Different levels of meeting (with other participants, with other
cultures, with art, with oneself, with nature or God) and the sense of
community are essential experiences during a pilgrimage. The following text
deals with the meaning and functions of pilgrimage rituals concerning community
and team spirit. What part does the performing dimension of symbolic acting
play and how does the ritual intention differ from the intention of everyday
acting? The recent attraction of pilgrimage goes back also to a growing longing
for rituals and tradition enabling people to leave the everyday life in a
limited, well structured and most of all repeatable way.
Péter Nádas’s novel published in the Hungarian language in 2005 deals with both European and Hungarian history, and validates a very specific view on history. The purpose of this paper is to reflect upon the question of relevance to the text concerning the body/body ideology aspects of Nádas’s historical approach. Differing representations of our sensuality in addition to placing the issue into a new context is one of the substantial undertakings of Parallel Stories, which in my opinion is worth approaching in the interrelationship of body – sensuality – body ideologies – history – power – novel structure. In my study, I start out from K. Theweleit’s theory, which combines the forceful exercise of power with the ideology of male camaraderie, I then analyse how this approach appears in different text levels, motifs, scenes of Nádas’s novel, up to the composition following the “chaos structure”.
One of the dominant streams of contemporary Russian literature is often called dirty realism or cruel literature as it is rather fond of portraying pathological personalities, representing brutal cruelties, sadistic and masochistic as well as necrophilic scenes. Sensuality returns to literature by the deformation, degradation and dissolution of the body. The physical processes provoking disgust are described in an obscene, rude language, thus border crossing and taboo demolishing take place on the stylistic level, too. Based on the works of Victor Yerofeev and Vladimir Sorokin, my paper examines the philosophic and anthropologic roots of this aesthetic, intellectual and ethical provocation.
Goldmark was the first of several composers to write a work based on Heinrich von Kleist’s controversial play, Penthesilea. Early critical opinion about the overture was divided. Hanslick found it distasteful, whereas others were thrilled by Goldmark’s powerful treatment of the subject. Composed in 1879, during the 1880s Penthesilea became established in orchestral repertoire throughout Europe and America. The overture represents the conflict of violence and sexual attraction between the Queen of the Amazons and Achilles. Exoticism in the play is achieved by contrasting brutal violence, irrational behaviour and extreme sensual passion. This is recreated musically by drawing on topics established in opera. Of particular note is the use of dissonance and unexpected modulations, together with extreme rhythmic and dynamic contrast. A key feature of the music is the interplay between military rhythms representing violence and conflict, and a legato, rocking theme which suggests desire and sensuality.
The Slovene understanding of Turkish culture is essentially created through indirect, translated contact. It was first expressed through traditional Slovene folk songs and stories, depicting the Ottoman Empire either as a threat or as a land of sensuality and opulence. During the time of Yugoslavia, perceptions of “the Turks” were influenced by the translated works of Bosnian authors, promoted by official policies aimed at creating “brotherhood and unity” among the Yugoslav peoples. Finally, the post-socialist Slovene understanding of Turkish culture, despite a heightened interest, has again been indirect: formed through indirect translations of contemporary Turkish authors. The lack of literary translators and their deteriorating status in the Slovene translatorial field do not promise any significant change in the future.
After having defined the Greek francophony, a marginal literature of a minority, as well as the place which Théo Crassas occupies
nowadays in that literary production, we could fetch his favorite topic: the erotic affection. Through this topic, the poet
expresses a cosmic, encyclopedic, and mythical sensuality, presenting a simplified and archaic art of syntax. However, the
poet is not satisfied with the ordered insobriety and the madness of the sensations; he enjoys displaying erotic energy, via
the intensity of the verbal flow, emotional efflorescence, rhythmic movement, via the love towards the language.
Through this technique, the reader is made to detect the force of conviction, a luminous force of a majestic “glide”, which
is opposed to the melodies constantly conflicting. Furthermore, discovering this poetry, made up of positive elements, the
reader becomes a witness of the things’ innocence and shares the palpitating emotion of the poetic script. The poet, concerned
about the female beauty and the general perfection, seeks the mystery of the beauty, worried above all to emerge an eruptive,
smooth and controlled poetry, a poetry denying the beautiful verse. Crassas creates a silky strophe, the versification being
short and connected, a luminous speech, a venereal reverberation, granting his poetry with a lyric, rich precipitation of
colors, sounds and images, features which form a special affectivity.
In general, by bringing this great poet out of a completely ignored and very poorly diffused literature, we wish to outline
a minority literature.
observe specifically Semitic characteristics in the composer of Salome : the luxuriant, erotic sensuality; the unbridled Oriental imagination; the proclivity toward outward effect; the talent of self-presentation, and in general the skill at the economic