Эпиграфическая поэзия папы Дамаса

This article aims to make a parallel between the act of Christ, Son of God who is led by the Holy Spirit to face the devil and his temptations in the dry environment of the desert, and the act of the Christian families, who should have the same enthusiasm to let be led by the Spirit that will take them to dense and problematic realities in order to overcome evil. It is also related to the thinking of the evangelist through an exegetical-semantic analysis with the Pope Francis message, present in his two apostolic exhortations: Evangelii Gaudium and Amoris Laetitia in which he emphasizes that the vitality of the Christians, along with their families, must have the effort to evangelize those who are more distant, facing tribulation realities.

Reviewed by: The Bone Gatherers: The Lost Worlds of Early Christian Women Virginia Burrus Nicola Denzey. The Bone Gatherers: The Lost Worlds of Early Christian Women. Boston: Beacon Press, 2007. Pp. xxi + 290. $27.95. The Bone Gatherers is, for starters, a brilliantly titled book. The words boldly inscribed on the cover evoke loss and the rituals of recollection; they gesture towards the shadowy spaces of social marginalization; they allude, delicately, to an ancient drama that has survived only in fragments. If I were to add that this title also hints at the pleasures that a good mystery novel might afford, I would still be able to say that Nicola Denzey’s book delivers faithfully on its cover’s various implicit promises—no small feat! The image on the cover is as important as the words—the figure of a woman standing with arms outreached, familiar from early Christian art. Although Denzey begins with tales of ancient bones unearthed and repeatedly directs us toward those women who (in one way or another) gathered and tended such bones, her story circles most tightly around a series of paintings found in the burial catacombs of ancient Rome. This is a book about Christian catacomb art, then, and it is, more specifically, one that asks us to pay attention to the surprising prominence of women in the preserved paintings as well as to the histories encrypted therein—histories of the women who died, of the women who commissioned their commemorative art, and of the women who continued to visit their burial places. It asks us to engage these paintings and their settings imaginatively. Indeed, Denzey will speculate quite freely at times, taking up a feminist historiographic practice associated most famously with Elisabeth Schussler Fiorenza’s In Memory of Her (1983). In so doing, she hopes to restore agency to the women of the ancient church of Rome. If necessary, she gives them names: “let’s call her Proba” (25). She imbues them with emotions—“the profound loss and wrenching grief of burying her own child” (54)—and assigns them social roles—“presiding over the meal” (100). She restores the sensual texture of their daily lives: “the wind wrings her long, striped red dalmatic around her ankles” (74). Throughout the book, Denzey draws with confident grace not only on the skills of a story teller but also upon the knowledge of an impressively learned historian. Each of the book’s seven chapters focuses on two “lost” women who lived and died in Rome between about 250 and 350 c.e. while using these women to introduce larger topics. What can the tomb of a young bride tell us about the physical and social realities that conditioned an ordinary woman’s life? What does [End Page 261] “Christianization” look like from the point of view of a pagan woman who is choosing the art for her Christian daughter’s burial site? How did women express themselves through religious images more generally, and how did they want their viewers to interpret those images? What kinds of ritual acts might women visiting the tombs have performed? And so on. Raising such questions, Denzey skillfully draws her readers into the adventure of interpreting not texts but spaces and paintings. At the same time, she tracks momentous changes taking place in the course of the third and fourth centuries. Many of the original female patrons who had provided and tended the Christian burial sites came to be misrecognized as apostolic or martyred figures, and once again women seem to have played major roles, participating prominently in the early development of a markedly feminized cult of saints in Rome. However, as memories were being reconfigured, power relations were also continuing to shift. By the late fourth century the already layered topography of female piety had been decisively reinscribed, as a newly centralized church hierarchy extended the reach of patriarchy into the catacombs themselves. Every good story needs a villain, and Denzey identifies hers quite forthrightly in the final chapter of the book—Damasus, bishop of Rome from 366 to 384, who was largely responsible for the masculinization of the Roman calendar of saints. Yet in Denzey’s account one could...

Reviewed by: Papal Allocutions to the Roman Rota 1939-2011 Joseph G. Diermeier Papal Allocutions to the Roman Rota 1939-2011 edited by William H. Woestman, O.M.I. Ottawa: Faculty of Canon Law, Saint Paul University, 2011. This book represents the third in a series of papal allocutions that were presented to the Roman Rota beginning with Pius XII. In the first edition (allocutions from 1939-1994), the editor framed their significance as neither jurisprudence nor legislation. Rather, they form part of the ordinary magisterium and are directed to all of the Church's tribunals. In the second (allocutions through 2002) and now again in the third edition, the editor [End Page 315] continues to present the Roman Pontiff 's annual address to the college of rotal judges and their collaborators. The present edition concludes with the January 22, 2011 Papal Audience of Benedict XVI whose allocution addressed the need for proper pastoral preparation for couples intending to marry so as to avoid future invalidity. The contents of the allocutions are historically conditioned (e.g., world war, Vatican II, criticisms of marriage law, human rights, code revision and promulgation). Included among the panoply of topics are the following: how the Roman Rota serves the universal Church as well as the Christian family; the origin, nature, object and purpose of judicial authority in the Church; how tribunals protect the Church's teaching regarding the sanctity of marriage; the new code vis-à-vis rotal jurisprudence; how justice is the foundation of society and the protection of the family; the pastoral nature of canon law. Included is the often-invoked 1987 allocution by John Paul II that addressed the increased use of the ground of psychic incapacity for declarations of marriage nullity and which cautioned ecclesiastical judges to discern prudently when listening to psychological experts who are not informed by Christian anthropology. Also included are his 1991 and 1996 allocutions which highlighted cultural issues in marriage and alerted judges to be attentive to the particular cultures of individuals. Several allocutions reflect the Church's concern with regard to the fecklessness of the divorce mentality and the presumption of the validity of marriage. A recurring theme in the allocutions of Benedict XVI is the Church's pastoral love, reminding the rotal auditors that simply pleasing the parties involved does not constitute justice and that true pastoral love must correspond to the truth that saves, i.e., to the good of the parties and to the ecclesial community. Several years (including the consecutive years 1950-1958) offer no corresponding allocution. No reason is given for their absence. Nevertheless, the contents of each allocution accentuate the distinguishing emphases of the various Roman Pontiffs. The redaction of the texts provides consistency in language, an invaluable help for the reader. The editor also provides resources to locate original texts. The book serves as a worthwhile reference not only for tribunal personnel involved with marriage cases but also for anyone who is interested in moral theology and ecclesiology. A perusal of the allocutions demonstrates how each of the Pontiffs has viewed the mission of the Church and further [End Page 316] provides the reader with a better understanding of how communio, freedom and responsibility serve as fundamental principles governing the life and ministry of the Church. Joseph G. Diermeier Diocese of La Crosse Marathon, WI Copyright © 2012 The Catholic University of America Press

Summary. Introduction. The article deals with the translation strategy of a well-known Ukrainian translator, writer, poet and researcher Valeriy Kykot. The topicality of the paper is confined to the insufficient study of the problem of translation strategy taken as a whole as well as of the strategy of individual translators in particular. Purpose. The present article aims to investigate the essence and specifics of Valeriy Kykot’s translation strategy. Methods. The multi-faceted nature of translation strategy, being a complex phenomenon that includes a vast amount of linguistic and extra linguistic realizations, has determined it necessary to employ translatological method being a complex of methods and techniques of analysis. Results. The present paper focuses on the analysis of numerous translations of American poetry by V. Kykot as well as his significant achievements in the field of translation studies. Specifically, he is the translator of verses by more than thirty American poets. These translations have been published in literary and art periodicals, parts of books, as well as in three separate books. V. Kykot’s works in the field of translation studies include candidate’s and doctoral dissertations dealing with poetical translation, a scientific monograph and numerous publications in scientific periodicals in Ukraine and abroad. The essence of V. Kykot’s translation strategy is illustrated by his translation of E. Poe’s verse “Eldorado”. In addition to the comparison of the original poem and its translation by V. Kykot, the author of the article cites other Ukrainian versions of E. Poe’s verse «Eldorado». Originality. The originality of the research is seen in the fact that the present article is the first attempt to investigate Valeriy Kykot’s translation strategy. At the same time it should be pointed out that there have been a number of literary articles and literature reviews on his poetry. Conclusion. Valeriy Kykot is not only a well-known translator, but also a talented poet and a renowned researcher. All these three incarnations have shaped his translation strategy and individual style: as a poet he knows how to create poetry, as a researcher he is familiar with the specifics of literary translation, poetical translation in particular, and as a translator he is able to combine his knowledge from both of the mentioned fields in order to provide high-quality translations of poetry. At the core of V. Kykot’s translation strategy consists in a careful selection of the material to be translated, a thorough analysis not only of the poem itself, but of the personality of its author and the epoch in which he lived and created as well, the identification of the image dominant of each poem and its rendering in translation.

Kasijan Sakovyč (сa. 1578–1647) can rightfully be attributed to one of the most educated representatives of both Orthodox and Uniate monasticism in Polish-Lithuanian Commonwealth of the first third of the 17th century. Kasijan’s diversity in terms of literary genres reflects his wide knowledge. Thus, his polemical treatises against the Orthodox Church and, partly, against the Uniates, echoed the events of his personal biography: after 1625, Sakovyč converted from Orthodox Christianity to the Uniate Church; in 1640, he became a Catholic. Two textbooks (compilations from Pseudo-Aristoteles) were partly related to his teaching activity and rectorship at Kyiv Brotherhood school. A rhymed funeral eulogy for the Hetman of Zaporozhian Cossacks, Petro Sahaidachny, testifies to Kasijan’s poetic talents. The present article aims to investigate Sakovyč’s writings as a means to reconstruct his personal “resource” or texts or books that he read and used in his literary activity. Two prefaces by Kasijan (a dedication to the nobleman Aleksander Zasławski and an appeal to the ‘pious reader’) are used for this case study, both written for “Desiderosus, abo Scieszka do miłości Bożey” (Desiderosus or a Path to God’s Love) (Kraków, 1625). The work is a Polish translation of an anonymous Spanish treatise ca. 1515, which was prepared by Kasper Wilkowski (died after 1589) and published three times during the late 16th century. Attributing Latin phrases, maxims, quotations, and references to historical figures and works, visual images, etc., that are used in both prefaces, allows one to suggest what books were known and available to Sakovyč and could have been the source of his erudition.

The paper reviews the monograph by L. Kulakevych, states the relevance of studies in the field of Ukrainian adventure literature of the first third of the 20th century. The review emphasizes that the monograph is devoted to a virtually unknown but powerful layer of Ukrainian adventure literature of the first third of the twentieth century. Some of the works studied in the monograph are only mentioned in the general reviews of the writers’ literary legacies while the other works remained unknown for the literary critics for almost a century. For instance, such works as «Opovidannia pro Sofochku y Dzhyma» (The Story of Sofochka and Jim) by D. Buzko, «Zaradynei» («For Her Sake») by I. Dniprovskyi, «Vurkahan» («Criminal») by Y. Miakota, «Viter z hir» («Wind from the Mountains») by S. Skliarenko, and «KniazBartsila» (Prince Bartsila) by O. Slisarenko. The importance of the monograph lies in the study of the works against the background of global cultural processes. The first section «The Nature of Genre in Adventure Literature: The Theoretical Aspect» pays special attention to the introduction of the contemporary Ukrainian literary processes into the global trends. In particular, it highlights the increased interest in adventure works, which, according to the literary critics of different countries, remained unnoticed due to colonial and gender discourses, demonstrating, to put it mildly, the «unattractive» side of European cultural expansion. This section also contains a detailed analysis of the existing definitions of «adventure» literature, the author of the monograph works on the disambiguation of the terms concerning «adventure» and providesmore clear and precise definitions. In the second chapter, L. Kulakevych analyzes the novels which, according to her, are the examples of the new genres in Ukrainian literature: frontier, western / eastern, robinsonade, roxolania. In the third section, the author studies the texts-representatives of the printed series, travelogue, and action genres. While analyzing the texts, L. Kulakevich points out the artistic components that serve as markers to attribute the texts to a certain genre. The fourth chapter is dedicated to the innovative quest of Ukrainian writers of the 20-30s of the 20th century, in particular, the development of the new genres in Ukrainian adventure discourse – noir novel, horror, detective, spy narrative, novel-quest. While substantiating the affiliation of the work to a particular genre, the researcher uses the theses of modern foreign experts in the field of literature and cinema to support her ideas. In the fifth chapter, L. Kulakevich investigates the texts, whichcontributedto the Ukrainian fiction with the new genres of chrono-travel, thriller, and alternative history. It is evident, that in the research of L. Kulakevych the Ukrainian adventure literature of the first third of the 20th century appears as an extraordinary and multidimensional phenomenon that synthesized the achievements of world culture and innovations of Ukrainian writers. In general, the monograph is highly praised for up to date factual basis, original approach to the analysis of literary works, and informative presentation.

The aim of the paper is to introduce the reader to the little-known and poorly researched literary legacy of the noble Mikołaj Krzysztof Chalecki (Lith. Mikalojus Kristupas Chaleckis, c. 1589–1653). It gives a broad description of his biography and origin, his family and foundations provided thus highlighting his personality and his literary legacy in the first half of the seventeenth century. Also, it introduces other individuals connected with him or his works, and discusses the place of the works, which merged literature and art, in the context of the history of literature and art of Lithuania.Two of his works discussed in a greater detail – Allegoriae, albo Kwięcia modł gorących… and Binarius Chalecianus, sive duo manipuli liliorum ... – are attributed to the genres that have not yet been properly researched in Lithuania: to devotional legacy of old literature of the Grand Duchy of Lithuania and to the examples of original Lithuanian emblematic literature. These works do not follow the Jesuit tradition that widely used the emblems; they are a highly individual expression of an intellectual noble, the manner of thinking and its expression that he had brought from Europe. In the late sixteenth-early seventeenth century, reflections on piety became a distinct phenomenon in European literature, which had acquired the attractive form of the emblem. The two (Latin and Polish) versions of Allegoriae containing emblematic woodcuts printed at the Leo Mamonich printing house in Vilnius present Chaleckis as a representative of Western European literature and emblemics of those times, as well as an author of the individual and original expression of the confession of faith in Lithuania.The author of the article updated the time and location of writing of the Latin text of Allegoriae. The first variant of the text was prepared in Latin in Sidra in 1612 and was written (or translated?) in Polish after some time; both were published several years later, in 1618. It is Chaleckis’ only work prepared and published in Polish. It is quite possible that Stanisław Serafin Jagodyński, who devoted himself to literary work, might have contributed to the preparation of the text.Binarius Chalecianus (1642) is the publication which for the first time implemented an original visual form of the Litany of Loreto in the literature of the Grand Duchy of Lithuania along with the founding of the Holy House Loreto of the Holy Virgin Mary in Valkininkai.Mikalojus Kristupas Chaleckis’ works, in which both literary and artistic forms are exploited, are an original manifestation of piety and and example of devotion of a Catholic noble of the Grand Duchy of Lithuania of the early seventeenth century

Mashkhur-Zhusup Kopeev, a prominent Kazakh scholar, poet, and ethnographer of the late 19th and early 20th centuries, made significant contributions to the development of Kazakh national consciousness through his literary works. This study examines the features of national consciousness in Kopeev's poetry, highlighting his role as an innovator of the Kazakh literary genre and his introduction of new ideas. The research emphasizes the importance of considering the socio-historical factors of the epoch reflected in Kopeev's lyrics and understanding the peculiarities of everyday life,culture, traditions, and national perception of the ethnos in conjunction with the poet's creative reincarnation. The stylistic originality, ideological and artistic features, and philosophical, moral, and aesthetic aspects of Kopeev's poetry are explored, along with the origins and traces of Kazakh folklore and Zhyrau poetry's influence on his work. Kopeev's handwritten legacy, including genealogies, epics, zhyrau, dastans, and historical songs, is valuable for its historical authenticity and genealogical style. His works reflect a deep understanding of justice, freedom, and faith, addressing the social realities of his time and the impact of Russian colonial influence on Kazakh life and culture. Kopeev's literary legacy encompasses a wide range of topics, including national spirit, heroism, identity, and the pursuit of independence, which continue to resonate with modern Kazakh youth. This study aims to fill the knowledge gap by examining the relationship between Kopeev's poetry and Kazakh national consciousness, providing a comprehensive understanding of his literary legacy's impact on Kazakh identity.

he obstructions to the families’ welfare in Sumba are the local tradition of dowry in marriage affair and other traditional parties which cause the economical burdens of the families. Christian families are also still impeded by such traditions. Actually, the customs of dowry and traditional parties have been so modified and even manipulated as such in the course of history, so that they become obstacle to the families’ welfare. Therefore, it is necessary to turn back to the substance of the local custom by omitting these deviations. By doing so, one can determine which is the real local wisdom that has to be maintained.

The excavation of this site on the southern outskirts of Ramsey (nat. grid ref. SC452936) was undertaken as a rescue operation when a building estate was to encroach upon the large mound which formed a conspicuous feature in the field. The Manx Museum and National Trust acknowledges the co-operation of the Planning Committee of the Isle of Man Local Government Board in stipulating as a condition of planning approval that opportunity must be given for scientific examination of the site. The excavation (necessarily accommodated with other commitments, and briefly delayed through snow) took place within the period December 1968 to April 1969.Early References to the Site. As well as a strong local tradition that the mound was a burial place, references to the site occur in the local antiquarian literature. The earliest appears to be that in Oswald's Vestigia (1860, 57–58), where he notes the inspection of this site by the Rev. W. Kermode of Ramsey at the time when it was first given over to the plough, c. 1850. Kermode remarked that the ‘mound of considerable dimensions … had on the top the usual kist vaen,—a rude stone grave, consisting of a few upright stones with a large heavy slab resting on the top; within were found some very small pieces of unbaked pottery, with a black substance which was probably charred human bones.’ From the north–south orientation of the cist he surmised that it might have been a Viking grave.

Pope Gregory the Great (590–604) was arguably the most important Roman writer and civic leader of the early middle ages; the Roman martyrs were certainly the most important cult figures of the city. However modern scholarship on the relationship between Gregory and the Roman martyrs remains curiously underdeveloped, and has been principally devoted to comparison of the gesta martyrum with the stories of Italian holy men and women (in particular St Benedict) told by Gregory in his Dialogues; in the past generation the Dialogues have come to be understood as a polemic against the model of sanctity proposed by the Roman martyr narratives. This paper explores Gregory's role in the development of Roman martyr cult in the context of the immediate social world of Roman clerical politics of the sixth and seventh centuries. Gregory's authority as bishop of Rome was extremely precarious: the Roman clerical hierarchy with its well‐developed protocols did not take kindly to the appearance of Gregory and his ascetic companions. In the conflict between Gregory and his followers, and their opponents, both sides used patronage of martyr cult to advance their cause. In spite of the political necessity of engaging in such ‘competitive generosity’, Gregory was also concerned to channel martyr devotion, urging contemplation on the moral achievements of the martyrs – which could be imitated in the present – as opposed to an aggressive and unrestrained piety focused on their death. Gregory's complex attitude to martyr cult needs to be differentiated from that which was developed over a century later, north of the Alps, by Carolingian readers and copyists of gesta martyrum and pilgrim guides, whose approach to the Roman martyrs was informed by Gregory's own posthumous reputation.

Psychoanalysis has served as a time-tested, albeit occasionally contentious, method for interpreting a range of literary and cultural works, but how might we account for its own textual cultures and practices? For that matter, are psychoanalytic and literary genres distinct entities, or is their interface significantly more porous than we might imagine at first? In what follows, I review four critical texts published in 2020 (a double issue of a journal and two monographs) that grapple with various aspects of these questions and offer rich, formally attentive studies of psychoanalytic writing and its entanglements with literary genres such as the novella, memoir, and autobiography. The review is organized into four sections: 1. Introduction. Psychoanalysis: A Writing Cure? 2. After John Forrester: Reopening the Psychoanalytic Case, which discusses Felicity Callard and Chris Millard’s guest-edited issue of History of the Human Sciences entitled Thinking In, With, Beyond, and Across Cases with John Forrester; 3. The Freudian Case History and its Literary Legacies, devoted to Arne Höcker’s The Case of Literature: Forensic Narratives from Goethe to Kafka; and 4. Recovering the Analysand’s Voice, which explores Anat Tzur Mahalel’s Reading Freud’s Patients: Memoir, Narrative, and the Analysand.

The religio-cultural environment of Bengal during Tagore's lifetime was rich and layered, shaped by both local traditions and overseas influences. The Bhakti tradition, manifested in Vaishnavism, the devotional aspects focused on Krishna and Chaitanya, and in the Baul songs advocating a universal, non-sectarian “religion of man", played a significant role in Bengal’s spiritual landscape. This syncretic cultural atmosphere offered a unique blend of poetic, musical, and devotional expression that resonated with Tagore's own sensibilities. Tagore’s devotional poetry, for instance, captures the essence of bhakti (devotion) blended with a broad, universal spirituality, reflecting the emotive power and personal yearning central to his poetic sensibilities. The themes of divine love and humanistic spirituality that are prominent in his songs and writings mirror the core values of this tradition. This article seeks to address how Tagore engages with Bhakti tradition, beliefs in his works and personal correspondence, as well as how his poetry echoes foundational Bhakti sentiments and values. Ultimately, it examines how Tagore deeply connected with Bengal's literary manifestations of Bhakti through Vaishnava heritage and Baul tradition in his poetry and songs. The article also argues that while Tagore shared an affinity with the Bhakti tradition's emotive and spiritual core, he sought a more open and inclusive approach to spirituality that transcended formalized structures.

This chapter discusses original sin and infant baptism before the Pelagian controversy, in the writings of Augustine, Jerome, and the Roman bishops, and of the main figures associated with Pelagianism (Caelestius, Pelagius, and Julian). Although Augustine’s fully fledged concept is not found in earlier writers, an examination of their work sheds light on the roots on which it developed: the consequences of Adam’s sin are widely underlined by both Greek and Latin authors. Tertullian, Cyprian, and Ambrose also discuss the idea of an inherited decayed state through procreation, and the latter two, as well as Origen, assert the necessity of baptizing infants because of their sinful condition. The Pelagian controversy then opposed two different views on Adam’s sin: Augustine, later followed by Jerome and the Roman bishops, argued for the transmission of Adam’s sin through generations and understood the presence of this sin in infants as the rationale behind their baptism; on the opposite end, Caelestius, Pelagius, and Julian, albeit with different emphases and interpretations, accepted the practice of infant baptism but opposed the idea of inherited sin, which they understood as an attack on free will and God’s justice.

The place of Jang Chul-soo (Chang Ch’ŏl-su)’s Bedevilled (Kim Pong-nam sarinsakŏn ŭi chŏnmal, 2010) in the cycle of recent South Korean revenge films hailed for their pairing of poetic visuals and “extreme” violence seems rather straightforward, yet this article argues for Bedevilled’s singularity, as a work that critiques the gender politics of transnational genre cinemas like the slasher-horror and rape-revenge film, and the Korean literary and film genres that also serve as its important intertexts. This article examines the multiple modes by which Bedevilled interrupts the use of the revenge trope as a depoliticizing, privatizing system of generic representation through its citation of colonial period naturalist writer Kim Tong-in’s well known short stories “Potatoes” (“Kamja,” 1925) and “The Seaman’s Chant” (“Paettaragi,” 1921) and Kamja, the 1987 film adaptation of the same story directed by Byun Jang-ho (Pyŏn Chang-ho) and starring Kang Su-yeon (Kang Su-yŏn), amid its visualization of the slasher genre’s complex gender dynamics. Analyzing Bedevilled’s trans-media adaptation of two of Kim’s best known works of short fiction and a key example of the 1980s genre cycle of t’osok ero yŏnghwa (Nativist erotic film), I chart the film’s ironic repetition of the earlier works’ visual and narrative tropes, particularly in the film’s disturbing presentation of patriarchal oppression as a pervasive social disease. By embedding tales that attribute characters’ fates to their social environments within the anti-heroic conventions of the revenge narrative, Bedevilled mobilizes two incommensurable genre frameworks to reorient the drive of social critique towards alternative modes of collective identification rather than those based in nationalism or subordination to patriarchy’s psycho-sexual violence. Moreover, the film’s juxtaposition of unexpected genre frameworks becomes the basis for its gendered critique of Kim’s literary legacy, the cinematic repertoire of male fantasy in 1980s literary films, and contemporary conventions of institutionalized misogyny.