The author proposes that ageing and old age can be seen as a universal process but also as something that can be differentiated both by time and place. In the central part of the article, the author contends that one way of approaching the topic, particularly if it is addressed as part of the United States polity, is through the lens of American Studies and, more specifically, through the work of R.W.B. Lewis and his idea of the American Adam. It is precisely the self-image of the United States as a country of youth that elides the significance of ageing from the disciplinary agenda. In addition, the author contends that the American socio-economic order marginalizes ageing as incompatible with its dynamics. In the onclusion, the author up dates the issue and shows how today’s pension schemes affect what as precisely designated as a time of retirement.
{"title":"Uniformity and difference of ageing","authors":"S. Grgas","doi":"10.29162/anafora.v6i2.7","DOIUrl":"https://doi.org/10.29162/anafora.v6i2.7","url":null,"abstract":"The author proposes that ageing and old age can be seen as a universal process but also as something that can be differentiated both by time and place. In the central part of the article, the author contends that one way of approaching the topic, particularly if it is addressed as part of the United States polity, is through the lens of American Studies and, more specifically, through the work of R.W.B. Lewis and his idea of the American Adam. It is precisely the self-image of the United States as a country of youth that elides the significance of ageing from the disciplinary agenda. In addition, the author contends that the American socio-economic order marginalizes ageing as incompatible with its dynamics. In the onclusion, the author up dates the issue and shows how today’s pension schemes affect what as precisely designated as a time of retirement.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44754916","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper discusses the historical documentary as an increasingly popular and largely untheorised form of non-academic history. Placed between academic history and the popular medium of television and film, an authored historical documentary presented by a celebrity historian transcends various cultural binaries and demands to be considered on its own terms as a particular way of approaching history. Having in mind its subversive potential as well as its popular appeal, the paper is particularly concerned with the construction of national identities in the historical documentaries of Simon Schama (A History of Britain) and Michael Wood (The Great British Story), in order to elucidate the advantages of their use in the history classroom.Since every classroom exists within a particular socio-historical context, this discussion of British identities is positioned in the English Department’s history class in Sarajevo, within the context of post-war Bosnia and Herzegovina as a reminder that we never teach in a historical vacuum. While comparing Schama’s and Wood’s approaches to history, a number of questions emerge concerning the role of the historian in the construction of particular historical meanings; the use of narrative to present historical information; and the relevance of the documentary’s visual language in conveying specific interpretations of history. The paper attempts to answer these questions and explain how critical engagement with a historical documentary can help students learn not only about the content of history, but also about the processes behind the meanings we consume, which, ultimately, reveal a great deal about us as consumers.
{"title":"Popular history in the classroom","authors":"Lejla Mulalić","doi":"10.29162/anafora.v6i2.4","DOIUrl":"https://doi.org/10.29162/anafora.v6i2.4","url":null,"abstract":"This paper discusses the historical documentary as an increasingly popular and largely untheorised form of non-academic history. Placed between academic history and the popular medium of television and film, an authored historical documentary presented by a celebrity historian transcends various cultural binaries and demands to be considered on its own terms as a particular way of approaching history. Having in mind its subversive potential as well as its popular appeal, the paper is particularly concerned with the construction of national identities in the historical documentaries of Simon Schama (A History of Britain) and Michael Wood (The Great British Story), in order to elucidate the advantages of their use in the history classroom.Since every classroom exists within a particular socio-historical context, this discussion of British identities is positioned in the English Department’s history class in Sarajevo, within the context of post-war Bosnia and Herzegovina as a reminder that we never teach in a historical vacuum. While comparing Schama’s and Wood’s approaches to history, a number of questions emerge concerning the role of the historian in the construction of particular historical meanings; the use of narrative to present historical information; and the relevance of the documentary’s visual language in conveying specific interpretations of history. The paper attempts to answer these questions and explain how critical engagement with a historical documentary can help students learn not only about the content of history, but also about the processes behind the meanings we consume, which, ultimately, reveal a great deal about us as consumers.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45004798","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-23DOI: 10.29162/anafora.v6i2.10
Lovro Furjanić
This paper offers a basic overview of the transhumanist movement, particularly its approach to ageing. The transhumanist philosophy of ageing strives
本文对跨人文主义运动，特别是其应对老龄化的方法进行了基本概述。跨人文主义的老龄化哲学
{"title":"The Spectre of Death in Don DeLillo’s Zero K","authors":"Lovro Furjanić","doi":"10.29162/anafora.v6i2.10","DOIUrl":"https://doi.org/10.29162/anafora.v6i2.10","url":null,"abstract":"This paper offers a basic overview of the transhumanist movement, particularly its approach to ageing. The transhumanist philosophy of ageing strives","PeriodicalId":40415,"journal":{"name":"Anafora","volume":"6 1","pages":"493-511"},"PeriodicalIF":0.1,"publicationDate":"2019-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44086332","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Autor u ovoj studiji nastavlja svoja istraživanja iz 2009. o izgubljenim djelima hrvatske proze koja je Marko Marulić (1450. – 1524.) sastavio za svoju sestru Biru (Elviru, Veru), o čemu piše on sam, ali i njegov bliski prijatelj Frane Božićević. Analizirana je egzegeza Magnificata iz Firentinskoga zbornika (Ashb. 1582) tako što je autor usporedno čitao tekst tog hrvatskog rukopisnog izlaganja iz Firence i odgovarajući tiskani tekst latinske Biblije (1489) iz privatne biblioteke Marka Marulića, na kojoj je on svojeručno bilježio rubne glose i minijaturne crteže. Utvrđeno je da autor egzegeze, rukopis potječe iz Splita, dijelom preuzima, prevodi i parafrazira komentare Nikole od Lyre koji su objavljeni usporedno – stih po stih – s latinskim tekstom Biblije koju je posjedovao i glosirao Marulić. Kako nijedan ini pisac iz Splita njegova doba nije posjedovao, a kamoli glosirao rečenu Bibliju, zaključeno je da je Marulić, uz brojne druge dokaze i indicije, i zbog te činjenice, autor spomenute egzegeze i Firentinskoga zbornika. Time je konačno verificirana dugo osporavana teza Carla Verdianija (1957) kojom je Maruliću atribuirano autorstvo tog zbornika. Tom je verifikacijom pogođen i čitav niz inih hrvatskih proznih rukopisa koje također valja pripisati autoru Marku Maruliću. S pogledom na skorašnju 500. obljetnicu smrti oca hrvatske književnosti (1524. – 2024.) autorovi nalazi stavljaju hrvatsku filologiju pred velike kritičko-izdavačke izazove.
{"title":"Magnificat Anima Mea Dominum","authors":"Zvonko Pandžić","doi":"10.29162/ANAFORA.V6I1.1","DOIUrl":"https://doi.org/10.29162/ANAFORA.V6I1.1","url":null,"abstract":"Autor u ovoj studiji nastavlja svoja istraživanja iz 2009. o izgubljenim djelima hrvatske proze koja je Marko Marulić (1450. – 1524.) sastavio za svoju sestru Biru (Elviru, Veru), o čemu piše on sam, ali i njegov bliski prijatelj Frane Božićević. Analizirana je egzegeza Magnificata iz Firentinskoga zbornika (Ashb. 1582) tako što je autor usporedno čitao tekst tog hrvatskog rukopisnog izlaganja iz Firence i odgovarajući tiskani tekst latinske Biblije (1489) iz privatne biblioteke Marka Marulića, na kojoj je on svojeručno bilježio rubne glose i minijaturne crteže. Utvrđeno je da autor egzegeze, rukopis potječe iz Splita, dijelom preuzima, prevodi i parafrazira komentare Nikole od Lyre koji su objavljeni usporedno – stih po stih – s latinskim tekstom Biblije koju je posjedovao i glosirao Marulić. Kako nijedan ini pisac iz Splita njegova doba nije posjedovao, a kamoli glosirao rečenu Bibliju, zaključeno je da je Marulić, uz brojne druge dokaze i indicije, i zbog te činjenice, autor spomenute egzegeze i Firentinskoga zbornika. Time je konačno verificirana dugo osporavana teza Carla Verdianija (1957) kojom je Maruliću atribuirano autorstvo tog zbornika. Tom je verifikacijom pogođen i čitav niz inih hrvatskih proznih rukopisa koje također valja pripisati autoru Marku Maruliću. S pogledom na skorašnju 500. obljetnicu smrti oca hrvatske književnosti (1524. – 2024.) autorovi nalazi stavljaju hrvatsku filologiju pred velike kritičko-izdavačke izazove.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43793518","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Thomas Bernhard baut seine Protagonisten auf Basis seiner eigenen ästhetischen Kategorie des „Geistesmenschen“. Diese Geistesmenschen quälen die anderen Gestalten mit ihren Monologen, in denen sie die Gesellschaft kritisieren, sind jedoch selber mangelhaft. Im vorliegenden Beitrag wird eine weitere ästhetische Kategorie der Gestalten identifiziert und untersucht, die des „Maschinenmenschen“. Es wird behauptet, dass Geistes- und Maschinenmenschen in Bernhards Drama Der Ignorant und der Wahnsinnige in Abhängigkeitsbeziehungen zueinander stehen. Obwohl man Geistes- und Maschinenmenschen als Gegensätze betrachten kann, wird die Analyse beweisen, dass sie beide Teile desselben Systems sind. Bernhards Geistesmensch, der Doktor und Maschinenmensch, die Opernsängerin (die sogar buchstäblich als eine „Koloraturmaschine“ bezeichnet wird) entsprechen dem Konzept von Wunschmaschinen von Gilles Deleuze und Felix Guattari in Anti-Ödipus. Kapitalismus und Schizophrenie 1 und Tausend Plateaus. Kapitalismus und Schizophrenie II. Bernhards Doktor ist als entmenschlicht und als Teil der Prozesse und des Systems zu betrachten, weil er das Biologische überwinden möchte. Bernhards Maschinenmensch ist gleichzeitig die Verkörperung des Künstlichen; ihr Körper ist eine Maschine, deren Aufgabe ist, jeden Abend ihre perfekte Stimme zu produzieren, um der (Kultur-)Industrie ihre Ware immer wieder anbieten zu können. Das Erreichen des „organlosen Körpers“ bedeutet für die beiden ihre Freiheit vom System und eine Rückkehr in die Menschlichkeit.
Thomas bernhart把他的人物发展都是基于他自己的审美概念这些人用他们的独白来伤害别人，批评社会，但本身是不足的。本文探讨了另一种令人欣赏的设计，也就是“机器人”。人们认为伯南克阵营傻乎乎的无知和怪人以合作关系共居尽管考虑到心理和机器的相对两面，但分析还是证明它们属于同一个系统的不同部分。伯恩斯哈德的思想家，博士兼机械高手，歌剧院歌手(也就是所谓的“机关式机器”)都精通吉尔·德雷切尔和费利克斯·瓜塔里等谬论。资本主义和精神分裂症资本主义和精神分裂症二世贝纳哈德的博士被认为具有非人类特性，是整个过程和系统的组成部分，因为他想超越生物。伯纳德哈德的机械工是假的，你的身体就是一个机器每个晚上都制造出完美的声音给文化产业提供商品到达“无器官之体”，对他们来说，就是远离这个系统，回归人类。
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A tanulmány a nagyhatású Mészöly Miklós-életműhöz kapcsolódó kéziratos hagyatékot az 1950-es, 1960-as évek irodalmi, politikai kontextusában vizsgálja. A genetikus kritika szemléletmódját érvényesítő kutatás – az autográf feljegyzéseket, naplóbejegyzéseket, vázlatokat, gépelt kéziratokat vizsgálva – azon szöveganyagokra fókuszál, melyek a művek előmunkálatait szemléltetik, a keletkezés- és kiadástörténet részleteinek megismerését segítik. A dolgozat a korai Mészöly-próza műveire (Az atléta halála [1966]; Saulus [1968]; Pontos történetek, útközben [1970]) koncentrálva dolgozza fel a Petőfi Irodalmi Múzeum Mészöly-hagyatékának anyagát. Az alkotói műhelymunka különféle szakaszait dokumentáló, mindeddig a hagyatékban lappangó írások alapján kevéssé ismert élettényekről, hatástörténeti összefüggésekről értesülhetünk.
这项研究考察了Miklós Mészöly在20世纪50年代和60年代的文学和政治背景下的作品手稿遗产。本研究采用代理批评的方法——检查亲笔签名的笔记、日记、素描、打字手稿——重点关注说明作品前作的文本材料，本论文主要研究梅塞利早期散文作品（《运动员之死》（The Death of The Athlete）[1966]；《索卢斯》（Saulus）[1968]；《精确的故事》（Exact Stories），《在路上》（on The Road）[1970]），并探讨梅塞利在佩特菲文学博物馆的遗产材料。根据迄今为止隐藏在遗产中的记录创意工作室各个阶段的著作，人们对事实和效果历史知之甚少。
{"title":"„A reális élet által szuggerált anyag”","authors":"Diana Marjanovics","doi":"10.29162/ANAFORA.V6I1.9","DOIUrl":"https://doi.org/10.29162/ANAFORA.V6I1.9","url":null,"abstract":"A tanulmány a nagyhatású Mészöly Miklós-életműhöz kapcsolódó kéziratos hagyatékot az 1950-es, 1960-as évek irodalmi, politikai kontextusában vizsgálja. A\u0000genetikus kritika szemléletmódját érvényesítő kutatás – az autográf feljegyzéseket,\u0000naplóbejegyzéseket, vázlatokat, gépelt kéziratokat vizsgálva – azon szöveganyagokra\u0000fókuszál, melyek a művek előmunkálatait szemléltetik, a keletkezés- és kiadástörténet részleteinek megismerését segítik.\u0000A dolgozat a korai Mészöly-próza műveire (Az atléta halála [1966]; Saulus [1968];\u0000Pontos történetek, útközben [1970]) koncentrálva dolgozza fel a Petőfi Irodalmi Múzeum Mészöly-hagyatékának anyagát. Az alkotói műhelymunka különféle szakaszait dokumentáló, mindeddig a hagyatékban lappangó írások alapján kevéssé ismert\u0000élettényekről, hatástörténeti összefüggésekről értesülhetünk.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48305415","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Psalam 73 nalazi se u središnjem dijelu biblijskog Psaltira, ne samo po smještaju nego i po temi patnje pravednika, a pitanje koje postavlja – o odsutnom Bogu koji dopušta da zli prosperiraju – ponavlja se na mnogim mjestima Svetog pisma (Job, Habakuk), naročito u tzv. mudrosnim psalmima, kao što je Psalam 49 ili Psalam 73. Psalmist u psalmu proživljava unutarnju dramu sumnje i učvršćivanja u vjeri, a dramatska struktura teksta povezana je s etapama njegove religiozne krize. Psalmist od pouzdane orijentacije prema Bogu zapada u dezorijentaciju te se na koncu reorijentira. Svaka od tih faza povezana je s promjenom dramaturške situacije i vremenske vizure, a teologija i naracija Psalma 73 nerazdruživo su povezane i nužno osvjetljavaju jedna drugu. Psalmist na početku psalma ispada iz biblijskog pogleda na uređenost svijeta, zapada u ponor sumnji koje doživljava kao poživotinjenje te se na koncu vraća na vjerom nadahnutu poziciju s koje je i krenuo. Psalmist je u tekstu otkrio svoju ispovijed i prorokovanje za druge, da bi slušateljima ili čitateljima bio uzor i vodič na duhovnom putovanju – da bi kao pojedinac pomogao uspostaviti vjeru u zajednici.
{"title":"Narativ i dramatika psalma 73","authors":"Boris Beck, Danijel Berković","doi":"10.29162/ANAFORA.V6I1.3","DOIUrl":"https://doi.org/10.29162/ANAFORA.V6I1.3","url":null,"abstract":"Psalam 73 nalazi se u središnjem dijelu biblijskog Psaltira, ne samo po smještaju nego i po temi patnje pravednika, a pitanje koje postavlja – o odsutnom Bogu koji dopušta da zli prosperiraju – ponavlja se na mnogim mjestima Svetog pisma (Job, Habakuk), naročito u tzv. mudrosnim psalmima, kao što je Psalam 49 ili Psalam 73. Psalmist u psalmu proživljava unutarnju dramu sumnje i učvršćivanja u vjeri, a dramatska struktura teksta povezana je s etapama njegove religiozne krize. Psalmist od pouzdane orijentacije prema Bogu zapada u dezorijentaciju te se na koncu reorijentira. Svaka od tih faza povezana je s promjenom dramaturške situacije i vremenske vizure, a teologija i naracija Psalma 73 nerazdruživo su povezane i nužno osvjetljavaju jedna drugu. Psalmist na početku psalma ispada iz biblijskog pogleda na uređenost svijeta, zapada u ponor sumnji koje doživljava kao poživotinjenje te se na koncu vraća na vjerom nadahnutu poziciju s koje je i krenuo. Psalmist je u tekstu otkrio svoju ispovijed i prorokovanje za druge, da bi slušateljima ili čitateljima bio uzor i vodič na duhovnom putovanju – da bi kao pojedinac pomogao uspostaviti vjeru u zajednici.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44343763","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Emma Donoghue’s 2010 novel presents a mother and son in confinement, locked in a soundproof garden shed. The text operates with the dichotomy of inside/outside, recognizable in such different manifestations as the son’s perception of the world, confinement and escape, and others. These dualities reflect on the novel’s most prominent issue, which is trauma as experienced by Ma and Jack, respectively. Its investigation comprises the core of the paper, which entails a careful analysis of the peculiar bond between mother and son, breastfeeding a five-year-old in confinement, and the role language plays in the novel. The analysis of these issues will ultimately shed light on existence itself as particularized in the two characters. In the novel, this existence comes to the fore through the focus on the fundamental human values that stand at the core of their personas and their connection.
{"title":"“Jack be nimble, Jack be quick…”","authors":"N. Albert","doi":"10.29162/anafora.v6i2.5","DOIUrl":"https://doi.org/10.29162/anafora.v6i2.5","url":null,"abstract":"Emma Donoghue’s 2010 novel presents a mother and son in confinement, locked in a soundproof garden shed. The text operates with the dichotomy of inside/outside, recognizable in such different manifestations as the son’s perception of the world, confinement and escape, and others. These dualities reflect on the novel’s most prominent issue, which is trauma as experienced by Ma and Jack, respectively. Its investigation comprises the core of the paper, which entails a careful analysis of the peculiar bond between mother and son, breastfeeding a five-year-old in confinement, and the role language plays in the novel. The analysis of these issues will ultimately shed light on existence itself as particularized in the two characters. In the novel, this existence comes to the fore through the focus on the fundamental human values that stand at the core of their personas and their connection.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.29162/anafora.v6i2.5","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69709327","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper discusses the ways Raymond Carver depicts death in one of his most well-known short stories “A Small, Good Thing.” It deals with Carver’s minimalism as a literary device used to portray the communication (or lack of it) between the characters. The paper may be divided into three parts, showing the different stages of dealing with the protagonist Scotty’s death that his parents go through. The first part addresses denial, grief, and different ways in which people react to the death of a loved one. The second part elaborates on miscommunication as a leitmotif in Carver’s stories and shows the complete breakage of communication between the characters; namely between Scotty’s parents and the doctor, the baker, and the nurses, to name a few. The final part delves into the act of eating as a small, good gesture of kindness that brings people together and calms them down when a person dies. The end asserts that we constantly attempt to understand one another and, unfortunately, often fail to do so because of the unreliable and multi-faceted nature of language.
{"title":"Acceptance of death in Raymond Carver’s “A Small, Good Thing”","authors":"Tea Duza","doi":"10.29162/anafora.v6i2.6","DOIUrl":"https://doi.org/10.29162/anafora.v6i2.6","url":null,"abstract":"This paper discusses the ways Raymond Carver depicts death in one of his most well-known short stories “A Small, Good Thing.” It deals with Carver’s minimalism as a literary device used to portray the communication (or lack of it) between the characters. The paper may be divided into three parts, showing the different stages of dealing with the protagonist Scotty’s death that his parents go through. The first part addresses denial, grief, and different ways in which people react to the death of a loved one. The second part elaborates on miscommunication as a leitmotif in Carver’s stories and shows the complete breakage of communication between the characters; namely between Scotty’s parents and the doctor, the baker, and the nurses, to name a few. The final part delves into the act of eating as a small, good gesture of kindness that brings people together and calms them down when a person dies. The end asserts that we constantly attempt to understand one another and, unfortunately, often fail to do so because of the unreliable and multi-faceted nature of language.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69708872","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Biblija je temelj kulture i književnosti. Iako se čini pomalo zanemarenom u sadašnjosti ipak nije prestala žariti i odsijevati nadahnutom riječju te nije prestala biti uzorom književnih pravaca. Evanđelje je samo po sebi književna vrsta, a njegov autor rabi stilske figure kao što je na primjer metafora. Uloga evanđelista kao autora također je važna. Pomoću povijesno-kritičke metode otkriva se u odlomku Mk 2,18−20 izuzetnost metafore zaručnik, zaručnica i svadba (odnosno svatovi). Tri metafore stvaraju logičnu cjelinu. Pomoću te stilske figure čitatelj može prihvatiti Isusovu pouku u kojoj skriva svoj identitet. Polemika je samo izraz ili pak razlog za korištenje metafore koja je tipičnim izrazom židovskog poučavanja. Korištena metafora također postaje „mostom“ koji spaja prošlost sa sadašnjošću i time nadopunjava ograničenost povijesno-kritičke metode. Isus nije samo izrekao istraživane retke u doslovnom smislu. U njima se skriva i duhovni smisao koji upućuje na Kristovo spasenjsko poslanje.
{"title":"Uloga metafore u Isusovoj polemici s Farizejima (Mk 2,18-20)","authors":"Arkadiusz Krasicki, A. Albin","doi":"10.29162/anafora.v6i1.5","DOIUrl":"https://doi.org/10.29162/anafora.v6i1.5","url":null,"abstract":"Biblija je temelj kulture i književnosti. Iako se čini pomalo zanemarenom u sadašnjosti ipak nije prestala žariti i odsijevati nadahnutom riječju te nije prestala biti uzorom književnih pravaca. Evanđelje je samo po sebi književna vrsta, a njegov autor rabi stilske figure kao što je na primjer metafora. Uloga evanđelista kao autora također je važna. Pomoću povijesno-kritičke metode otkriva se u odlomku Mk 2,18−20 izuzetnost metafore zaručnik, zaručnica i svadba (odnosno svatovi). Tri metafore stvaraju logičnu cjelinu. Pomoću te stilske figure čitatelj može prihvatiti Isusovu pouku u kojoj skriva svoj identitet. Polemika je samo izraz ili pak razlog za korištenje metafore koja je tipičnim izrazom židovskog poučavanja. Korištena metafora također postaje „mostom“ koji spaja prošlost sa sadašnjošću i time nadopunjava ograničenost povijesno-kritičke metode. Isus nije samo izrekao istraživane retke u doslovnom smislu. U njima se skriva i duhovni smisao koji upućuje na Kristovo spasenjsko poslanje.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.29162/anafora.v6i1.5","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69708916","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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