Through his analysis of classical sources, the author finds no convincing grounds for understanding the myth of Europe as the foundational myth of the modern political & cultural entity that calls itself Europe. In this Europe, however, it is widely believed that Greek myth is the European foundational myth. By taking over Greek & Roman interpretations of the myth of Europe as a love story, & the adjunct eroticizing & banalizing the rape of Europe, rape has become a constitutive element of European identity. Adapted from the source document.
The narrative hero Peter Klepec is known (and laid claim to) by the inhabitants of the Čabranka-Osilnica valley, the border area on the Croatian and Slovenian side of the border. There circulate a number of quite similar stories about him, in which a frail illegitimate child Peter becomes a strong man, whose supernatural powers help the needy and drive the enemies from these regions. This paper shows the changing role and diversity of interpretations of myth in time and space using the example of folk and literary hero Peter Klepec. It focuses on the historical changes in the perception of Peter Klepec: namely, on his (local) function at the time of the Hapsburg imperial policy, the process of his nationalisation and dilemmas that arose following the division of the Čabranka-Osilnica area, i.e., the originating area of the creation of the legend of the two countries (Croatia and Slovenia). It shows that Klepec was due to different historical circumstances and (interpretive) discourse used for different purposes. First, he served as a symbol of strength and survival in the Čabranka-Osilnica valley, and then as the Hapsburg myth that justified the existence of the monarchy facing the hostile Ottomans, and lastly as an allegory of a servile Slovene, who is always just a faithful bondsman to other masters (first under the Austro-Hungarians and then the European Union). ; Pripovednega junaka Petra Klepca poznajo (in si ga lastijo?) prebivalci Čabransko- osilniške doline, torej obmejnega območja na hrvaški in slovenski strani meje. O njem kroži več med seboj precej podobnih zgodb, v katerih šibek nezakonski otrok Peter postane silak, ki s svojo nadnaravno močjo pomaga pomoči potrebnim in iz krajev odganja sovražnike. Prispevek na primeru ljudskega in literarnega junaka Petra Klepca prikaže spreminjajočo se vlogo in različnost interpretacij mita v času in prostoru. Osredotoča se na zgodovinske spremembe v dojemanju Petra Klepca: na njegovo (lokalno) funkcijo v času imperialne politike Habsburžanov, na proces njegove nacionalizacije in dileme, ki so se pojavile ob delitvi Čabransko-osilniškega območja t.j. izvirnega območja nastanka legend med dve državi (Slovenijo in Hrvaško). Pokaže, da se je zaradi različnih zgodovinskih okoliščin in (interpretativnih) diskurzov Klepca uporabljalo v različne namene. Najprej je služil kot simbol moči in preživetja v Čabransko-osilniški dolini, nato kot habsburški mit, ki je opravičeval obstoj monarhije nasproti osmanskemu sovražniku in slednjič kot prispodoba hlapčevskega Slovenca, ki je vedno le vdan podložnik drugim gospodarjem (najprej Avstro-ogrski, nato Evropski uniji).
The great restructuring of power in the Christian West at the beginning of the second millennium did not change the meaning of the notion of Europe as inherited from the previous two centuries. Rather, it brought forth new concepts to describe the unity of Western Christians, thus marginalizing "Europe" as a potential bearer of collective identity. Foremost among those new unitary concepts was Christendom -- a concept closely linked with the rise of the papal monarchy & the launching of the First Crusade as the pope's own war. By analyzing 11th-century sources & literature connected with the First Crusade, the author shows that the term Europe -- used merely in its geographical sense or in connection with the ancient myth of Europa & the legend of Japheth -- had little relevance for the practical & spiritual concerns of that age. Adapted from the source document.
Li Shangyin (813–858), one of the most respected, mysterious, ambiguous and provocative of Chinese poets, lived during the late Tang period, when the glorious Tang dynasty was beginning to decline. It was a time of social riots, political division and painful general insecurity. Li Shangyin is famous as a highly original and committed poet who developed a unique style full of vague allusions and unusual images derived from the literary past (the traditional canon, myths and legends) as well as from nature and personal experience. The second important feature of his poetry is a mysteriousness which finally leads to ambiguity. Ambiguity plays an essential role in most of his renowned poems, and he uses it to superbly connect present and past, reality and fantasy, and history and mythology. Thus, ambiguity and obscurity, respectively, often engender different interpretations among Chinese critics. These interpretations reflect the poems' imaginative qualities, hypotheses and contradictions. Since each interpretive direction emphasizes but a single aspect of the poet's character, it is more fitting to understand his ambiguous poems in symbolic terms. Such understanding entails that the meaning of the poem is not limited to one interpretation; rather, the poem's poetic landscape opens itself up to various interpretations.Li Shangyin is actually most popular for his melancholic love poetry that reveals his ambiguous attitude to love. In this poetry, love is shrouded in a secret message. On the one hand, we can sense his moral disapproval of a secret but hopeless love; on the other, we can sense his passion. This leads to a paradox: the pleasing temptations of an illicit romance also exact a high price. In these love poems Li investigates various aspects of the worlds of passion which stoke in him feelings of rapture, satisfaction, joy and hope as well as feelings of doubt, frustration, despair and even thoughts of death. ; Li Shangyin (813–858), eden najbolj občudovanih, skrivnostnih, dvoumnih in provokativnih kitajskih pesnikov, je živel v poznem Tangu (9. stoletje), v obdobju zatona nekdaj veličastne dinastije Tang, ki so ga zaznamovali družbeni nemiri, politična razklanost in mučna vsesplošna negotovost. Slovi kot nadvse izviren in angažiran pesnik, ki je razvil svojski slog, nabit z nejasnimi, težko razumljivimi aluzijami in nenavadnimi podobami, ki jih je črpal iz literarne preteklosti, tj. iz tradicionalnega kanona, mitov in legend, ter iz narave in lastnih izkušenj. Druga značilnost njegove poezije je skrivnostnost, ki nazadnje vodi v dvoumnost. Ta igra osrednjo vlogo v večini njegovih pesmi. V njih mojstrsko povezuje sedanjost s preteklostjo, resnično z namišljenim in zgodovinsko z mitološkim. In prav ta dvoumnost oz. nejasnost pogosto poraja njihove različne, na domišljiji, domnevah in protislovjih temelječe interpretacije posameznih razlagalcev. Ker vsaka poudarja zgolj eno plat pesnikovega značaja, je bolj primerno tisto razumevanje Lijevih dvoumnih pesmi, ki temelji na simbolni ravni, ko pesem sočasno pomeni več kot le eno stvar oz. ko razširi in odpre svojo pomensko pokrajino različnim razlagam.Li Shangyin je pravzaprav najbolj znan po svoji melanholični ljubezenski poeziji, ki razkriva njegov dvoumen odnos do ljubezni, zavit v skrivno sporočilo. Na eni strani je mogoče čutiti njegovo moralno neodobravanje skrivne, vroče, a brezupne ljubezni, na drugi pa njegovo strastno poželenje, kar vodi v medsebojno napetost obeh nasprotnih vidikov, v paradoks. To pomeni, da privlačnost prepovedane ljubezni zahteva visoko ceno. To so pesmi, v katerih Li proučuje različne plati svetov strasti, ki sprožajo v njem tako občutke ljubezenske vzhičenosti, zadovoljstva, radosti in upanja kot tudi občutke dvoma, razočaranja, obupa in celo misli na smrt.
