Ovaj rad analiza je leksičkih i morfoloških sličnosti, te, u naznakama, fonetsko-fonoloških osobitosti riječi koje se javljaju u Belostenčevom rječniku, a koristio ih je kasnije Miroslav Krleža u ...Baladama Petrice Kerempuha. Utvrđena je sličnost rječnika koji Krleža pripisuje svojoj baki Tereziji Goričančevoj s leksemima navedenim u Gazofilaciju, te su navedeni i ostali izvori koji su uz Belostenčev rječnik (nastao do 1675., objavljen 1740.) pridonijeli oblikovanju „hibridnog govora“ koji čitatelj upoznaje čitajući Balade. Kako treba najprije odgonetnuti grafiju starih jezikoslovaca, utvrđen je sustav kojim se Belostenec služio u Gazofilaciju, pri čemu valja napomenuti kako su neka njegova rješenja, poput bilježenja dugog i kratkog jata, refleksi jata (ė, é, è, e, ë), te glasova koji se različito ostvaruju u pojedinim hrvatskim krajevima, poluglasovi (e, a, ë, ä, ė), zapravo napredna. Kao i u slučaju rješenja koje je stoljeće i pol kasnije ponudio Vjekoslav Babukić, ono nije bilo prepoznato u punoj promišljenosti ideje koju nudi.
Jezgra rada je komparacija leksema koji se javljaju u Gazofilaciju, kao i u Baladama, te u nekim slučajevima njihovih morfoloških i fonetsko-fonoloških osobitosti.
Navedenom analizom utvrđena je sličnost koja izvan granica sumnje pokazuje u kojoj mjeri negdašnja znanja mogu obogatiti književna djela nastala stoljećima kasnije. Zablistala je u svojoj punini arhaična kajkavština koja progovara jezikom seljaka, kmetova, ugnjetavanih ljudi koji breme tuđinske vlasti i pohlepe domaćih moćnika najjače osjete na svojim plećima i progovaraju jezikom koji sumira svu patnju proživljenog poniženja, očaja, siromaštva i koji će kulminirati u lucidnim zaključcima često prepunim sarkazma i cinizma koji ruši svaku nadu.
Cette recherche vise à montrer le passage de l’usage ordinaire des espaces publics à l’énonciation d’un récit de la ville où se réalise un engagement réel des acteurs sociaux dans le projet partagé ...d’une urbanité en devenir. Au-delà d’une pure préoccupation esthétique, le dialogisme urbain répond à la centralité de la ville comme lieu privilégié de l’élaboration des enjeux sociaux. En s’intéressant aux modalités d’appropriation de l’espace urbain durant des balades urbaines guidées, nous verrons en quoi elles constituent un rôle de catalyseur d’un déconditionnement pour les participants dans leur rapport à la ville. Le projet suit ainsi trois perspectives d’investigation. Il y a d’abord le passage de l’hétérogénéité pure des styles urbains – entre le bâtiment classé au patrimoine institutionnel et l’anomie du terrain vague – aux entrelacements dialogiques entre esthétiques en compétition. Nous pourrons ainsi cerner l’interaction des langages, la cohabitation de formes institutionnelles et d’expressions plus individualisées et temporaires, exprimées par une citoyenneté changeante. Ensuite, il s’agit d’observer la transformation des itinéraires fonctionnels aux déplacements selon des parcours électifs qui choisissent des passages par des éléments caractéristiques, permettant une prise affective à chaque fois renouvelée de la ville.Enfin, cette étude constitue une analyse ne se limitant pas à une taxonomie des pratiques. Elle cherche plutôt à rendre compte des gestions du sens dans l’interaction. Une forme d’interaction où l’appropriation de la ville et de ses objets n’est plus seulement intime, mais observable parce qu’explicite, socialisée et attestée par l’expérience.
This research study aims to show the transition from the ordinary use of public spaces to the enunciation of a city narrative in which the social actors are committed in the shared project of an urbanity in the making. Beyond a pure aesthetic preoccupation, the urban dialogism responds to the centrality of the city as a privileged space for the elaboration of social issues. By focusing on the appropriation of urban space during guided urban walks, we will see how they constitute a catalyst for deconditioning participants in their relationship to the city. This research project thus follows three investigation perspectives.First, there is the transition from the pure heterogeneity of urban styles – from a building classified as institutional heritage to the anomie of a vacant lot - to the dialogical interplay between aesthetics in competition. We will be able to understand the interaction of languages, the cohabitation of institutional forms and more individualized and temporary statements, expressed by an ever-changing citizenship picture.Then, it is a question of observing the transformation of the functional itineraries to the displacements according to elective courses going through characteristic elements, allowing an ever-renewed affective grip on the city.Finally, this study constitutes an analysis that is not limited to a taxonomy of practices. Rather, it seeks to account for the management of meaning in interaction - a form of interaction where the appropriation of the city and its objects is not only intimate, but observable because explicit, socialized, and attested by experience.
An outline of the role of a court almoner in this period and its connections with courtly cultural activity is the point of departure for this article, which argues that Guillaume de Machaut's ...earliest known job as court almoner not only placed him centrally within the sphere of courtly cultural activity, but also had a distinct and lasting influence on his courtly love doctrine with regard to the importance of giving and the centrality of largesse. Two songs in Machaut's output arguably functioned as epitomized editations on the issue of largesse, expounded at greater length in Machaut's narrative dits. One of these songs, Donnez, signeurs (B26), while not mentioning largesse by name, shares the central ideas and verbal expressions attached to descriptions of Largesse in Machaut's longer narrative poems Le jugement dou roi de Navarre and John of Luxembourg in Confort d'ami. Together with its 'sister balade', Honte, paour (B25), it forms a paired mediation on giving and honour that expresses a credo rather fitting for an almoner-courtier, while also presenting the differentially gendered ramifications of these virtues for courtly men and women.
Rad se bavi likovnim interpretacijama zbirke pjesama Balade Petrice Kerempuha Miroslava Krleže. Dijeli ilustracije na nekoliko tema odnosno pristupa Baladama od kojih najviše pozornosti pridaje ...ilustracijama koje citiraju određene povijesne stilove i onima koje prikazuju torture. Također, navodi još nekoliko pristupa Baladama: isticanje ratnih razaranja i apstraktni pristup.
The comparative analysis of the Ady poem "Sírni, sírni, sírni" and the Krleža poem "Tužaljka nad crkvom" convincingly proves the paraphrasic character of the latter and thus the creative reception of ...the poem of Ady. With the comparative investigation of the motif world and the linguistic archaisms of Ady and Krleža, the facts of the Ady reception, which are everywhere present in the Kerempuh ballads, are made visible.
Durch die komparatistische Untersuchung des Ady-Gedichtes "Sírni, sírni, sírni" und des Krleža-Gedichtes "Tužaljka nad crkvom" kann man den Paraphrasencharakter des letzteren und damit die kreative Rezeption des Ady-Gedichtes überzeugend beweisen. Mit der komparatistischen Untersuchung der Motivwelt und der sprachlichen Archaismen Adys und Krležas sind die in den Kerempuh-Balladen überall vorhandenen Tatsachen der Ady-Rezeption sichtbar gemacht.
Cette étude a des assises autant dans l’histoire de l’art que dans l’esthétique du cinéma. Son point de départ est une aporie : « Qu’est-ce que le mouvement en image dès lors il s’agit de le chercher ...en dehors des représentations et de leurs techniques ? ». La substance mobile des images dont nous souhaitons faire ici le cas se situe à l’intérieur même du point de vue et non pas à l’enchaînement entre points de vue. Il s’agit de penser sa construction en termes d’un clivage interne, d’une bifurcation. Il s’agit surtout de placer la construction du point de vue au croisement de deux apprentissages mathésis : d’un côté celle de la contemplation du monde à partir d’un point fixe, unique ou changeant, de l’autre celle de la mobilité inhérente qui régit tout aspect de la vie. Dans ce contexte, le mouvement des images ne serait pas seulement le résultat d’une révolution du regard ou l’aboutissement d’une aventure technique, mais également et au même titre qu’eux, le résultat d’un événement conflictuel entre deux configurations du savoir différentes bien que totalement pondérées. « Qu’est-ce qui ne marche pas ? » est la question qui nous guide à travers l’écriture. Les images témoignent d’une forme de démarche transversale, d’un accident de la « marche » tant au niveau structurel du film qu’au niveau diégétique. Elles renvoient à quelque chose comme un trouble, un dissentiment. Chaque partie de ce travail constitue, enfin, une étude de cas. Chaque cas dénonce une aporie de point de vue : pittoresque, elliptique, théorique. Les films analysés, très différents les uns des autres, proviennent du cinéma et de ses pratiques élargies. Mais chacune des trois parties est également conçue autour d’un « metteur-en-scène » au sens large : Robert Smithson, Gus van Sant, Victor Burgin. Issus de la grande famille des artistes et non seulement de celle des cinéastes confirmés, ils nous guident à travers la construction de récits ancrés autant dans l’histoire des arts peinture, sculpture, architecture que dans les péripéties du cinéma contemporain.
Both art history and cinema aesthetics lie at the foundations of this study. Our starting point is a perplexing difficulty an aporia: “What is an image motion when we think about movement beyond its representations and the techniques that accompany them?”. In this dissertation, we examine the mobile substance of images from within the standpoint itself and what resembles to an internal cleavage. We argue that a particular kind of viewpoint can emerge at the crossroads of two different understandings mathesis: on the one hand, the contemplation of the world from a single or interchangeable fixed point; on the other hand, the corporeal mobility inherent to every aspect of life. Within this context, image motion is more than just the consequence of a major change in our “ways of looking”, or the outcome of a technical adventure. We argue that image motion is equally the result of a conflict between two different configurations of knowledge - seeing. The images attest to a way of thinking and unthinking motion, illustrated by a disruption in “the walk of the images” which takes place both in the film’s narrative and in the film’s structure revealing something like a trouble, or a dissent. Each section in this work constitutes an autonomous case study. Each case relates to a particular bifurcation of the standpoint: picturesque; elliptical; theoretical. The films in question, very different from one another, stem from cinema and its expanded practices. These three sections are also articulated around three “metteurs-en-scène”: Robert Smithson, Gus Van Sant, Victor Burgin. Belonging to the larger family of artists and not only to that of confirmed filmmakers, they guide us through the unfolding of a narrative, whose roots are to be found as much in the history of the arts painting, sculpture, architecture, as in the vicissitudes of contemporary cinema.
U radu se dokazuje kako neke općeprihvaćene ocjene o Baladama Petrice Kerempuha, napose o privilegiranju pučke naspram (malo)građanske vrijednosne perspektive i afirmaciji kajkavskog jezika, ne mogu ...izdržati tekstualnu provjeru, te se nastoji pokazati kako je, naprotiv, riječ o eminentno modernističkom tekstu koji binarnu opoziciju popularno vs. pučko razrješuje dijalektičkim načelom pjesničkog oblikovanja, kojem je svrha upravo satiričko razobličavanje čitateljskih predrasuda.
Provider: - Institution: - Data provided by Europeana Collections- La finalul traducerii, N. Batzaria face următoarea precizare: această baladă "aparține elementului bulgăresc (slav) din Macedonia, ...unde eroul legendar Marcu Crale sau Crăișorul este foarte popular". Balada este scrisă în dialectul bulgăresc întâlnit în nordul Macedoniei- baladă populară macedoneană- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Balada cîntătorilor Alexandru Pogonat; Alexandru Pogonat ((1908-1941)) Web Resource
Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
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