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The article presents philosophical views on music in the context of the transformations of the worldview from Antiquity to the Modern Time. In this research author also mentions the contemporary issues, and uses her own philosophical concept of the music, which can be described as following: the value of music as a substance and the way of the valuable interaction of a person with the world affirm the essence of musical being, in which the invariable principle of Harmony, the principle of Chaos-Form movement, is preserved (see "The Value of the Music: Philosophical Aspect"). Music expresses the fluid essence of the world and changes of being in space and time. Philosophy of music as a field of philosophical knowledge considers music from ontological-epistemological and phenomenological-axiological prospectives, as something more than just a form of art. It explores the deep, ultimate foundations of the existence of music as such and the philosophical and aesthetic foundations of musical art. Since ancient times music has been a representation of the world in the human conscience and served as the harmonic equivalent of cosmological philosophy, mathematics, astronomy, and astrophysics (Pythagoras, Plato, Aristotle, Aristoxenus, Porphyry et als.). The scientific view on music was enriched in the Modern Time by the expanded view on the cosmo-sound space reflected in musical art, which at the same time transforms the mathematical ideas of geometricity, squareness etc. The tendency to create integral world music in the musical practice of the XX-XXI centuries explains the attempt of mankind to present music by modern methods of composing musical art as an expression of fear towards the secret Harmony of universal existence, and, on the other hand - as a form of search for salvation and mental balance, intuitively reflecting what is happening in natural science, which more and more points to the abyss of unknowable universe, and the unstable place of man in the world.

This article analyzes the views of representatives of the scientific community on ancient Chinese landscape painting, emphasis is mainly placed on views that concern the spiritual qualities of landscape painting, as well as rethinking concepts that ignore the significance of sensual perception. Landscape painting is usually considered as a spiritual work of Taoism: landscape painting developed from Taoist thought, Taoist philosophy determined the identity of the artistic style and the inherent spirit of landscape painting. Moreover, some researchers even believe that bodily contemplation of landscape painting means setting the very original nature of mountains and waters, and the "knowledge of the truth" is a spiritual process that is more blocked by the human capacity for sensual perception. Some of the scientists completely deny the possibility and truth of sensual perception of physical objects in landscape painting. The author of this article believes that the spiritual component of landscape painting lurks precisely in the value of sensual perception, and bodily contemplation of mountains and waters is impossible without the participation of the body, clear confirmation of which we find in the ancient Chinese theory of arts. Ancient Chinese works of art traditionally had a close connection with sensual perception through bodily contemplation. This process is not simply about capturing object information, but when the subject takes an active part in the vision of the object, when the subject gives feedback to the object, and through acquiring the object its meaning is transmitted. Only through bodily contemplation, the individual can fully feel the artistic value of landscape painting, and Taoist philosophy thus gains a real existence in landscape painting, becoming a kind of emotional thinking.

This essay explores the performance challenges of Beethoven’s “Diabelli Variations”; it is paired with the author’s own studio recording of the work coordinated with the musical score. The commentary seeks to address issues of compositional genesis, motivic development, musical character, and formal shaping, while keeping aesthetic matters in view. Beethoven’s transformations of Anton Diabelli’s waltz — which the composer described in a letter as a “SchusterFleck” (“cobbler’s patch”) — indulge in persiflage, irony, and parody, qualities that invite critical scrutiny. Beethoven was sometimes compared during his lifetime to Jean Paul, whose concept of humor as “the inverted sublime” and notion of a tensional duality of the Great and the Small applies well to Beethoven’s most paradoxical composition. How can we best shape this cycle as a whole in performance, while doing justice to its vivid contrasts and rich allusiveness? Numerous performance recommendations emerge from the integrated consideration of historical documents, musical analysis, and aesthetic reflection. Since the subject concerned here is animate rather than inanimate, it is not well grasped from just an objectivist, factual perspective. Dieser Beitrag untersucht die interpretatorischen Herausforderungen von Beethovens ›Diabelli-Variationen‹; er ist eng bezogen auf die mit der Partitur synchronisierte Studioaufnahme des Werkes durch den Verfasser. Der Kommentar behandelt Fragen der kompositorischen Entstehungsgeschichte, der motivischen Entwicklung, des musikalischen Charakters und der formalen Gestaltung des Zyklus, wobei asthetische Gesichtspunkte ebenso im Blick behalten werden. Beethovens Veranderungen des Walzers von Anton Diabelli – den der Komponist in einem Brief als ›SchusterFleck‹ bezeichnete – schwelgen in Persiflage, Ironie und Parodie, Qualitaten die einer kritischen Untersuchung bedurfen. Zu Lebzeiten wurde Beethoven manchmal mit Jean Paul verglichen, dessen Konzepte des Humors als ›umgekehrtes Erhabenes‹ und eines spannungsvollen Dualismus zwischen dem Grosen und dem Kleinen sich gut auf Beethovens paradoxeste Komposition anwenden lassen. Wie kann der Zyklus als ganzer in der Interpretation bestmoglich gestaltet werden unter Berucksichtigung der lebendigen Kontraste und seines Anspielungsreichtums? Zahlreiche Empfehlungen zur Interpretation ergeben sich aus einer integrierten Betrachtung historischer Quellen, musikalischer Analyse und asthetischer Reflexion. Insofern der betrachtete Gegenstand eher belebt als unbelebt ist, lasst er sich nicht aus einer blos objektivistischen, sachlichen Perspektive erfassen.

Der Beitrag bietet einen Uberblick uber die bislang wenig untersuchte Auffuhrungsgeschichte von Beethovens ›Diabelli-Variationen‹ im 19. Jahrhundert und korrigiert in Nuancen das von der Forschung gezeichnete Bild in Bezug auf Hans von Bulows Vorreiterrolle. Dabei werden auch die zentralen die Auffuhrungspraxis betreffenden rezeptionsgeschichtlichen Kategorien quellenbasiert vorgestellt. This article offers an overview of the performance history of Beethoven’s “Diabelli Variations” in the nineteenth century, a topic which has rarely been the focus of scholarly research. It adds new nuances to the picture drawn by previous scholarship with respect to Hans von Bulow’s pioneering role. In the process, the central categories of reception history are considered in relation to performance practice, based on contemporaneous sources.

Bucket-shaped pendants were broadly diffused in various cultural environments from the area comprised between the north-east of the Black Sea and Central Europe. This study attempts, without aiming at being exhaustive, to analyse the objects of this type within the Sarmatian environment. The author examines these pendants from the Sarmatian environment compared to that of other cultural settings, within a broader context and concludes that in the Sarmatian environment, bucket-shaped pendants come mainly from either richly and poorly furnished children and women graves. The author notes that earliest specimens of such pendants are found in the north-Pontic area and originate in features that date to the 2nd – 1st century BC, which suggests that their origin, beside other pendant types, lies in the north-Pontic region. In the 1st century BC, these pendants are present with the late Scythians and the Sarmatians from the north and north-west of the Black Sea, but also in the Geto-Dacian and Germanic milieu (the Poieneşti-Lucășeuca culture). Once with the 1st century AD, the number of the bucket-shaped pendants increases significantly in the late Scythian, Sarmatian, Geto-Dacian environments but also in the cemeteries of the towns and settlements from the north-Pontic area. Still in this period, they start to be recorded in the Przeworsk culture area, as well. Subsequent to the analysis of bucket-shaped pendant finds from the Sarmatian environment, it was concluded they were not extensively used by the Sarmatians, like in the case of other pendant types. The author notes that the majority of bucket-shaped pendants from the Sarmatian environment of the north and north-west Pontic area come from graves dating to the chronological interval comprised between mid 1st century AD – early/first decades of the 2nd century AD. Furthermore, these artefacts are rare in second half of the 2nd century – first half of the 3rd century AD Sarmatian graves and are missing from the second stage of the late Sarmatian period (the second half of the 3rd century – 4th century AD). Following the analysis of the Sarmatian funerary features of the Great Hungarian Plain in which bucket-shaped pendants were discovered, it is concluded that the custom of wearing such pendants by women and children was carried to this area in the second half of the 1st century AD by the first groups of Sarmatians that settled the region. Last but not least, it was noted that in the Sarmatian environment of this geographical area these artefacts were used, to a more or less extent, on the entire duration of their inhabitancy of this area. In the end it is concluded that the massive use of bucket-shaped pendants in the 2nd – 4th century AD in various cultural environments of the area comprised between the north of the Black Sea and Central Europe evidences they became “supranational” artefacts, being produced and used by different populations from this geographical area

The use of punctuation in German incunabula is often described as arbitrary, irregular, and unsystematic (cf. Masalon 2014: 54–56). This concerns the inventory, frequency, and function of punctuation marks as well as pragmatic aspects such as how typesetters treated punctuation in their respective target texts. In this paper, punctuation is not seen as an independent linguistic subsystem, but as a means of text segmentation that – along with other measures (e. g. capital letters, pilcrows, and white space) – was used to structure a text with respect to its formal appearance, helping the reader to decode information. This case study is based on a corpus of German pamphlets written by the Bohemian astrologer Wenzel Faber and printed annually beginning in 1481 at various print shops, principally in Leipzig and Nuremberg. The analysis finds significant changes in the editions before and after 1490. These changes include an increasing consistency in the intensity of text segmentation, and a use of capital letters and punctuation marks developed from a polyfunctional to a monofunctional approach. Finally, different types of text segmentation are proposed, each characterized by a specific relationship between its frequency and its function. Despite this overall tendency, one must still take into account that typesetters followed individual punctuation practices in their search for suitable forms of text segmentation.

Ausgangspunkt des Beitrags ist ein doppelter: einerseits eine Erorterung der Frage des Zyklischen und Anti-Zyklischen und des Konfliktverhaltnisses von Totalitat und Fragment im Sinne von Hegel und Novalis, andererseits eine Uberlegung zur ›Stimmschrift‹ bei Novalis, demzufolge jedes Notat von Beethoven, wie die Skizzen und der fertiggestellte Partiturtext der ›Diabelli-Variationen‹ op. 120, immer Schrift sind und zugleich die Stimme des Autors verraten, womit Skripturalitat und Oralitat in eins gehen. Es geht also aus der Schrift ein oral-mimetischer Vorgang hervor, der als Subtext den gedruckten Text begleitet. Vergleichsweise wird dies auch bestimmend fur die aus der performativen Praxis von Eduard Steuermann hervorgegangenen Eintragungen in seinem Handexemplar der ›Diabelli-Variationen‹ und seinen analytischen Notizen zu diesem Werk, aus denen auch Konsequenzen fur seine klingende Interpretation gezogen werden. Fur Steuermann ist die Zeitproportion zwischen den einzelnen Variationen und dem raschen Walzerthema sowie zwischen den einzelnen Variationen zentral, und er sucht dabei einen weitgehend durchgehenden Puls, wie er auch fur die Ausgabe des op. 120 von Artur Schnabel und fur dessen Einspielung masgeblich war. Schlieslich wurde die proportionale Verkurzung der 16 Takte des Walzers auf acht bzw. vier Takte gerade in den Schluss-Variationen fur Steuermann von hochster Bedeutung, weil sie eine intrinsische Beschleunigung zur Folge haben. The starting point of this article is twofold. On the one hand, regarding the question of the cyclical and the anti-cyclical, the discussion explores the conflicting relationship between totality and fragment in the manner of Hegel and Novalis. On the other hand, it applies the concept of “voice writing” (Stimmschrift) in Novalis, according to which every notation by Beethoven, such as the sketches and the completed score of the “Diabelli Variations” Op. 120, are always writing and at the same time betraying the author’s voice, which means that scripturality and orality go hand in hand. An oral-mimetic process emerges from the writing, which accompanies the printed text as a subtext. In comparison, this is also decisive for the annotations in Eduard Steuermann’s handwritten copy of the “Diabelli Variations,” resulting from his performative practice, and his analytical notes on this work, from which one may draw implications for ahis interpretation in performance. For Steuermann, the proportion of time between the individual variations and the rapid waltz theme as well as between the individual variations is of central importance; in his reading, he looks for a largely continuous pulse, a concept which was also decisive for Artur Schnabel’s edition and recording of Op. 120. Finally, the proportional shortening of the sixteen measures of the waltz to eight or four measures, especially in the final variations, became extremely important for Steuermann, because they result in an intrinsic acceleration.

The tomb inscription TL 150 is terminated by a sacrifice formula. The addressee of the sacrifice seems to be the tomb builder itself, but ‚to sacrifice yearly‘ is probably dependent from zasãni, which should be a finite verb with the tomb builder as the indirect object. Xadrñna designates perhaps, what has to be sacrificed, but it may be instead a designation of the responsible person or even of the recipient(s) of the sacrifice. In each case the recipient(s) will be divine, as in TL 149 and 84, not the dead itself, as probably later in Greek inscriptions too., TL 150 numaralı mezar yazıtı bir kurban formülü ile sonlanmaktadır. Bu kurban işleminin muhatabı mezarı inşaa ettiren kişi olarak gözükmektedir. Ancak “yıllık olarak kurban etmek” ifadesi olasılıkla mezarı inşa ettiren kişinin dolaysız nesnesi olduğu çekimli bir fiil olan zasãni’den bağımsızdır. Xadrñna belki de kurban edilmesi gereken şeyi tanımlamaktadır. Fakat bunun yerine kurbandan sorumlu olacak kişiyi ya da dahası kurbanın sunulduğu kişiyi/kişileri de tanımlıyor olabilir. Her koşulda, kurbanın sunulduğu merci(ler), büyük olasılıkla daha sonraki dönemlerdeki Yunanca yazıtlarda olduğu gibi ölenin kendisi değil, TL 149 ve TL 84 numaralı yazıtlarda görüldüğü gibi tanrılar olacaktır.

Die umfangreichen vom Forschungsprojekt PETAL (Performing, Experiencing and Theorizing Augmented Listening, Graz 2017–20) vorgelegten Messdaten sowie die darauf basierenden Untersuchungen zeichnen ein differenziertes Bild von Interpretationsstrategien in Aufnahmen und Auffuhrungen der Winterreise von Franz Schubert, insbesondere was die Tempowahl betrifft. Tempi und andere Interpretationsentscheidungen haben einerseits konzeptionelle Grundlagen – sowohl in rein musikalischer als auch in ›theatral‹-narrativer Hinsicht – und unterliegen andererseits vielfachen praktisch-physiologischen Bedingtheiten, die vom kunstlerischen Profil und der Tagesverfassung der Interpret*innen bis hin zur Raum- und Instrumentenwahl reichen. Im Falle der Winterreise kann der interpretatorische Fokus zwischen Einzellied und Gesamtzyklus oszillieren, und so kann eine weitere Trennlinie gezogen werden zwischen bedingenden Faktoren, die sich auf einzelne Lieder, und solchen, die sich auf den Zyklus als ganzen auswirken. Der vorliegende Aufsatz setzt diese praktischen Erwagungen in Relation zu den Forschungsergebnissen von PETAL und stellt am Ende die Frage, ob es so etwas wie ein ›subjektives Tempo‹ gibt. The substantial measuring data presented by the PETAL research project (Performing, Experiencing and Theorizing Augmented Listening, Graz, 2017–20), as well as studies based on them, draw a varied picture of performance strategies in recordings and performances of Franz Schubert’s Winterreise – especially concerning the choice of tempo. On the one hand, tempi and other interpretative choices are based on conceptional considerations – either purely musical or related to a “theatrical” narration. On the other hand, they are shaped by practical and physiological circumstances ranging from the artistic profile of the performers and their condition on the day of performance to the choice of venue and instrument. In the case of Winterreise, the performers’ focus may oscillate between the single song and the cycle as a whole; consequently, an additional dividing line can be drawn between determining factors affecting particular songs and those that have an impact on the entire cycle. The present article puts practice-related considerations in context of the research findings by PETAL and concludes by posing the question if there is such a thing as a “subjective tempo.”

Schubert Winterreise war bis in die 1980er Jahre hinein eine Domane tiefer Mannerstimmen. Nach vereinzelten Vorlaufern wie Peter Anders oder Peter Pears wurde der Zyklus erst seit Mitte der 1980er Jahre haufiger von Tenoren gesungen und aufgenommen. Parallel zur wachsenden Prasenz von Tenoren vollzog sich ein weiterer Paradigmenwechsel, indem zunehmend auch Sangerinnen wie Christa Ludwig oder Brigitte Fassbaender die Winterreise interpretierten. Sie konnten sich einerseits auf das Vorbild groser Liedsangerinnen der ersten Halfte des 20. Jahrhunderts wie Elena Gerhardt und vor allem Lotte Lehmann berufen und andererseits darauf verweisen, dass es in der Winterreise um grundlegende, nicht geschlechtsgebundene menschliche Erfahrungen geht. Von Mannern gesungen bewegt sich die Singstimme in der Winterreise uber weite Strecken in einem Tonraum unterhalb der Oberstimme des Klavierparts. Frauenstimmen hingegen singen in der notierten Oktavlage und damit entweder auf einer Ebene mit oder oberhalb der Klavierstimme, d. h. die Klangrelation zwischen Stimme und Klavier ist eine andere als in Interpretationen von Mannerstimmen. An einigen Stellen entstehen durch nach unten oktavierte Ausfuhrung der mannlichen Gesangsstimme irregulare Quartsextakkorde, die zwar aufgrund von wahrnehmungspsychologischen Phanomenen nicht als solche gehort werden, aber dennoch eine Ambiguitat von Notation und Klang erzeugen. Diese Ambiguitat entfallt bei der Ausfuhrung in der notierten Oktavlage, die zugleich andere Beziehungen zwischen Stimm- und Klavierklang hervortreten lasst. Until the 1980s, Schubert’s Winterreise was usually sung by low male voices. Despite sporadic precursors such as Peter Anders or Peter Pears, the cycle had not been sung and recorded frequently by tenors before the mid-1980s. Contemporaneous to tenors’ growing interest, another paradigm change was initiated by female singers such as Christa Ludwig or Brigitte Fassbaender performing Winterreise. In doing so, they were able to rely, on the one hand, on the example of great female lieder singers of the first half of the twentieth century such as Elena Gerhardt and especially Lotte Lehmann; on the other, they were able to point out that Winterreise deals with basic human insights which are not gender-specific. Sung by male singers, the singing voice in Winterreise is predominantly positioned in a space below the upper voice of the piano part. Female voices, on the contrary, sing in the notated octave register, thus in the same register as the piano part or above it: the sound relation between voice and piano differs from performances by male voices. In some instances, an octave-transposed rendition of the male singing voice results in irregular 6/4-chords. Although the irregularity of these chords is not perceived due to psychological phenomena, they produce an ambiguity of notation and sound. This ambiguity is absent in performances that conform to the notated octave register, thus exhibiting different relations between the sounds of the voice and piano.

Der Beitrag analysiert Aspekte der Tempogestaltung in Einspielungen von Franz Schuberts Liederzyklus Winterreise. Im Zentrum der Untersuchung steht die Vorstellung, dass Interpret*innen durch die Wahl ahnlicher Tempi gegebenenfalls entlegene Stellen eines zyklischen Verlaufs miteinander verknupfen und auf diese Weise zur zyklischen Wirkung der Gesamtform beitragen konnen. Dieses hypothetische Musizierverhalten wird als Strategie performativer Formgebung verstanden. Die Untersuchung geht davon aus, dass diese Strategie im Fall von Tempo-Taktart-Korrespondenzen besonders naheliegt, also dann, wenn zwei Lieder eines Zyklus durch dieselbe Tempovorzeichnung und dieselbe Taktart gekennzeichnet sind. Insgesamt werden Interpretationsanalysen zu acht solchen Liedpaaren aus der Winterreise vorgelegt, und zwar auf der Basis von Tempomessungen von 64 Gesamteinspielungen des Zyklus. Die Analyseergebnisse legen nahe, dass die performative Umsetzung von Tempo-Taktart-Korrespondenzen fur die diskographisch dokumentierte Interpretationsgeschichte des Werks eine gewisse Rolle spielt: In 20,3 % der untersuchten Aufnahmen lasst sich die genannte Strategie fur mehr als die Halfte der acht Liedpaare belegen. Die Analysen liefern Hinweise darauf, dass einige Interpret*innen starker fur diese Strategie disponiert sind als andere. This article analyzes aspects of tempo design in recordings of Franz Schubert’s lieder cycle Winterreise. This study is based on the idea that performers can link remote parts of a cyclical structure through their choice of similar tempi and, by doing so, can make a contribution to the cyclical impact of the form as a whole. This hypothetical decision by performers is interpreted as a strategy of shaping the form of the work in performance. The study starts with the assumption that this strategy is particularly obvious in cases of lieder sharing the same tempo indication and time signature within a cycle. The article presents performance analyses of eight such lieder pairs from Winterreise, based on tempo measurements of sixty-four complete recordings of this cycle. The analytical results suggest that the realization of tempo-time signature correspondence in performance is of some importance for the work’s performance history (as far as it is documented on recordings): in 20.3% of the examined recordings, the strategy can be verified for more than half of the eight lieder pairs. The analyses indicate that some performers are more inclined to this strategy than others.

We present a previously-unknown sarcophagus of the Roman period with a fragmentary and hard-to-decipher inscription in Greek, today exhibited in the grounds of the Archaeological and Ethnographic Museum of Elazığ in eastern Turkey. A personal name can still be deciphered on the front face of the sarcophagus: Menethymes. Elazığ Museum possesses a large collection of archaeological artefacts, especially from the rescue excavations at the höyük (tell or mound) sites in the area of the Keban dam construction in the 1960s and 1970s. The number of Roman artefacts in this museum is c. 100, excluding numismatic finds. This brief paper makes a contribution to the scanty knowledge of Roman-era funerary monuments in eastern Turkey. In the appendix, we also give the text of one of the most important finds at the same museum, a Latin military inscription from AD 64/65 on Gnaeus Domitius Corbula and the Parthian war.

Ursprunglich als Lecture Recital mit klanglichen Demonstrationen geplant, stehen die Erfahrungen des Autors mit den uberlieferten absoluten und relativen Tempoangaben des 17. und 18. Jahrhunderts (besonders nach Michel L’Affilard, Raoul-Auger Feuillet und Louis-Leon Pajot, aber auch nach Johann Joachim Quantz und Johann Philipp Kirnberger) und ihre Ubertragbarkeit auf ausgewahlte Variationen aus Johann Sebastian Bachs ›Goldberg-Variationen‹ BWV 988 im Mittelpunkt des Aufsatzes. Dabei werden in erster Linie die leicht einem Tanztypus zuzuordnenden Variationen ausgewahlt, da diese am ehesten ihre Entsprechungen in den genannten Tempoangaben finden konnen. Daneben werden von Majid Motavasseli erhobene Tempomittelwerte von 76 Aufnahmen von Bachs Zyklus’ hinzugezogen und mit den historischen Angaben und den Tempi des Autors verglichen. Es wird zudem uber die Erfahrungen mit dem Nachbau eines Pendels nach Etienne Loulie (1696) und dessen Auswirkungen auf das Spielen und Uben berichtet. Originally planned as a lecture recital with musical demonstrations, this article focuses on the author’s experience with the traditional absolute and relative tempo indications of the seventeenth and eighteenth centuries (especially those given by Michel L’Affilard, Raoul-Auger Feuillet, and Louis-Leon Pajot, but also those given by Johann Joachim Quantz and Johann Philipp Kirnberger) and their transferability to selected variations from Johann Sebastian Bach’s “Goldberg Variations,” BWV 988. The variations that can be easily assigned to a dance type are primarily selected, as these clearly correspond to the tempo indications mentioned. In addition mean tempo values collected by Majid Motavasseli from seventy-six recordings of Bach’s cycle are compared with historical information and the author’s tempi. The article also reports on experiences with the replica of a pendulum of Etienne Loulie (1696) and its effects on playing and practicing.

Die Transformation von Wissen und Forschung der Geisteswissenschaften in den digitalen Raum ist im Arbeitsalltag bereits weit fortgeschritten. Mit dieser Transformation, die sich als eine rasante technische Revolution vollzieht, entwickelt sich nicht zuletzt eine neue digitale Wissensordnung. Unsere Ordnungssysteme reichen kulturell viele Jahrhunderte, bis weit in das Mittelalter und die Antike zurück. Die Ordnung des Wissens ist fundamental, denn erst Ordnung macht Wissen zu Wissen, indem sie Wissenswertes von Nicht-Wissenswertem trennt. Wissensordnungen sind immer hierarchisierend, weshalb man zu jeder Zeit intensiv um die Ordnung des Wissens gerungen hat. Sie muss sich mit neuen Bildungssystemen ebenso wandeln, wie sie sich durch neu erschlossene Wissensbereiche, neue soziale Gruppen oder neue Anforderungen innerhalb der Gesellschaft verändert. In dem Beitrag geht es um methodische Ansätze zur Erforschung vormoderner Buchsammlungen als haptisch erfahrbare Wissensräume und den damit verbundenen langfristigen Dynamiken, die es erlauben, die fundamentalen Unterschiede zwischen der analogen und der digitalen Umgebung neu zu reflektieren. The transformation of knowledge and research in the humanities into the digital space is already well advanced in everyday work. With this transformation, which is taking place as a revolutionary technical revolution, at the same time a new digital knowledge order is developing successively. Culturally, our systems of the ordering of knowledge goes back many centuries, far into the Middle Ages and Antiquity. The ordering is fundamental, because only order turns knowledge into knowledge by separating what is worth knowing from what is not. Knowledge orderings are always hierarchizing, which is why they continuously and intensively have been challenged in all times. The ordering of knowledge has to change with new educational systems, new social groups and just as it changes with newly opened fields of knowledge or new demands within society. This article deals with methodological approaches in reassessing pre-modern religious institutions and book collections as specific knowledge spaces, in order to reflect the long term dynamics and the fundamental differences between the analog and the digital knowledge environment.

Das Aufkommen einer Buchkultur und die Gründung großer Bibliotheken waren seit dem 3. Jh. v.Chr entscheidend für die Etablierung einer literarischen Tradition. Ihr begegnet die römische Kultur seit dem 2. Jh. v.Chr. in Gestalt von Büchern und Bibliotheken. Dies hat nicht nur in Rom Vorstellungen von der Arbeitsweise eines Autors und den Lektüreerfahrungen von Lesern entscheident geprägt, sondern bleibt wichtig für das Verständnis dafür, was Literatur ist. The emergence of a literate culture and the foundation of libraries since the 3rd century BCE played a prominent part in establishing a literary tradition. This tradition entered Roman culture in the form of books and libraries. This had repercussions for Roman ideas about authors and readers; they remain important for our own expectations about literature.

This article is devoted to the study of such a separate historical and literary genre as the chronicle praise of the ruler. During the XI-XVI centuries, chronicle praise was a very common technique of medieval scribes. Comparing the praises of different Russian Chronicles and different historical periods, the author proves that the chronicle praise of the ruler grew out of a brief posthumous description of him, reflected the chronicler's good knowledge, his likes and dislikes, and in the XII century acquired a ready – made form-a literary form. Early praises (XI-XIII centuries) correctly reflected historical reality, contained individual traits of the ruler, changed depending on historical conditions, which increases their value as a historical source. It was also found out that there were two main forms of praise – southern and northern. The difference between them is that southern praise was secular, while northern praise was ecclesiastical; southern praise was limited to local interests, and northern praise had a world – historical scale. In general, praise can be considered as a separate chronicle of the medieval genre, characterized by special plot and stylistic features.

Karaca Ahmet Sultan Türbesi, Uşak İli Ulubey İlçesi Karaca Ahmet Köyü’ndedir. Türbe, Gözcü Karaca Ahmet olarak da bilinen, Anadolu pirlerinden Karaca Ahmet Sultan’ın makam türbelerinden biridir. Altıgen planlı türbe, sekizgen kasnaklı bir kubbe ile örtülüdür. Türbenin giriş kapısı üzerinde bir hayat ağacının iki yanına ayna usulü simetrik olarak yerleştirilmiş iki tavus kuşu figürü işlenmiştir. Antik çağdan günümüze kadar olan süreçte, pek çok kültürde, kuş, simgesel bir figürdür. Bazen öleni öteki dünyaya taşımış, bazen ona eşlik etmiş ya da ölenin ruhu kuşa dönüşmüştür. ruhu kuşa dönüşmüştür. Kuş figürü edebiyat başta olmak üzere çeşitli sanat dallarının bezeme repertuarında sevilerek kullanılan bir motif olmuştur. Bu çalışmada Karaca Ahmet Sultan Türbesi’nde yer alan tavus kuşu motifi ele alınarak, Türk kültüründeki ve ikonografisindeki yeri değerlendirilmekte; söz konusu motifin köken ve ikonografik anlamı üzerinde durulmaktadır. Avrasya hayvan üslubunda şaman ve astrolojik sembollere dayanan insan veya hayvan figürlü sanatlar yüzyıllardan bu yana varlığını sürdüre gelmiş olup, Anadolu’nun farklı bölgelerinde karşımıza çıkmaktadır. Bu geleneğe bağlı figürlü örnekler sivil mimaride çok sayıda görülürken, dini mimaride nadiren ama anlamlı bir şekilde karşımıza çıkarlar. Türbe, ayrıca Karaca Ahmet’in şifacı kimliğine-hekimliğine ithafen çeşitli ritüellerin gerçekleştirildiği bir ziyaret merkezidir. Türbede gerçekleştirilen dedeye bağlanma uygulamalarının, taşıdığı unsurlar sebebiyle İslam öncesi Orta Asya Türk inançlarına dayandığı görülmektedir. Türbeye yapılan ziyaret ve çocuk sahibi olma konusunda beklenen yardım, bu uygulama ve inanışın atalar kültünün bir devamı olduğunu göstermektedir. Ayrıca gerçekleştirilen işlemler sırasında karşımıza çıkan el taşı, tomruk, sandukanın üzerinden alınan tülbent, dilek taşı gibi nesnelerin benzer kullanımları, İslam öncesi Türk uygulamalarında da görülmektedir. Türbede gerçekleştirilen uygulamalar sırasında okunan sure ve dualar ile kılınan namaz, geleneksel Türk dini ve İslam öncesi Türk inanışlarına dayalı uygulamalara, İslami bir karakter kazandırıldığını ve bu şekilde uygulamaların günümüze kadar devam ettirildiğini göstermektedir. Türbedeki bu liturjik objeler ve tavus kuşu motifi hem Karaca Ahmet’in görsel yadigarları hem de iyileştirici ve koruyucu özelliğe sahip güçlü araçlar olarak işlev görmektedir. Bu özellikleriyle de gerek psikosomatik gerek Batıni düzeyde, türbeyi ziyaret eden kişinin manevi gelişimine katkıda bulunuyor ve kutsalın alanıyla temas kurma arzusuna da yardımcı oluyordu. Anahtar Kelimeler: Uşak, Türbe, Karaca Ahmet Sultan, Tavus Kuşu, Bezeme.

Resumen Hay muchos retratos de Spinoza, pero ninguno de ellos está bien documentado, al menos suficientemente documentado como para satisfacer las exigencias del método iconográfico. Por falta de argumentos objetivos que permitan identificar a Spinoza entre tantos cuadros y grabados, tal vez podamos considerar que el “verdadero” retrato de Spinoza es el frontispicio de las Opera posthuma de 1677. Abstract Although there are many portraits of Spinoza, none is well documented, or at least sufficiently documented to satisfy the requirements of the iconographic method. Due to the lack of objective arguments that could allow us to identify Spinoza among so many paintings and etchings, we might perhaps consider that the “real” portrait of Spinoza is found on the frontispiece of 1677´s Opera posthuma.

In addition to the rhetoricians and orators who at Athens supported or opposed Philip, a number of playwrights – such as Ephippus and Alexis – did not hesitate to express their opinions of the Macedonian king. Some fragments of their works, however, seem to show conflicting positions, for if Ephippus supported the anti-Macedonian party, Alexis, while including Philip in some comedies, did not blame the king by turning him into a comic mask, but praised his political decisions and his respect for religion and traditions.

In the literary and theatrical critique of his time (second half of the 20th century), Miodrag Žalica was recognized as a representative of symbolist poetics in Bosnian-Herzegovinian drama. The features of Žalica’s dramatic symbolism have, however, rarely been observed through analyzing the technique of his dramatic works in concreto. The Piece Mirišu li jorgovani u Njujorku, written in 1988, certainly represents the culmination of Žalica’s poetics, and is, in that sense, suitable for an analysis of the symbolic network as a specific trademark of his authorship with regards to the poetics of symbolism in European modern drama at the turn of the 19th to 20th century.

„When I went to Sarajevo, I met a boy“, Pippo Delbono tells us. They talked, and suddenly the boy told him, „I saw an entire city in anger. I’ve seen people become monsters“. And Delbono replied, „And I’ve seen people look at me like I’m a monster. And all the things that turn into monstrosity“. Traveling, for Delbono, is a life experience that turns into a theatrical one at the same time. In 1998, Delbono created a play called War. The story of the boy he meets during his trip to Sarajevo is an introduction to Delbono’s magical world of theater through which he expresses the need to present a life that is born from suffering, illness, war, but in which we still „dancing“. Danzare nella guerra, „dancing in the war“, for Delbono means to oppose the war to the beauty, joy, and poetics of the movement. In 1995, Strehler directed a play called Mother Courage of Sarajevo based on the text written by Bertolt Brecht. For Strehler, Mother Courage of Sarajevo is not just a play, it is a symbol, a political act that portrays war as a human failure. Strehler based his vision of theater on Brecht’s epic theater. One year before, in 1993, with his puppet troupe, The Bread and Puppet, Peter Schumann came to Sarajevo to provide his support. In the first place, we want to show how Delbono’s conception of theater and experience during his trip to Sarajevo intertwine with the primary goal of Sarajevo theater in those years, as „spiritual resistance“, „spiritual needs“, „call to heal wounded souls“, a „super theater“, as Izudin Bajrović calls him, in which theater and life were the same. Through Strehler’s theater, his relationship with Sarajevo, and the breaking of the „fourth wall“, we will talk about theater as research of those eternal human values, but also returning to humane theater. In the third place, through Schumann’s work, we will show how the external theatrical reality intertwines with the internal one as a feature of strong political engagement.

The beginning of the twentieth century was strongly marked by the First World War. Among the unexpected results of this conflagration we can observe an exponential growth of cultural relations between the states involved in the conflict on the same side. If we explicitly look at the Romanian-French cultural relations from this perspective, it becomes obvious that we are dealing with an exceptional example of cultural collaboration on the European continent. The first concrete step of this process was the signing in Bucharest of The PoincaréAngelescu Educational Convention on June 15, 1919, a document according to which the French state provided its support for the consolidation of Romanian education, especially in the new provinces that entered the Romanian state. Thus, in Bucharest, the French university mission was created as a separate entity as a result of this convention. Later, in 1924, it was reorganized into the French Institute of Higher Studies. Through these two concrete actions, the French state took the initiative and offered its promised support for its ”Latin sister in Eastern Europe”. In the same period, the actions of the Kingdom of Romania in this sense were much slower and more indecisive, requiring a private initiative of the historian N. Iorga.

Der erste Satz (Prelude a la nuit) der Rapsodie Espagnole (1907–08) von Maurice Ravel wird hier in Bezug auf die integrative Funktion der Klangfarbe naher erortert. Die folgende These bildet den Ausgangspunkt: In der Musik Ravels ist die Klangfarbe ein konstitutiver Faktor, der die Form wesentlich mitbestimmt. Klangfarbe und Form bilden ein multidimensionales Ganzes, das sich aus den unterschiedlichsten Perspektiven (Melodik, Harmonik, Energieverlauf, Klanghelligkeit, psychologische Expektanz u. a.) betrachten lasst. Ergebnis der Analyse ist eine Polyvalenz der Form – eine Spannung zwischen einer kreisformigen Bewegung und einer stetigen Weitung und Offnung, die der Geschlossenheit das Prinzip der Veranderung entgegensetzt. The first movement (Prelude a la nuit) of Maurice Ravel’s Rapsodie Espagnole (1907–08) is discussed in detail in regard to the integrative function of timbre. The following argument is applied as a point of departure: In Ravel’s music, timbre is a constitutive factor which co-determines musical form. Timbre and form are part of a multidimensional whole that can be viewed from a wide variety of perspectives (melody, harmony, energy flow, timbral brightness, psychological expectancy etc.). The result of the analysis is a polyvalence of form in this piece – a tension between a closed circular movement and a tendency of steady expansion.

Dieser Artikel untersucht die kreativen Prozesse in der freien modalen Solo-Improvisation in iranischer klassischer Musik mithilfe eines analytisch-vergleichenden Ansatzes. Der Text ist in drei Hauptabschnitte gegliedert: (1) »Lehr- und Lernprozesse in der Improvisation iranischer Musik«, (2) »Die Wechselbeziehung zwischen persischer Sprache und iranischer Musik«, (3) »Die Herleitung theoretischer Regeln der iranischen modalen Solo-Improvisation durch vergleichende Analyse«. Der Schwerpunkt der Untersuchung liegt auf der vergleichenden Analyse von neun Auffuhrungen einer Gūse namens Qaratsche – funf vokalen und vier instrumentalen Performances , die ein breites Spektrum von Moglichkeiten innerhalb eines bestimmten Modalbereichs abdecken. Auserdem wird in der Analyse gezeigt, wie das gleiche melodische Material in unterschiedlichen Arrangements prasentiert werden kann. This article explores creative processes in free modal improvisation by soloists in Iranian classical music through an analytical-comparative approach. The text is divided into three main sections: (1) “Teaching and learning Iranian music improvisation,” (2) “The interrelationship between Persian language and Iranian music,” (3) “The derivation of theoretical rules for Iranian modal solo improvisation through comparative analysis.” The study is based on a comparative analysis of nine performances (five vocal and four instrumental) of a gūse called Gharache covering a broad spectrum of possibilities within a certain modal area. The study also demonstrates how the same melodic material can be presented in different arrangements.

Released in three separate volumes, the publication continues the Polish museology series published for several years now and related to the losses incurred as a result of WW II within the borders of today’s Republic of Poland. The Preface to Volume I on the war losses of the Town Hall of the Main City of Gdańsk by the Director of the Museum in Gdańsk Waldemar Ossowski, contains reflections essential for the discussed issue. The three-volume series opens with the War Losses of the Town Hall of the Main City of Gdańsk (Vol. I). Briefly, the most essential facts have been highlighted in the story of its raising, and the functions of the major Town Hall interiors, both sumptuous and serving as offices, have been described: the Grand Hallway, the Grand Room called Red or Summer Room, the Small Room of the Council called Winter Room, the Grand Room of the City Council, the Treasury, and the Deposit Room. In the final months of WW II, Gdańsk lost about 80% of its most precious historic substance within the Main City. As early as in April 1945, the search for and the recovery of the dispersed cultural heritage began. War Losses of the Artus Manor and the Gdańsk Hallway in Gdańsk (Vol. 2) begins with a sepia photograph from 1879. As of October 1943 to January 1945, the following took place: dismantling together with signing and numbering of the objects, packing into wooden chests, and evacuation to several localities outside Gdańsk. It has already been ascertained that as early as in mid-June 1942, some dozen of the most precious historic monuments were evacuated from the Artus Manor, of which several items have not been recovered: late- -mediaeval paintings (Boat of the Church, Siege of Marienburg, Our Lady with Child, and Christ, Salvator Mundi), several elements from the four sets of tournament armours from the section of the Brotherhood of St Reinold, the sculpture Saturn with a Child, the sculpture group Diana’s Bath and Actaeon’s Metamorphosis, as well as some dozen elements of the décor of the Grand Hall. All these historic pieces were transferred to the village of Orle (Germ. Wordel) on the Sobieszewo Island on 16 June 1942. Only fragments of tournament armours have been recovered: they were found at various locations under the circumstances hard to clarify many years later. The most extensive war losses have been presented for the Uphagen House (Vol. 3). The majority of the gathered art works, the interior equipment and usable objects essential in the burgher’s tenement house transformed into a museum in the early 20th century have not been found, thus they have not returned to their original location.

The present paper discusses Li Hongwei’s novel The King and Lyric Poetry (2017). The novel tells the story of the suicide of the last Nobel Prize laureate in the future history of literature, Chinese poet Yuwen Wanghu. Following the detective thread of the book, the essay reconstructs utopian and dystopian semi-virtual landscapes of the mid-21st century China which feed into two different models of lyricism: the poet as a knight errant who seeks inspiration far from modern civilization and the poet as a lonely warrior against (technological) tyranny. In the final scene, the two landscapes blur and the antithetical forces that infuse them: lyricism (Yuwen) and power/knowledge (the King) merge into what may be seen as their dialectical synthesis to be fulfilled by the novel’s third protagonist – Yuwen’s young friend, Li Pulei. Mobilizing various contexts, including the suicides of famous mainland-Chinese poets, important poetry polemics, and intertexts ranging from classical Chinese literary theory through to Truman Show and Matrix, I argue that the novel mirrors the development of poetry discourse in the PRC with its various myths, conflicts, complexes, and ambitions. I also show how this discourse, shaped for a long time largely by the so-called Third Generation poets born in the 1950s and 1960s, translates into the situation of the poets who belong to a younger generation (“post-70”) represented by Li Hongwei among others, and what (self-)expectations, challenges, and limitations they face in their writing.

Olgulardan hareketle olaylar arasindaki neden-sonuc iliskisini goz onunde bulundurarak tarihsel gecmisi ve toplumsal gercekligi aciklamaya calisan tarih, kendine ozgu metodolojik ozelliklerinin yaninda, bir olcude tarihcinin bakis acisina gore sekillenen bir bilimdir. Esasen sosyal bilimlerin geneli icin de soz konusu olan bu durum, nesnellik konusunu gundeme getirmekle beraber, verilerin toplanmasi ve degerlendirilmesinde tarihcinin basat konumu dolayisiyla kacinilmaz gorunur. Turkiye’nin onde gelen tarihcilerinden olan Kemal H. Karpat, Turk modernlesmesini zengin birikimi ve disiplinler arasi bir bakis acisiyla ele alarak kapsamli bir sekilde cozumlemeye calismistir. Bu calisma esas itibariyla, Karpat’in tarihciligi konusunda yukarida bahsedilen indirgeyici bakis acilarinin bir ornegi olan Nuray Sancar’in, soz konusu tarihci ile ilgili elestirel yaklasimlarina bir cevap mahiyeti tasimaktadir.

German-born American poet, novelist, journalist and editor George Sylvester Viereck (1884 –1962) during his almost 60-year literary career (his first poem was published in 1898) befriended, met and corresponded with hundreds of contemporaries, including world famous persons. His first biographer Elmer Gertz wrote in 1954, “One should go through Viereck’s correspondence with the great personalities of his time in order to learn the full extent of the admiration they expressed for him. Alas, that correspondence is scattered; but excerpts from it can be found in the catalogues of various autograph dealers and should be preserved”. Liberated from prison in 1947 Viereck was not able to restore his previous position in literary world, was in need of money and had to sell autographs from his personal archive. This publication includes letters of four writers addressed to Viereck and dealing with his literary and editorial work. All of them are preserved in the author’s private collection and are published in English for the first time. In Russian translation one letter is published for the first time, another one was previously published, two letters were quoted. Journalist, writer, and politician Brand Whitlock (1869 –1934) followed Viereck’s journalistic activities as well as his Decadent poetry. English author and poet Richard Le Gallienne (1866 –1947), being a living incarnation of the “naughty nineties” for Viereck, valued contributing to his magazine The International. Known as the Dean of American Biographers, famous writer Gamaliel Bradford (1863 –1932) refused to support Viereck’s protest against the prohibition of his novel My First 2000 Years in the Irish Free State. Poet, artist and filmmaker Ferdinand Earle (1878 –1951) remained faithful to his long friendship with Viereck even when the latter was emprisoned.

The essay presents an overview of Jewish American prose of the second half of the 20th — first two decades of the 21st century within the context of multicultural literature of the USA. The definition of Jewish literature remains a matter of debate. The author of the essay based on the opinions of critics concludes on the criterion for assigning a writer to Jewish literature. It is the artistic embodiment of the personal Jewish experience and identity in the works of literature, the view “from inside,” the perspective of collective memory and the connection to history and culture. Jewish literature today is one of the most developed ethnic segments of multicultural American literature. Writers under study are recognized throughout the world, their works have been translated into many languages, including Russian, they are known to readers and have already become the subject of study by literary scholars. Today, Jewish American literature is represented by two generations of writers. “Senior” generation includes the authors born in the 1920s–30s who began their literary careers in the 60s when there was a generational change in national literature. “Young” generation is represented by the writers who began their literary careers in the 2000s. On the example of the works of the most famous authors of both generations, the author of the essay talks about the factors determining the specific features of Jewish American prose and its characteristic themes, problems, and motives: the search for identity and roots, the representation and rethinking of the Holocaust, ethnic stereotypes, the image of the Jewish family, and the traditions of Jewish humor. The study of the works of modern Jewish writers in the United States allows us to draw conclusions about the display of border consciousness, national and ethnic identity, and collective memory in fiction.

Walt Disney’s studio created second full-length film Pinocchio in 1940. Its plot and interpretation of the characters were significantly different from the Carlo Collodi’s novel. Disney wrote enthusiastic letter to playwright and director Yasha Frank, who staged Pinocchio as theatre extravaganza in 1937. This production has become a landmark of the Children’s Theatre Project in the framework of Federal Theatre Project, being visually picturesque, inventive and up-to-date according to its social message. It was a story about the complexity of the emergence of a new human, which was especially significant in the context of the ideas of revising the structure of society. There is a reason to see in the Pinocchio script an attempt to substitute theatre dramaturgy by circus language, so essential for the Soviet theater of 1910–20s. The plot was split into numbers performed by professional variety and circus performers, and was reassembled: gags were an organic part of this new plot. However, Frank may not have escaped the influence of animation as well. The article is based on Yasha Frank’s working script, photos and reviews. It examines circus and cinema elements that were used for the theatre’s Pinocchio by Yasha Frank, and its influence to famous Walt Disney’ studio cartoon.

When he is given three wishes, Jonas, the protagonist in Thomas Glavinic’s Das Leben der Wunsche (2009), proclaims his desire »to be more alive.« He wants to be less inactive, keener for new activities, and he wants to understand life as such. Glavinic’s novel tells the story of how Jonas’s only wish–that all his wishes may come true–comes true. To explain the catastrophic consequences of this deal the paper refers to Kant’s differentiation of will and wish, because Jonas’s wishes will cost a lot of human lives–which he doesn’t want. On the one hand he overcomes his idleness, and, at the same time, he is fighting the thought that the ›death intensity‹ around him might be a consequence of his own new ›life intensity.‹ Furthermore, the novel presents life intensity as an aesthetic effect generated by different media constellations. By all this the text points to an economics of living according to which an invigorating feeling of living presents a transition to dying and, for the gain of ›life intensity,‹ a loss of ›life extensity.‹

The author made an attempt to analyse the origin of the book De humani corporis fabrica by Andreas Vesalius (Basel 1555) from the Library of the Theological Seminary of the Warmia Metropolis “Hosianum” in Olsztyn. In the course of research it was found that the volume belonged to Johann Zell (dates of life unknown) from Cologne and his son Heinrich Zell (1518-1564). Heinrich Zell was a librarian at the Prince Albrecht’s Castle Library in Konigsberg. The book was then transferred to the Castle Library. In 1827, the book was placed in Koniglicheund Universitatsbibliothek in Krolewiec. This library changed its name in 1918 to Staats- und Universitatsbibliothek Konigsberg. After World War II, the book was placed in the Library of the Seminary in Olsztyn. The copy is in good condition. It was bound in the bookbinding workshop of Kasper Angler in Krolewiec around 1560.

The article presents a certain way of modern transformation of the so-called “philological novel” in the modern Russian prose. The author asserts that this genre, which has a profound tradition and generally rests upon quite traditional philological gnoseology and axiology, has changed significantly since, e.g., “Pushkin’s house” by A. Bitov, and the reason for this change is radical transformation of basic concepts of artistic discourse. The status of fine literature and its social functioning, the issue of Author and his/her dialogue with the Reader, the very nature of a word, especially a “foreign” one, have changed. Modern literature does not pretend to be didactical anymore, as it had in a sense been in classical paradigm of the Author/Reader relationship, and it is gradually transforming into an intellectual game with ready-made linguistic and ideological constructs. The purpose of the article is to study the ways modern artistic discourse of Figl’-Migl’s “philological novel” transforms. The research rationale is explained by the absence of scientific works, dedicated to the specific discourse of such novels, in the modern Russian theory and history of literature. The author considers that Figl’-Migl’s prose is distinguished by universal ironization of the total intertextuality, that is common for postmodernism; by principal tendency for the absence of anyone’s “own” word at all, and by the author’s and the protagonist’s reluctance to associate themselves with any distinctly identifiable axiological and ideological system, including the “love for word”. Artistic discourse of Figl’-Migl’s novels may be considered experimental, since the author, by imitating various types of “foreign” discourse, playing with them and bringing together characters, absolutely unimaginable within one and the same dialogue, as discourse carriers, puts them in contexts, unusual for them and for the reader, but virtually modelled by the whole history of the Russian literature, which is present in the novels as a background and a full participant of the dialogue’s events.

Andrzej Tomaszewski is a typographer, pressman, and editor. Over the years, he has designed the artwork of more than 260 books and magazines and is currently regarded one of the major authority figures in the field of typography in Poland. Tomaszewski is also the author of many publications on the subject of practical and theoretical aspects of book design. His definition of “typography” is the one (that has been) most often referred to in Polish specialist literature. In 2015, as the commissioner of the contest named “Konkurs PTWK Najpiekniejsza Ksiązka Roku”, he created and systematised the grading criteria for the entres. Biographical research on careers of some eminent typographers constitues a significant part of bibliology studies. It allows the reader to detect complex aspects of designing publications that would be both functional and beautiful. The aim of this article is to introduce and discuss Tomaszewski’s outlook on defining the meaning of “typography,” typographer’s role, book design, and the concept of a beautiful book.

The paper analyzes some of the cryopoetic elements in Ivo Andrić ‘s novel The Damn Yard from a stylistic aspect. Special attention is paid to the strong positions of the text, ie. analysis of titles, incoative and finite sentences, names of characters, as well as other interesting elements.

espanolAl poco de morir Juan de la Cruz, en los inicios del siglo XVII, se intenta su canonizacion. Para ello se buscan imagenes que aludan al mismo, con caracter milagroso y haciendo referencia a su doctrina. Remitiendonos a distintos textos, veremos como sus seguidores construyen una imagen inedita para materializar un concepto, el de la «Fe oscura», usando el termino dado por el creador del mismo, Juan de la Cruz. EnglishShortly after the death of Juan de la Cruz, at the beginning of the 17th century, his canonization was attempted. For this purpose, images that allude to it are sought. The images that were tried to find had a miraculous character and made reference to its doctrine. Referring to different texts, we will see how his followers build an unknown image to materialize a concept, that of the “Dark faith”, using the term given by its author, Juan de la Cruz.

Research on the sequence Lauda Sion, Salvatorem dedicated to the Corpus Christi ceremony, allowed us to find and analyze over a dozen translations into Polish of this 13th century Latin pattern. It consists of 12 pairs of stanzas, with their parity – according to the poetics of the sequence – is emphasized by the conformity of a sound of the final verses of each pair of the stanza and the remaining verses are connected by adjoining rhymes, usually feminine, accurate, with aab + ccb scheme. We know most translators by name: Stanisław Grochowski, Jan Białobocki, Stanisław Serafin Jagodyński, Father Ignacy Hołowiński, Father Tadeusz Karyłowski, Jadwiga Gamska-Łempicka, Leopold Staff, several translations are anonymous. All Polish translations agree with the original on the content. However, differences appear in the form, structure of the poetic sequence, number of stanzas and in metrics. The common knowledge of the sequence Lauda Sion, Salvatorem, was probably the fruit of the great Eucharistic devotion in Poland, which was marked already in the 13th century, when the Church introduced the feast of Corpus Christi and lasted for the next centuries, up to the 20th century.

Since 2015, the research project Ludwig Tieck’s Library. Anatomy of a Romantic Comparatist Book Collection has conducted the virtual reconstruction of the library of German romanticist Ludwig Tieck. About 4.000 volumes have already been located all over Europe, and have been recorded in a database according to current bibliographical standards. Polish libraries verifiably contain a couple dozen of books from Tieck’s collection – it is, however, very probable that many more books from it have been dispersed in Poland after 1945 via the library of Count Yorck von Wartenburg (which was located in today’s Oleśnica Mała in the vicinity of Wrocław). The history of Tieck’s library and its dispersion, and its relevance to Polish library holdings, will be detailed in this paper. In closing, a description of material traits and distinctive features particular to books of Tieck/Yorck provenance will provide information useful to identify respective holdings in Polish libraries.

The first part of the text poses the question whether for Heidegger’s aesthetically relevant thought it is better to use older terms, such as “Heidegger’s Doctrine of Art” or “Heidegger’s Philosophy of Art”, or a more recent term “Heidegger aesthetics”? Does the term “Heidegger’s aesthetics” represent an “oxymoron” contrary to the intentions of Heidegger’s own philosophy, or does it signify a relevant aesthetic conception that has its own place in contemporary philosophical aesthetics? In order to answer these questions, the text considers Heidegger’s understanding of aesthetics as a philosophical discipline and also the problems arising in connection with this designation. It argues that Heidegger’s concept of “overcoming aesthetics” represents the (self) interpretation of his own philosophy of art developed in the essay The Origin of the Work of Art. The second part of the text follows the thesis that the Heidegger’s aesthetics contains the definitions of art and work of art, based on Heidegger’s analyses of freedom, basic moods, and emotions. This part of text follows a broader thesis, in which Heidegger’s philosophy as a whole can be understood as the phenomenology of freedom. Also, it discusses a special thesis that the concept of strife (Streit) of Earth and world in The Origin of the Work of Art should be understood only on the background of the primordial struggle between concealment and unconcealment in the truth as the unconcealedness of beings. Further, the concept of strife is linked on a deeper level with the determination of finite human freedom and basic human moods. In light of that, Heidegger’s aesthetics is not only the heteronomous aesthetics of the work of art, but also the (relatively) autonomous aesthetics of aesthetic experience articulated with respect to finite human freedom. The conclusion is that Heidegger’s aesthetics of truth understood as the philosophy of freedom, basic moods, and emotions, according to their inner intentions, is closer to the tradition of the aesthetics of sublime than the aesthetics of the beautiful. U prvom delu teksta postavlja se pitanje: da li je za Hajdegerovu estetički relevantnu misao bolje upotrebljavati starije termine kao to su “Hajdegerovo učenje o umetnosti” i “Hajdegerova filozofija umetnosti” ili savremeniji termin “Hajdegerova estetika”? Da li termin “Hajdegerova estetika” predstavlja ‘oksimoron’ suprotstavljen intencijama Hajdegerove sopstvene filozofije ili označava relevantnu estetičku koncepciju koja ima svoje sopstveno mesto unutar savremene filozofske estetike? Da bismo odgovorili na ova pitanja razmatraćemo Hajdegerovo razumevanje estetike kao filozofske discipline kao i probleme koji su povezani sa tim odredjenjem. Stojimo na stanovištu da Hajdegerova koncepcija “prevazilaženja estetike” predstavlja (samo)interpretaciju njegove sopstvene filozofije u raspravi Izvor umetničkog dela. Drugi deo teksta sledi tezu da Hajdegerova estetika sadrži definiciju umetnosti i umetničkog dela, koja je bazirana na Hajdegerovim analizama slobode, osnovnih raspoloženja i emocija. U ovom delu teksta sledimo širu tezu da Hajdegerova filozofija u celini može da bude shvaćena kao fenomenologija slobode. Diskutujemo posebnu tezu da bi pojam spora (Streit) zemlje i sveta u Izvoru umetničkog dela trebalo da bude shvaćen na pozadini izvorne borbe izmedju skrivanja i raskrivanja unutar istine kao neskrivenosti bivstvujućeg. Nadalje, smatramo da je pojam spora na dubljem nivou povezan sa odredjenjem konačne ljudske slobode i osnovnih ljudskih raspoloženja. Posmatrano iz ove perspektive Hajdegerova estetika nije samo heteronomna estetika umetničkog dela, nego i (relativno) autonomna estetika estetskog iskustva artikulisanog s obzirom na konačnu ljudsku slobodu. Rezultat istraživanja predstavlja uvid da je Hajdegerova estetika istine razumljena kao filozofija konačne ljudske slobode, osnovnih raspoloženja i emocija, prema svojim unutrašnjim intencijama, bliža estetici uzvišenog, nego estetici lepog.

espanolEl 30 de septiembre de 1829 se inicio el viaje de Maria Cristina de Borbon a su futuro enlace con Fernando VII. Una de las recepciones con mayor trascendencia en el recorrido fue la protagonizada por la ciudad de Valencia, entre cuyas muestras de fidelidad estuvo el encargo e interpretacion de la Cantata a la Reina Maria Cristina de Borbon, compuesta por Francisco Andrevi Castella (1786-1853). En este trabajo se estudia hasta que grado esta composicion contribuyo al programa artistico desarrollado y a la proyeccion de la imagen de la monarquia durante los ultimos anos del reinado de Fernando VII. EnglishOn September 30, 1829, Maria Cristina de Borbon and her family began the journey that would culminate in her marriage to Fernando VII. One of the most important receptions along the way took place in the city of Valencia, where one of the tributes consisted of the commission and performance of the Cantata a la Reina Maria Cristina de Borbon by Francisco Andrevi Castella (1786-1853). This paper looks at the extent to which this composition contributed to the artistic program and to the projection of the image of the monarchy during the last years of the reign of Fernando VII.

It seems obvious that 10th century was a period in which the Byzantine polemology flourished once again, before it collapsed one hundred years later. During that period numerous authors of Byzantine military treaties instructed imperial commanders how to wage war. Among many issues organization of the campaign was always an important aspect. In this paper I will try to clarify selected problems. First, I will try to specify what the soldiers ate on a daily basis. Next, I will determine to what extent the provisioning system met the expectations and needs of the Byzantines fighting for the empire. With the help of Tactica and Sylloge Tacticorum, I will try to explain how the rations were gathered, transported and protected. Finally, I will specify how the supplies were utilized not only as a means of nourishment, but also as a tool of war. The following research was carried out on the basis of military treaties from the 10th century, since this time was the peak of Byzantine military revival. Although I mainly base my research on the work of Leon the Wise and the anonymous treaty known as Sylloge Tacticorum, I also occasionally refer to other works, such as Peri Strategias, De velitatione and Praecepta Militaria.

On St John’s Eve 1590 a necromancer clergyman and his patient headed to the woods surrounding the Escorial Monastery in order to perform an interesting magical ritual invoking the devil to heal erectile dysfunction. An analysis of that ritual will allow us to take a closer look to the alleged magical character of Monastery of San Lorenzo del Escorial, as well as to figure out the meaning of the ceremonial and its elements. This way the archetype of the wizard and his ceremonial shall arise and can be related with the European mythical tradition.

The paper is devoted to John the Scythian – one of the chiefs of the Byzantine army in the eighties and nineties of the 5th century. Based on the sources, the military career of John the Scythian lasted 16 years. He spent less time defending the borders of the empire and more fighting (often, victoriously) against usurpers and peoples who either had lived in its territory for centuries (the Isaurians) or sought a place to settle there (the Ostrogoths), and whose status kept changing from ally to enemy. John, as evidenced by his nickname, came from a barbarian people, but this did not prevent him from serving the emperor loyally and building his position in the circles of the empire’s elite.

This paper addresses the history of research of a Byzantine seal dating from the twelfth century and analyzes of its iconography. In 1884, Gustave Schlumberger first published an anonymous Byzantine seal from his private collection in the famous Byzantine Sigillography (p. 502). Between 1905 and 1910, Nikolai P. Likhachev acquired a part of G. Schlumberger’s collection. This anonymous seal attracted Likhachev’s special attention, as evidenced by the inventory card written by his hand that survived. When entering the State Hermitage Museum collection, this seal got the number M–8759. Later on, it became a subject of the research by Valentina S. Shandrovskaia. According to the legend on the reverse, the seal belonged to an official of unknown name with the rank of protospatharios ἐπὶ τοῦ Χρυσοτρικλίνου, who held the position of the domestikos tes ypourgeias (δομέστικος τῆς ὐπουργείας) at the Christ-loving despotes (i. e. emperor). The front side of the seal features St. George spearing a dragon. It has been noticed that the scene showing this saint performing the feat rarely occurs on the tenth-to-twelfth century Byzantine seals with similar iconography.

John Chrysostom was not only one of the most prolific and influential authors of late antiquity but also a renown preacher, exegete, and public figure. His homilies and sermons combined the classical rhetorical craft with some vivid imagery from everyday life. He used descriptions, comparisons, and metaphors that were both a rhetorical device and a reference to the real world familiar to his audience. From 9th century onwards, many of Chrysostom’s works were translated into Old Church Slavonic and were widely used for either private or communal reading. Even if they had lost the spontaneity of the oral performance, they still preserved the references to the 4th-century City, to the streets and the homes in a distant world, transferred into the 10th-century Bulgaria and beyond. The article examines how some of these urban images were translated and sometimes adapted to the medieval Slavonic audience, how the realia and the figures of speech were rendered into the Slavonic language and culture. It is a survey on the reception of the oral sermon put into writing, and at the same time, it is a glimpse into the late antique everyday life in the Eastern Mediterranean.

The article introduces and substantiates the concept of «hybrid» science fiction, which combines the elements of science fiction and horror fiction. In «hybrid» fiction, science fiction surroundings cannot rationalize the text, but, on the contrary, they are replaced by motives of supernatural horror. «Hybrid» science fiction, in contrast to «hard» science fiction , develops the idea of ​​ unknowability of the Universe. It is worth mentioning here, that «hard» science fiction has been described well enough, but there is a shortage of research work in relation to its «hybrid» version, so this research can be considered as pioneering. We use E. M. Neyolov’s typology that describes the connection between a fairy tale and «hard» science fiction. Basing on this typology, we analyse «hybrid» fiction, in which science fiction scenery was replaced by the anti-rational principle. The research methodology involves a combination of structural, typological and comparative methods. As a material for the study, we use the works of such Russian and American authors as D. Glukhovsky, S. Lukyanenko, G. R. R. Martin, S. King, C. McCarthy, H. P. Lovecraft and others. The purpose of the article is to identify and describe the transformation of fairytale discourse in the works of these authors that leads to the genre transition from science fiction to horror fiction. The texts are being analysed from three points of view: system of characters, the structure of space and the direction of time. It is concluded that in «hybrid» science fiction the typological model of the fairy tale was distorted, reconsidered or destroyed, and it is the aberration of the fairytale motif that opens the gate for the genre transformation from «hard» science fiction to horror fiction. For example, the struggle of the superhero with the supervillain is traditional both for fairy tales and for science fiction, but it is replaced by psychologization of the hero and the extreme complication of the metaphysics of the Good and the Evil in «hybrid» science fiction . Besides that, the well-organized space of fairytale and science fiction as well as a close-cut separation of «ours» and «aliens», and also the mythologem of «threshold» are mixed in «hybrid» fiction and lose their symbolical unambiguity. Finally, science fiction and fairytale time in «hybrid» fiction ceases to exist and gives way to the tragic timelessness of chaos and nightmare. Thus, «hybrid» fiction destroys both the canons of «hard» science fiction and the constructs of the fairy tale genre.

espanolEl objetivo del presente texto es mostrar, de modo diacronico, como se represento la herejia en general, y el protestantismo en particular durante la edad moderna en las decoraciones efimeras de las entradas regias portuguesas, mostrando una evolucion en los asuntos seleccionados asi como la progresiva desaparicion de dicha iconografia por las alianzas matrimoniales con la Inglaterra anglicana. EnglishThe aim of this paper is to reconstruct the iconography of the heresy and Protestantism in the ephemeral decorations of the Royal entries in Portugal during the Early Modern period. It will be also analysed how these iconographical images changed thanks to the new political alliance between the Kingdom or Portugal and the Anglican England.