his glacial Earth is the result of a basically political perception.The "universe-book" is not the accurate representation of a reality nor a pure symbol but a fictive pattern. Finally, the "universe-book" is fed by the science fiction literature. As B. Aldiss claims it, if the science fiction genre searchs for and suggests a definition of the human being and his status among the cosmos, the "universe-book", therefore fairly holds a privileged place within the science fiction's world.; Etude d'une catégorie de romans de science-fiction, qu'on appelle le livre-univers. Cinq oeuvres littéraires servent d'exemples à la théorie, avec une prédilection pour Noô (1977) de Stefan Wul.LA PREMIERE PARTIE s'efforce de localiser le livre-univers dans le territoire de la science-fiction. Le livre-univers s'inscrit dans la seconde moitié du XXe siècle. Plusieurs indices éditoriaux distinguent un livre-univers d'un space opera classique : par sa taille importante qui le rapproche du "roman-fleuve", par la réception critique qui le célèbre comme un événement littéraire, par son succès auprès du lectorat amateur. Le livre-univers présente un monde structuré, dense et original dans ses composants, dont plusieurs lectures n'épuisent pas l'intérêt. Pour une première définition, on est parti de celle de la romance planétaire (récit dont l'élément de base est une planète, Terre exceptée, et dont l'intrigue tourne autour de la nature de cet élément), en l'élargissant car le livre-univers dispose d'un arrière-plan galactique, souvent de plusieurs planètes. Le livre-univers puise à de nombreuses sources : le space opera et la romance planétaire, les thèmes de l'histoire du futur et de l'empire galactique, la hard science. LA DEUXIEME PARTIE aborde les structures singulières qui se dessinent sous l'histoire et les thèmes abordés dans le livre-univers. L'approche systémique fournit une analogie entre les caractéristiques d'un système et celles d'un livre-univers. Un système se caractérise par la totalité qu'il forme, la transformation et l'autoréglage. Le livre-univers est un tout autonome, avec des frontières symbolisées par son éloignement dans le temps et dans l'espace du récit, ainsi que son appartenance au merveilleux qui le coupe de la réalité contemporaine. Cette totalité se compose d'éléments signifiants variés, qui interagissent pour former un système-monde. (Des exemples d'interactions sont donnés dans la thèse.) Ainsi, l'analogie systémique définit une véritable écologie du livre-univers. Dans l'optique systémique, le livre-univers en tant que fiction peut sans peine être comparée au jeu, avec lequel il possède beaucoup de points communs : des règles fixées dès le départ, un espace virtuel, un déroulement politique, un goût du grossissement et de la démesure. LA TROISIEME PARTIE présente à gros traits ses "éléments de construction". En partant des éléments manifestes du récit (les personnages-types, le décor, le bestiaire, l'économie, la politique et la religion), l'on met en évidence un certain nombre d'interactions, tendues vers un effort de cohérence du système-monde, une volonté de "faire monde". Les thèmes classiques de la science-fiction (les machines pensantes, les extraterrestres, la science) servent aussi à nourrir le système-monde, au prix d'une certaine dénaturation, car les thèmes ne sont plus traités pour eux-mêmes. Dans la QUATRIEME PARTIE, on considère le livre-univers à la fois comme expression artistique du monde et comme interprétation de l'univers. Le livre-univers s'élabore dans le temps. Il résulte d'un long processus de maturation, qui peut passer par un travail préparatoire (notes, cartes...) souvent considérable (Noô). L'étude du style et du langage est éclairante : la dominance de la variété lexicale (registres de langue, néologismes...), le schéma narratologique multilinéaire ou composite, la tendance au baroque concourent à une vision qui privilégie la complexité, en même temps qu'une appréhension multiple de la réalité qui est la marque du roman moderne. Le livre-univers traduit bel et bien une Weltanschauung, même s'il n'a pas la valeur démonstrative du roman total ; celle-ci s'efface derrière le monde fictif qui prétend vivre par lui-même. L'intérêt de la création d'un tel monde, pour le romancier, est esthétique autant (ou même plus dans le cas de Noô ou Hypérion) qu'idéologique. Chaque livre-univers reflète le point de vue sur la réalité de son auteur : Frank Herbert développe une philosophie écologique fondée sur l'adaptation permanente des groupes au milieu extérieur et au milieu intérieur ; Brian Aldiss trahit une tendance au sociobiologisme, également perceptible chez Stefan Wul mais gauchie, chez ce dernier, par une poétisation du monde ; la Terre glaciaire de G.-J. Arnaud résulte d'une perception essentiellement politique. Le livre-univers n'est ni la représentation exacte d'une réalité, ni un pur symbole, il est un modèle imaginé. Enfin, le livre-univers nourrit et se nourrit de la littérature de science-fiction. Si, comme l'affirme Brian Aldiss, la SF cherche ou propose une définition de l'homme et de son statut dans le cosmos, alors le livre-univers occupe bel et bien une place privilégiée au sein de la science-fiction.

MENTION: très honorable avec félicitations du jury.; This doctoral thesis sets the task of studying a category of science fiction novels commonly named as the "universe-book". Five literary works illustrate the theory with a special leaning for _Noo_ (Stefan Wul, 1977).The first part of the dissertation tends to locate the "universe-book" 's orientations within the realm of science fiction. As a matter of fact, the "universe-book" has its roots in the mid XXth century. A few editorial clues distinguish the "universe-book" from the standard space opera by its significant size making it closer to the saga genre and by the critics work which celebrates it as a literary event and, at last, by its success among its amateur readership. The "universe-book" presents a structured world with condensed and original components from which it keeps up the interest after even several readings. In order to set up a first definition, we've started from the planetary romance one (which is a story whose basic element is a planet, excepted the Earth, and whose plot focuses upon the nature of this element). The former definition has been widened because the "universe-book" has got a galactic background which is often many planets. The "universe-book" draws on many sources that is to say the space opera and the planetary romance, the themes of the history of the future and the galactic empire, the hard science that confers on the "universe-book" 's world a likelihood background.The second part of the thesis moves on the singular structures that stand out through the story and themes set up in the "universe-book". The systemic approach gives a analogy between the characteristics of a system and those of the "universe-book". As a matter of fact, a system is distinguished by the whole that it constitutes and by its transformation and self-regulation. The world universe is considered as an autonomous whole with frontiers that are symbolized by its distance from the story and also by its embedding in the supernatural that removes it from contemporary reality. The whole is made up of various meaningful elements whose interactivity forms the world system. This one is divided into three spheres in which the component elements of the imaginary universe can be included that is to say the cosmosphere (nuclear conditions), the biosphere (the whole of the living), and the noosphere (human products such as technology and language). The connections between the three spheres, more than the elements themselves, determine the existence of the world system (examples of such interactions are given in the thesis). Thus, the systemic analogy sets up a genuine ecology of the "universe-book" with bounds which are those of a formalization. A scientific analysis applied to a literary material has to remain a comparative one. In the systemic view, the "universe-book" as it is a work of fiction can be easily compared to a game with which it has many things in common that is to say rules fairly set up, a virtual space, a political development, a taste for magnification and excessiveness.The general form of the "universe-book" is now set up. The third part of the thesis roughly presents its constructive elements. Consequently to the setting of the patent elements of the story (the typical characters, the scenery, the bestiary, economics, politics and religion), a certain number of interactions that aim at exertion to form the world system's coherence and a sense of willingness to "make the world" have been pointed out. The standard themes of the science fiction genre (robots and IA, aliens, science...) also feed the word system to the detriment of a certain denaturation because these themes are no longer dealt for themselves.The "universe-book" gives to the reader's mind a vision of a world whose elements are closely connected. In the fourth part of the thesis, the "universe-book" is considered as an artistic expression of the world and as a interpretation of the universe as well. The "universe-book" follows a temporal elaboration. It is the outcome of a long process a maturation that can undergo a preliminary and often significant work (notes, maps...) (_Noo_). The study of the style and language is revelant. As a matter of fact, the preponderance of the lexical variety (levels of language, neologisms...), the narative scheme which can be multilinear or composite, the baroque trend, all these elements converge towards a vision that favours complexity and at the same time a manifold apprehension of reality that marks the modern novel's features.The "universe-book" fairly conveys a Weltanschauung even though it doesn't express the illustrative values of the global novel. This ones give way to the fictive world that aspires to live by itself. The interest of the creation of such a world is aesthetic (or even more in the case of _Noo_ or _Hyperion_) as well as ideological. Each "universe-book" shows the point of view of its author's reality. F. Herbert develops an ecological philosophy based upon the continuous adaptation of groups to the outside and inside world. B. Aldiss reveals a tendancy to sociobiologism which is also perceptible in S. Wul's works but in a more distorted manner through a poetic depiction of the world. As for G.J. Arnaud, his glacial Earth is the result of a basically political perception.The "universe-book" is not the accurate representation of a reality nor a pure symbol but a fictive pattern. Finally, the "universe-book" is fed by the science fiction literature. As B. Aldiss claims it, if the science fiction genre searchs for and suggests a definition of the human being and his status among the cosmos, the "universe-book", therefore fairly holds a privileged place within the science fiction's world.; Etude d'une catégorie de romans de science-fiction, qu'on appelle le livre-univers. Cinq oeuvres littéraires servent d'exemples à la théorie, avec une prédilection pour Noô (1977) de Stefan Wul.LA PREMIERE PARTIE s'efforce de localiser le livre-univers dans le territoire de la science-fiction. Le livre-univers s'inscrit dans la seconde moitié du XXe siècle. Plusieurs indices éditoriaux distinguent un livre-univers d'un space opera classique : par sa taille importante qui le rapproche du "roman-fleuve", par la réception critique qui le célèbre comme un événement littéraire, par son succès auprès du lectorat amateur. Le livre-univers présente un monde structuré, dense et original dans ses composants, dont plusieurs lectures n'épuisent pas l'intérêt. Pour une première définition, on est parti de celle de la romance planétaire (récit dont l'élément de base est une planète, Terre exceptée, et dont l'intrigue tourne autour de la nature de cet élément), en l'élargissant car le livre-univers dispose d'un arrière-plan galactique, souvent de plusieurs planètes. Le livre-univers puise à de nombreuses sources : le space opera et la romance planétaire, les thèmes de l'histoire du futur et de l'empire galactique, la hard science. LA DEUXIEME PARTIE aborde les structures singulières qui se dessinent sous l'histoire et les thèmes abordés dans le livre-univers. L'approche systémique fournit une analogie entre les caractéristiques d'un système et celles d'un livre-univers. Un système se caractérise par la totalité qu'il forme, la transformation et l'autoréglage. Le livre-univers est un tout autonome, avec des frontières symbolisées par son éloignement dans le temps et dans l'espace du récit, ainsi que son appartenance au merveilleux qui le coupe de la réalité contemporaine. Cette totalité se compose d'éléments signifiants variés, qui interagissent pour former un système-monde. (Des exemples d'interactions sont donnés dans la thèse.) Ainsi, l'analogie systémique définit une véritable écologie du livre-univers. Dans l'optique systémique, le livre-univers en tant que fiction peut sans peine être comparée au jeu, avec lequel il possède beaucoup de points communs : des règles fixées dès le départ, un espace virtuel, un déroulement politique, un goût du grossissement et de la démesure. LA TROISIEME PARTIE présente à gros traits ses "éléments de construction". En partant des éléments manifestes du récit (les personnages-types, le décor, le bestiaire, l'économie, la politique et la religion), l'on met en évidence un certain nombre d'interactions, tendues vers un effort de cohérence du système-monde, une volonté de "faire monde". Les thèmes classiques de la science-fiction (les machines pensantes, les extraterrestres, la science) servent aussi à nourrir le système-monde, au prix d'une certaine dénaturation, car les thèmes ne sont plus traités pour eux-mêmes. Dans la QUATRIEME PARTIE, on considère le livre-univers à la fois comme expression artistique du monde et comme interprétation de l'univers. Le livre-univers s'élabore dans le temps. Il résulte d'un long processus de maturation, qui peut passer par un travail préparatoire (notes, cartes...) souvent considérable (Noô). L'étude du style et du langage est éclairante : la dominance de la variété lexicale (registres de langue, néologismes...), le schéma narratologique multilinéaire ou composite, la tendance au baroque concourent à une vision qui privilégie la complexité, en même temps qu'une appréhension multiple de la réalité qui est la marque du roman moderne. Le livre-univers traduit bel et bien une Weltanschauung, même s'il n'a pas la valeur démonstrative du roman total ; celle-ci s'efface derrière le monde fictif qui prétend vivre par lui-même. L'intérêt de la création d'un tel monde, pour le romancier, est esthétique autant (ou même plus dans le cas de Noô ou Hypérion) qu'idéologique. Chaque livre-univers reflète le point de vue sur la réalité de son auteur : Frank Herbert développe une philosophie écologique fondée sur l'adaptation permanente des groupes au milieu extérieur et au milieu intérieur ; Brian Aldiss trahit une tendance au sociobiologisme, également perceptible chez Stefan Wul mais gauchie, chez ce dernier, par une poétisation du monde ; la Terre glaciaire de G.-J. Arnaud résulte d'une perception essentiellement politique. Le livre-univers n'est ni la représentation exacte d'une réalité, ni un pur symbole, il est un modèle imaginé. Enfin, le livre-univers nourrit et se nourrit de la littérature de science-fiction. Si, comme l'affirme Brian Aldiss, la SF cherche ou propose une définition de l'homme et de son statut dans le cosmos, alors le livre-univers occupe bel et bien une place privilégiée au sein de la science-fiction.

The great interest of philologists may be evoked by the theme of the spiritualmoral (transcendental) function of word and speach, language. It determines the philosophical-psychological and religious-cultural dimension of the poetry, for example - Brodsky's, Krivulin's, Herbert's and Biskupski's poems. The creative-cathartic role of word both magical dimensions and in the sphere of Christian spirituality makes the anthropological content of the poetry deeper especially within the content of references to Bakhtin's theses of "another word” and "polyphonism" of their genre form. The peripheral, "dark" sides of man's psyche in such a reserch perspective obtain a symmetric "positive" system of references which establishes "a universal text": the Bible and symbols and "eternal" images received by a European in the cultural heritage - indenendently of his will. This poetic dialogue is fully justified when he offers an idea of co-creation of the modern intellektual culture.