DOCSLIB.ORG

A Polish Book of Monsters Pdf Free Download

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Polish Book of Monsters Pdf Free Download A POLISH BOOK OF MONSTERS PDF, EPUB, EBOOK Michael Kandel | 273 pages | 29 Dec 2010 | Piasa Books | 9780940962705 | English | New York, NY, United States A Polish Book of Monsters PDF Book Address Line 2. Not you? Young Sophie. He worked primarily in Southern California as a Hollywood and studio portraitist and later taught his methods and ideas to younger generations. In the meantime, why not check out the source material? The battle for "Photography as Art" in Camera Work was made apparent in the essays of Sadakichi Hartmann, who was a kind of critical bridge between Pictorialism and Modernism. Those who sleep on their back are especially vulnerable, as she will sit on their chest while slowly sucking their life out over the course of many nights. See our picks. Dedicated to you but you weren't glistening. Only those images that have commanded our attention with their "creative impact" have remained with us as eternal works of art. Has anyone else ever heard of this story? Her plans for romance are ruined, however, when the party is crashed by monsters who need her blood to complete a ritual that will give life to all the malevolent creatures depicted in an ancient book. Combined with impact, they produce a lasting work of art. Reserve online, pay on collection. Notify me. Before it everything writhes and dissolves; Nature disintegrates into nightmare. It's a bit confusing, the Netflix put together a gorgeous timeline map to keep it all straight spoiler warning for the books, obviously. It was a combination snake, rooster, bat, and sometimes other animals, that was born from an egg laid by a rooster and incubated by a toad. The collection comprises five stories by five well-known Polish authors: Marek S. Jess Anna Dawson Following the initial email, you will be contacted by the shop to confirm that your item is available for collection. Forgotten Illustrator: Albin Brunovsky 1. Remember me? It is a large, black canine with flaming red or green eyes, or sometimes just one eye in the middle of its head. If this item isn't available to be reserved nearby, add the item to your basket instead and select 'Deliver to my local shop' UK shops only at the checkout, to be able to collect it from there at a later date. Crazy Credits. One of many historical themes by Mortensen which made him reviled among modernist photographers and excluded from the history books. Call us on or send us an email at. Reset password. Photograph by EbrithilBowser. Please try again or alternatively you can contact your chosen shop on or send us an email at. Trevor Winkfield on Raymond Roussel's Names. This is an unfortunate state of affairs given how dynamically this branch of literature has developed in Poland over the last two decades — both in terms of quantity and quality. Primitive prosthesis, nightmare fodder, sailors, Linda's all powerful hand. A Polish Book of Monsters Writer Sophie Michaela Longden Strigoi can also take the form of an animal to stalk victims and then drink their blood. Mortensen mentions strengthening the imagination through free improvisation, control, and self-discipline. Beth as Lizzie Stanton Daniel Thrace Speak Polish. Following the initial email, you will be contacted by the shop to confirm that your item is available for collection. Ansel Adams, high priest of the straight print, described Mortensen as both "the devil" and "the anti-Christ. She is a force of nature, the embodiment of summer heat that can sometimes be deadly. Dining Like a Champ Download. Official Sites. Okay, thanks. Your email address will not be published. User Ratings. Vestiges of humanity struggle for survival by means of a nightmarish eugenic lottery: since most of the human offspring are born with severe mental and physical defects, children are raised in small groups in laboratory prison cells. Verbs Download. Halloween , Urban Folklore. In his second book, The Command to Look: A Formula for Picture Success, Mortensen describes his history and relationship to photography and puts down a series of lessons for obtaining "pictorial impact. Rusalka - a Polish female tree and water spirit. No problem. Emergency Download. Strzyga If you are ever stuck wandering the woods at night, be wary of this vampire-like creature that can transform into an owl to appear unnoticed. You are commenting using your Facebook account. Edit Storyline Sophie's 18th birthday becomes a bloodbath when monsters descend upon her house and start to devour the party guests. Rhythm of War. Mortensen reminds us of the creative power of photography -- and commands us to look. Are you looking for Polish learning material that you can keep for yourself? Rate This. Dedicated to you but you weren't glistening. The narrator and protagonist of the story is one of the successful specimens that can call themselves human. Because I once heard of the defeat of the dragon that supposedly dwelled beneath the Wawel Castle described in the same breath as the cruelty of the Nazi governor Hans Frank, who lived in the Wawel during the German occupation. The following two tabs change content below. Music Download. Plot Summary. Was this review helpful to you? A Polish Book of Monsters Reviews So watch out, because those thin wispy clouds under the full moon on a chilly autumn night may actually be the vague outlines of the Wila. In the last section of the essay, Mortensen concentrates on "Releasing the Imagination" and offers up study of crystallization, geometry, and specialization as "potential channels of Will-to-Form. Leshy Although not the meanest monster on this list, you would still be well advised not to cross paths with a Leshy. A story out of Warsaw, Poland, has an account of a Basilisk retrieved from a basement as recently as the 16th century. Czernobog Czernobog is the king of all Polish and Slavic monsters. If you are ever stuck wandering the woods at night, be wary of this vampire-like creature that can transform into an owl to appear unnoticed. The authors—Marek S. The Irish Banshee is a solitary female fairy connected to a family, although it lives in the forest. Be warned, though, it does feature spoilers for the games and the books. It was a combination snake, rooster, bat, and sometimes other animals, that was born from an egg laid by a rooster and incubated by a toad. My House Download. By turning monsters into figures of fatal lovers, troubled teenagers, etc. Her favorite victims are defenseless infants. It is a large, black canine with flaming red or green eyes, or sometimes just one eye in the middle of its head. It will lure humans to ride on its back and take them to their doom, usually underwater, and eat them. Polish peasants once believed that if a child was born with teeth, it would become a Strzyga. Baba Yaga. The games, because they deliver the story in bite-sized chunks between the killing and hunting, offer the most accessible way to consume the tale of Geralt. Strigoi are Romanian vampires and you thought they all were Romanian. Because I once heard of the defeat of the dragon that supposedly dwelled beneath the Wawel Castle described in the same breath as the cruelty of the Nazi governor Hans Frank, who lived in the Wawel during the German occupation. See Larry Lytle's online biography of Mortensen. The following two tabs change content below. Latest posts by R. Image by GuMNade. Of course, the books are about more than that: The central arc follows Geralt as he protects Ciri, a princess whose country has been conquered. Romero see all. The pure "straight photograph" has never existed, as every photograph is an illusion based on reality. But a wodnik may not be entirely heartless. To learn photography is to find your own way in silence and solitude. Phone Calls Download. W ith its rich folklore, deep woods filled with wild boars, wolves and massive bison, and dark 20th century history, Poland often feels haunted by monsters. Lady of Dzialdowo Castle - the Polish lady and her Prussian violin playing lover. You are commenting using your WordPress. Willis Jessica Fay Edit Storyline Sophie's 18th birthday becomes a bloodbath when monsters descend upon her house and start to devour the party guests. To celebrate her 18th birthday, pretty gay schoolgirl Sophie Lyndsey Craine throws a house party, where she hopes to get closer to classmate Jess Rose Muirhead. Some people believe they are evil, while others just think they are moody. Weather Download. The Witcher 3: Wild Hunt. Plot Keywords. The Banshee will scream when a family member's death is imminent, and long after the death in mourning. Mortensen's ideas are simple and at first glance seem entirely outdated -- but with the advance of digital photography and the postmodern turn, we see that photography has retraced its roots in the painterly and hand manipulated direction. Your Website. Le Guin, James Morrow, and others. Wila Wila are nymphs who inhabit the winds. Others: Dread Central Presents Films. Rate This. William Mortensen, L'Amour "SEX is of course the subject interest, which is here given additional morbid pungency by the sadistic implications of the theme. Last week we saw some of the monsters of Asia. A great example of what a talented author can do with even the simplest fairy tale model. A Polish Book of Monsters Read Online Photograph by EbrithilBowser. Please sign in to write a review. Please try again or alternatively you can contact your chosen shop on or send us an email at.
Load more

Recommended publications
  • The Slavic Vampire Myth in Russian Literature
    From Upyr’ to Vampir: The Slavic Vampire Myth in Russian Literature Dorian Townsend Thesis submitted for the degree of Doctor of Philosophy School of Languages and Linguistics Faculty of Arts and Social Sciences The University of New South Wales May 2011 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Townsend First name: Dorian Other name/s: Aleksandra PhD, Russian Studies Abbreviation for degree as given in the University calendar: School: Languages and Linguistics Faculty: Arts and Social Sciences Title: From Upyr’ to Vampir: The Slavic Vampire Myth in Russian Literature Abstract 350 words maximum: (PLEASE TYPE) The Slavic vampire myth traces back to pre-Orthodox folk belief, serving both as an explanation of death and as the physical embodiment of the tragedies exacted on the community. The symbol’s broad ability to personify tragic events created a versatile system of imagery that transcended its folkloric derivations into the realm of Russian literature, becoming a constant literary device from eighteenth century to post-Soviet fiction. The vampire’s literary usage arose during and after the reign of Catherine the Great and continued into each politically turbulent time that followed. The authors examined in this thesis, Afanasiev, Gogol, Bulgakov, and Lukyanenko, each depicted the issues and internal turmoil experienced in Russia during their respective times. By employing the common mythos of the vampire, the issues suggested within the literature are presented indirectly to the readers giving literary life to pressing societal dilemmas. The purpose of this thesis is to ascertain the vampire’s function within Russian literary societal criticism by first identifying the shifts in imagery in the selected Russian vampiric works, then examining how the shifts relate to the societal changes of the different time periods.
    [Show full text]
  • History Religion Tokarev.Pdf
    STUDENT'S LIBRARY Sergei Tokarev History of RELIGION PROGRESS PUBLISHERS MOSCOW Translated from the Russian by Paula Garb Editorial Board of the Series: F.M. Volkov (Managing Editor), Ye.F. Gubsky (Deputy Managing Editor), V.G. Afanasyev, Taufik Ibrahim, Zafar Imam, I.S. Kon, I.M. Krivoguz, A.V. Petrovsky, Yu.N. Popov, Munis Reza, N.V. Romanovsky, V.A. Tumanov, A.G. Zdravomyslov, V.D. Zotov. BHEJIHOTEKA CTYflEHTA C. T oK apeB HCTOPMH PEJIWrHM Ha ammiucKOM H3biKe © IIOJIHTH3AaT, 1986 © Progress Publishers 1989 Printed in the Union of Soviet Socialist Republics 0400000000-438 g 9 014(01)-89 ISBN 5-01-001097-6 Contents TRIBAL CULTS Chapter One ARCHEOLOGICAL EVIDENCE OF RELIGIOUS BELIEFS ................................ 9 1. Paleolithic S ite s ........................................................................ 9 2. Neolithic S ites.............................................................................. 13 3. Religion in the Early Bronze and Iron Age .... 16 Chapter Two RELIGION OF THE AUSTRALIANS AND TASMANIANS............................ 18 1. The A u stralian s........................................................................ 18 2. The T asm anians........................................................................ 33 Chapter Three RELIGION IN OCEANIA ........................................................................ 35 1. The Papuans and M elanesians.................................................. 36 2. The P olynesians........................................................................ 42 Chapter Four
    [Show full text]
  • BARTMIŃSKI, Jerzy: Úhel Pohledu, Perspektiva, Jazykový Obraz Světa
    BARTMIŃSKI, Jerzy: Úhel pohledu, perspektiva, jazykový obraz světa. Martin Beneš Ústav pro jazyk český AV ČR, Praha [email protected] BARTMIŃSKI, Jerzy (1990): Punkt widzenia, perspektywa, językowy obraz świata. In: Jerzy Bartmiński (ed.), Językowy obraz świata. Lublin: Wydawnictwo UMCS, s. 109–127. BARTMIŃSKI, Jerzy (2009): Punkt widzenia, perspektywa, językowy obraz świata. In: Jerzy Bartmiński, Językowe podstawy obrazu świata. Lublin: Wydawnictwo UMCS, s. 76–88. Teorie jazykového obrazu světa, která je důležitou součástí výzkumného programu etnolingvistiky, je rozšířena ve dvou odlišných variantách, které lze zjednodušeně označit jako varianty „subjektivní“ a „objektivní“. Tyto varianty lze následně usouvztažnit s pojmy vidění světa (anglicky view of the world) a obraz světa (německy das sprachliche Weltbild). Vidění, tj. jistý pohled na svět, je vždy viděním někoho, implikuje dívání se, a tím i vnímající subjekt. Na druhou stranu obraz, i když je také výsledkem vnímání světa určitou osobou, subjekt sám o sobě tak silně neimplikuje; těžiště je v jeho rámci přesunuto na objekt, tedy na to, co je zahrnuto přímo v samotném jazyku. To však neznamená, že bychom v případě konkrétních subjektů mohli hovořit jen o jejich vidění světa, můžeme naopak – sice poněkud zprostředkovaně – hovořit i o jejich obrazu světa, tj. např. o obrazu světa dětí, „prostých“ lidí, úředníků nebo Evropanů. Můžeme dokonce klasifikovat jazykové obrazy světa podle toho, kdo jsou jejich tvůrci a nositelé, jak to navrhuje V. I. Postovalovová.1 Oba pojmy z titulu tohoto článku – úhel pohledu i perspektiva – se tedy vztahují jak k „vidění světa“, tak i k „obrazu světa“. Rekonstrukcí jazykového obrazu světa subjektů určitého kulturního společenství, které bývá označováno tradičním spojením „polský lid“, by měl být v Lublinu připravovaný Słownik ludowych stereotypów językowych [Slovník lidových jazykových stereotypů] (SLSJ, 1980).
    [Show full text]
  • Introduction 1 Character Archetypes 7 Playing a Monster 15 Skills
    Introduction 1 Themes..................1 Colonialism and its Effects..........2 Being a Middle Power............2 Canadian Identities and Experiences......2 Confronting Social Issues..........3 Moral Ambiguity..............3 Principles.................3 Respect Other Cultures’ Limits........3 Show Diversity Among NPCs.........4 Present Mythological Creatures Accurately...4 Why this Setting Exists............4 How to Use This Book.............6 Character Archetypes 7 The Researcher...............7 The Cop..................8 The Hunter.................9 The Investigator............... 10 The Monster................ 11 Example Character Creation.......... 12 Playing a Monster 15 The Monstrous Stress Track.......... 15 Your Monster’s High Concept......... 16 Monstrous Stunts.............. 17 Skills and Stunts 19 Academics (Lore).............. 22 Athletics.................. 22 SampleBurglary.................. 23 file Contacts.................. 24 Deceive.................. 24 Drive................... 25 Empathy.................. 25 Fight................... 25 Investigate................. 26 Notice................... 26 Physique.................. 27 Provoke.................. 27 Rapport.................. 28 Resources................. 28 Shoot................... 28 Stealth................... 30 Tech (Crafts)................ 30 Will.................... 31 Earth’s Secret History 33 Veilfall................... 33 Supernatural Immigration........... 35 The Cerulean Amendment.......... 36 Lifting the Veil................ 36 Organizations and NPCs 39
    [Show full text]
  • Slavic Pagan World
    Slavic Pagan World 1 Slavic Pagan World Compilation by Garry Green Welcome to Slavic Pagan World: Slavic Pagan Beliefs, Gods, Myths, Recipes, Magic, Spells, Divinations, Remedies, Songs. 2 Table of Content Slavic Pagan Beliefs 5 Slavic neighbors. 5 Dualism & The Origins of Slavic Belief 6 The Elements 6 Totems 7 Creation Myths 8 The World Tree. 10 Origin of Witchcraft - a story 11 Slavic pagan calendar and festivals 11 A small dictionary of slavic pagan gods & goddesses 15 Slavic Ritual Recipes 20 An Ancient Slavic Herbal 23 Slavic Magick & Folk Medicine 29 Divinations 34 Remedies 39 Slavic Pagan Holidays 45 Slavic Gods & Goddesses 58 Slavic Pagan Songs 82 Organised pagan cult in Kievan Rus' 89 Introduction 89 Selected deities and concepts in slavic religion 92 Personification and anthropomorphisation 108 "Core" concepts and gods in slavonic cosmology 110 3 Evolution of the eastern slavic beliefs 111 Foreign influence on slavic religion 112 Conclusion 119 Pagan ages in Poland 120 Polish Supernatural Spirits 120 Polish Folk Magic 125 Polish Pagan Pantheon 131 4 Slavic Pagan Beliefs The Slavic peoples are not a "race". Like the Romance and Germanic peoples, they are related by area and culture, not so much by blood. Today there are thirteen different Slavic groups divided into three blocs, Eastern, Southern and Western. These include the Russians, Poles, Czechs, Ukrainians, Byelorussians, Serbians,Croatians, Macedonians, Slovenians, Bulgarians, Kashubians, Albanians and Slovakians. Although the Lithuanians, Estonians and Latvians are of Baltic tribes, we are including some of their customs as they are similar to those of their Slavic neighbors. Slavic Runes were called "Runitsa", "Cherty y Rezy" ("Strokes and Cuts") and later, "Vlesovitsa".
    [Show full text]
  • Otherness and Intertextuality in the Witcher. the Duality of Experiencing
    Anna Michalska 6875769 Otherness and Intertextuality in The Witcher. The Duality of Experiencing Andrzej Sapkowski’s Universe Utrecht University Literature Today: English and Comparative Literature Supervisor: Frank Brandsma Second evaluator: Jeroen Salman July 2020, Utrecht Michalska 2 Table of Contents Abstract................................................................................................................. 4 Introduction..........................................................................................................5 I. A Hero, an Anti-hero, a No-hero. The Witcher As a Misfit.......................14 Misfit, or Description of a Witcher..........................................15 Literary Background..................................................................16 Hero, or Description of Geralt.................................................19 Monstrum, or Description of a Witcher.................................23 The Professional, or Description of Geralt............................26 II. Slavic-ness and Intertextuality in The Witcher..........................................30 Cultural Background: The Mythology Which Is Not.............31 Literary Background: Polish Ghosts of The Past..................32 The Witcher’s Slavic Demonology, Legends and Customs..35 Author’s View: Trifling Slavic-ness..........................................37 Western Fairy Tales vs Anti-Fairy Tales..................................39 The Implied Author, the Storyteller, the Erudite. Three Levels of Reading.......................................................................44
    [Show full text]
  • Dziennik Zarządu Miejskiego W Łodzi
    I . ·Dzienn ' \ · \ . ik -,i ar z ą du ·M i ej s-k ie g O . I w Łodzi \ ( - I WYCHODZI 15 KAŻDEGO MIESIĄ .CA WYDA WCA: ZARZĄD MIEJSKI w ŁODZI 1 11 - • I REDAKCJA i ADMINISTRACJA: UL. PIOTRKOWSKA f04, POKÓJ NR. 127, TELEFON 280~40 ' . APARAT WEWNĘTRZNY N,R. 77 .-PRENUMERATA WYNOSI: ~ENY _OGŁOSZE~: • !.. I • Zł. 105,- cała strona_ za tekstem . Zł. 500,- · 210,- ·' pół stroFIY „ " 250,- 420,- - drobne po zL 1,- Z!} wyraz. ' \ . ' 1r-, Treś~ numeru 4-ao z dn1'.a · 15 'd · 'k1 e paz z1erm\ a · 194'; roku. · i'» '' Str. I 1. Z~~munt Szkudlarek ~ Dyrekto.r Zakladu Oczyszczania Miasta _ H1g1ena P,ubliczna a Zakład Oczyszczania Miasta . · '- 3. 2. Zygmunt Maciejowski :__ Kierownik Oddziału Obu · k ~ · k I. SZKUDLARJEK z d M .. k' · · · . wiąz u '-Iz onego 1., parzą . ~ 1eis 1ego w Łodzi. - ;\keja dożywiania · dzieci i rnfodzieży . I · 3. rotokol 1.2 Plenarnego Pos1edzen.ia Miejskiej Rady Narodowej odby- 6 tego w dnm 28 Września 1945 roku 0· 0 ' ' · 9 4. Sprawozda~i~ finansowe .Z~rządu Mie jskiego \~ Łodzi za. czas. od l 01ipc; HIOIEf A PUBLICZI~~A A ZAKLJ\Q OCZYSZCZANIA MIAST Ą. do 30 wrzesma 1945 roku · St Okólniki . 28 Sprawy higieny pub1Jc.zne1j są to problemy pierwsz.orzędnego _ zna­ . ' • • I • ,' • • .... ~zeni.a ·i ·nieO!q·z.o·wne w warunkach co·dzj.en:neg.o żyda. ' 6. Statut Podatku inwestY.CY}nego na rzecz Gminy m. Łódź 29 1 · . Już w 7. Sta~ut podatku od spożycia w zakładach gastronomicznuch 31 stariożytno-ś · ci rnzumiano t.o dosk·ona.Je i zalecane wówczas Gmmy Miejskiej Łódź .
    [Show full text]
  • Die Transformation Des Rusalka-Motivs in Der Polnischen
    Studia Slavica Hung . 62 / 1 ( 201 7 ) 197 – 2 23 DOI : 10 . 1556 / 060 . 201 7 . 6 2 . 1 . 15 Wasserfrauen auf Abwegen: Die Transformation des Rusalka - Motivs in der polnischen und russischen Popkultur ELISABETH LECHNER, STEFAN SIMONEK, MARLENA TOMALA Universität Wien, Spitalgasse 2, Hof 3, A - 1090 Wien E - mail: [email protected] , stefan.simo [email protected], [email protected] (Received: 6 October 201 6 ; accepted: 1 2 January 2017 ) Abstract: Sirens became an essential element of the literary imagination in many European literature s in Romanticism and have remained popular ever since. A lso , in Russian and Polish culture , the image of the dangerously alluring and transgressive female nymph called “rusalka” is omnipresent. In this paper , the authors use a comparative approach to trace the evolution of the “rusalka” motif from its creation in the Romantic period to its transformed (and often hi gh ly sexuali z ed) use in present - day popular culture. From works written by Pushkin, Lermontov, Mickiewicz as well as Ba l ’ mont and Gumilev (amongst others) , we move on to contemporary actuali z ations of the motif in the music videos and lyrics of a Russian girl group (“ Фабрика ”), a Polish pop performer ( Doda Elektroda) and a Russian folk - metal band (“Alkonost”). We ar - gue that the centuries - old popularity of the “rusalka” motif can be ascribed to the them e ’ s core semantics of female transgression and adaptability that lends itself especially well to the sphere of pop and its remixing and resignifying practices. Keywords: Rusalka, Russian literature, Russian popular culture, Polish literature, Polish popula r culture Das Motiv der Wasserfrau (und in abgestuftem Maß auch jenes des Wasser - mannes) oder der Waldnymphe firmiert in den europäischen Literaturen spätestens seit der Romantik des 19.
    [Show full text]
  • ESSAYS in the HISTORY of LANGUAGES and LINGUISTICS Dedicated to Marek Stachowski on the Occasion of His 60Th Birthday
    ESSAYS IN THE HISTORY OF LANGUAGES AND LINGUISTICS Dedicated to Marek Stachowski on the occasion of his 60th birthday Edited by Michał Németh Barbara Podolak Mateusz Urban Kraków 2017 Reviewers Jens Peter Laut (University of Göttingen) Georges Pinault (École pratique des hautes études ♦ Paris) Edited and proofread by Michał Németh, Barbara Podolak, and Mateusz Urban, with the assistance of Tomasz Majtczak, Dariusz Piwowarczyk, and Kamil Stachowski. Laid out and typeset by Kamil Stachowski. Final proofreading by Tomasz Babnis. The tugra by Kamil Stachowski, consulted with Dariusz Kołodziejczyk, reads Marek bin Istanislas el-hakim daima. Copyright © 2017 by M. Németh, B. Podolak, M. Urban, and the individual authors. All rights reserved. ISBN 978-83-7638-861-8 Księgarnia Akademicka Sp. z o.o. ul. św. Anny 6, 31-008 Kraków, Poland tel./fax +48·12·431·27·43 [email protected] TABLE OF CONTENTS Michał Németh (Kraków & Mainz). 11 29 Professor Marek Stachowski’s evolving academic profile over the years 1984–2016 Michał Németh (Kraków & Mainz). 31 An indexed bibliography of the works of Marek Stachow ski (cov- 56 ering the years 1984–2016) José Andrés Alonso de la Fuente (Barcelona) . 57 80 From converb to classifier? On the etymology of Literary Manchu nofi Zbigniew Babik (Kraków) . 81 105 Is the prosody of Slavic *pergyńi really not reconstructible? Uwe Bläsing (Leiden & Yerevan) . 107 134 Ortsnamen aus Artvin. ართვინის ტო პო ნი მი კა. Sprachlich-kul- turelle Berührungen an der türkisch-georgischen Grenze Vít Boček (Brno). 135 140 Church Slavonic vъskopysnǫti and zaskopivъ / za skopije John Considine (Edmonton) . 141 159 Wedgwood’s Contested Etymologies Andrii Danylenko (New York) .
    [Show full text]
  • RUSSIAN MYTHOLOGY Ayse Dietrich, Ph.D
    HUMANITIES INSTITUTE RUSSIAN MYTHOLOGY Ayse Dietrich, Ph.D. Introduction Mythology takes as its subject the significance of the objects that exist in the world, natural events, and the private matters and objects of social life from an emotional point of view. Mythology is the identification of humanity with nature, making the powers of nature one’s own in the imagination. In the face of natural events, the first humans were powerless, both before the events within themselves and those that came from outside. Therefore, it is directed at describing events and objects that were considered taboo, or embodying and personalizing events or objects that the mind could not grasp. Identifying itself with all living and non-living thing from the very beginning, the human mind tried to express them through various objects and symbols. The rustle of leaves, thunder, bird calls, and lightning striking – all these natural events were perceived by humans as a sign of good or evil, life or death. Mythological images are indirect expressions of humans’ internal worlds and emotions. Emotions override reason. Mythological images do not consist only of imaginary depictions. They also have the quality of making living in harmony with human desires and emotions, and acting together easier. In this context, The subject of Russian mythology consists of the belief of the Russian people, who planted fields, worked the land, and spent their lives together with animals such as eagles and wolves, that supernatural powers directed the fates of men, and the symbols and gods that before and after the coming of Christianity were passed down from generation to generation.
    [Show full text]
  • Ethnologia Polona (2014), Cultural Aspects of the Spiritual
    Ethnologia Polona, 2014, 35, s. 181-210 Ethnologia Polona, vol. 35: 2014, 181 – 210 PL ISSN 0137 - 4079 CULTURAL ASPECTS OF THE SPIRITUAL LEGACY OF PODHALE HIGHLANDERS URSZULA LEHR INSTITUTE OF ARCHAEOLOGY AND ETHNOLOGY POLISH ACADEMY OF SCIENCES The article is synthetic flashbacks the contents, demonological motifs and beliefs in a supernatural power of the Tatra highlanders. It is based on archive materials, relevant literature and field research conducted by the author in 1991–1994. The work describes the notional world of highlanders from the turn of the 19th and the first half of the 20th century. This conceptual framework was shaped by many different factors (such as the location of the region, its economy, peripheral occupations, multicultural ethnic structure) and the determinants of Christian and magical syncretism, as well as the naturalist and religious system. The parallel notional reality that emerged reflected the adequate semiotic space of the past, still remains a part of the spiritual cultural legacy and a characteristic feature of the region of Podhale. * * * Artykuł jest syntetyczną retrospekcją treści, wątków demonologicznych oraz wierzeń w moc nadprzyro- dzoną górali podhalańskich. Oparty jest na materiałach archiwalnych, literaturze przedmiotu oraz wła- snych badaniach terenowych autorki, przeprowadzonych w latach 1991–1994. Przybliża wyobrażeniowy świat górali z przełomu XIX i połowy XX wieku. Na jego ukształtowanie złożyło się wiele czynników (m.in. lokalizacja regionu i jej konsekwencje, charakter gospodarki, zajęcia uboczne, napływowa wielokulturowa struktura etniczna) oraz sygnujące światopogląd determinanty synkretyzmu chrześcijańsko-magicznego i systemu naturalistyczno-religijnego. Wykreowana na ich podstawie równoległa rzeczywistość ideacyjna, odzwierciedlająca adekwatną z nią przestrzeń semiotyczną minionego czasu, pozostaje nadal częścią ducho- wego dziedzictwa kultury i desygnatem regionu podhalańskiego.
    [Show full text]
  • Minnesota Opera Rings in 2016 with Dvořák's Lush, Romantic Rusalka
    FOR IMMEDIATE RELEASE Contact: Laura Silver, 612-961-4135 or [email protected] Eric Broker, 612-342-1612 or [email protected] Minnesota Opera Rings in 2016 with Dvořák’s Lush, Romantic Rusalka Kelly Kaduce Returns to Her Signature Role as the Lovelorn Mermaid MINNEAPOLIS (December 20, 2015) – The Minnesota Opera’s 2015–2016 season continues at the Ordway Music Theater on January 23, 2016, with Antonin Dvořák’s Rusalka, the tragic tale of a beautiful water nymph who falls in love with a prince and yearns to become human. The Czech composer, beloved for his “New World” symphony and “Slavonic Dances,” suffuses Rusalka with a melancholy yet achingly beautiful sound that perfectly evokes Rusalka’s fantastical realm and her doomed love affair; his lovely folk melodies and luminous arias, including Rusalka’s heartbreaking “Song to the Moon,” seamlessly depict the two worlds – mortal and mythical – Rusalka tries, and fails, to bridge. Rusalka stars soprano Kelly Kaduce, who was acclaimed for her first-ever Rusalka with Minnesota Opera in 2008 and has been in demand in the role ever since. Minnesota Opera’s vibrant, evocative production has traveled around North America, and Kaduce has frequently been tapped to go with it, performing at Opera Colorado and Opéra de Montréal among other companies. “Kelly has become the opera world’s ‘go-to’ Rusalka, and it’s no wonder,” said Artistic Director Dale Johnson. “She’s a superb and beautiful actress, and she deeply understands Rusalka’s beloved aria. The opera presents some interesting challenges, like learning the Czech libretto and navigating the constrictive costume that transforms her into Rusalka; she handles these effortlessly.” A Minnesota native, St.
    [Show full text]