Lexis paidike. L'infanzia in Origene

La tesi considera la trattazione del tema dell’infanzia nell’opera di Origene di Alessandria attraverso l’analisi dei testi trasmessi nell’originale greco e delle traduzioni latine di Rufino e Gerolamo. Il motivo dell’infanzia è considerato nei suoi molteplici significati, a più livelli: esegetico, antropologico, filosofico, teologico. La ricerca non si limita dunque ad un’analisi di taglio storico, ma ambisce a definire la concezione e la considerazione della prima età dal punto di vista di Origene e nel contesto più ampio della letteratura coeva. Attraverso una lettura estensiva del corpus dell’Alessandrino sono stati isolati tutti i passi che si riferiscono all’infanzia a livello letterale e metaforico. Ne emerge una trattazione complessa del tema: il bambino è per Origene, in linea con le contemporanee dottrine filosofiche, un essere eminentemente irrazionale. Il pieno sviluppo della facoltà razionale si colloca al termine di questa prima fase dell’esistenza. L’irrazionalità infantile previene nei più piccoli l’insorgere delle passioni. A questa dottrina, di matrice stoica, si ricollegano alcuni sviluppi di grande rilievo: la non-imputabilità dei minori ed il legame tra razionalità e responsabilità individuale; la riflessione sulla sofferenza dei bambini e la ricerca di una sua causa, che non intacchi il principio della giustizia divina; l’ipotesi della preesistenza delle anime. Sul piano teologico la ricerca si focalizza sulle nozioni di paternità e filiazione e sul tema, centrale nell’orizzonte origeniano, della pedagogia. Origene concepisce la pedagogia umana, sul modello di quella divina, come una rete dinamica di relazioni che ricalca i rapporti parentali. A fianco di questi ambiti d’interesse principali l’analisi considera aspetti ulteriori: risalto è concesso, in particolare, all’elemento biografico ed all’aspetto linguistico e letterario della prosa origeniana, quest'ultimo spesso trascurato dalla critica. Lo studio mostra inoltre la vitalità di alcuni modelli esegetici origeniani nella tradizione successiva.

Retorica come dissimulazione. Il ritmo della prosa manganelliana

La tesi è incentrata sull'analisi dell'organizzazione retorica della prosa di Giorgio Manganelli, indagando il sistema ritmico attraverso il quale l'autore è in grado di creare un fluire sintattico che sfugge alle classificazioni di genere. Per Manganelli, infatti, il linguaggio è solamente organizzazione di se stesso, e perciò la scrittura ruota attorno a un centro narrativo vuoto, dissimulando l'assenza di necessità. Egli è un retore puntuale dotato di una straordinaria abilità compositiva, che gli consente di mettere in scena l'ambiguità insita nella retorica. Per affrontare questa analisi è stato opportuno avvalersi della critique du rythme ideata da Henri Meschonnic, a partire dalle riflessioni di Emile Benveniste sul concetto eracliteo di ritmo, poiché essa fornisce una prospettiva duttile, dinamica e svincolata da pregiudizi critici. Meschonnic infatti considera il ritmo non come schema metrico ma in quanto organizzazione del senso nel discorso, volto alla signifiance del testo. In quest'ottica si è tentato di costruire un percorso attraverso le opere di Manganelli per descrivere il sistema retorico su cui si fonda la sua scrittura, a partire dai materiali del suo laboratorio (poesie, prose, appunti di diario, scambi epistolari) fino all'ideazione di discorsi pseudo-teologici che si presentano come allegoria stessa della scrittura. Si sono analizzati in particolare la trasposizione letteraria della tecnica musicale della variazione in Nuovo commento (1969), e il ritmo del periodo ipotetico in Rumori o voci (1987), testo emblematico della ricerca di Manganelli sulle potenzialità del linguaggio. Infine la prosa manganelliana è stata messa a confronto con quella di altri importanti autori italiani del Novecento (Pavese, Gadda, Camporesi, Celati), al fine di comparare tra loro diverse organizzazioni ritmiche del linguaggio, e ricollocando così Manganelli al centro del panorama letterario italiano con tutta la sua eversiva marginalità.

La scuola di Gundēšābūr. La conoscenza del corpo umano (anatomia e fisiologia) e la trasmissione delle teorie medico-scientifiche nel mondo sasanide e post-sasanide.

Questo lavoro traccia un quadro della diffusione e trasmissione delle conoscenze riguardanti l’anatomia e la fisiologia del corpo umano nel mondo iranico in età sasanide (III-VII sec. d.C.). La tesi analizza il ruolo delle scuole di medicina in territorio iranico, come quelle sorte a Nisibi e Gundēšābūr, delle figure dei re sasanidi interessati alla filosofia e alla scienza greca, e dei centri di studio teologico e medico che, ad opera dei cristiani siro-orientali, si fecero promotori della conoscenza medico-scientifica greca in terra d’Iran.

Architettura e verità. Emil Steffann architetto di chiese

La ricerca pone al suo centro lo studio dell'opera architettonica di Emil Steffann (1899-1968) la cui produzione realizzata consta, nel breve arco temporale che va dal 1950 al 1968, del ragguardevole numero di trentanove chiese, rappresentando un caso emblematico di progettazione e costruzione di edifici per il culto cristiano in grado di raffigurarne concretamente i principi fondativi liturgici, estetici e morfologici. L'architettura di Steffann, profondamente ispirata dallo spirito religioso, legata a figure primigenie che plasmano lo stare-insieme della comunità nella qualità corporea della materia, dove la presenza liturgica e monumentale si esprime nel silenzio e nella disponibilità di uno spazio circoscritto dai muri e direzionato dalla luce, concorre a definire nell'oggettivo amore per il vero la percezione estetico-teologica e la poetica formativa che connaturano, a nostro parere, progetto e segno della chiesa. Il testo concretizza il primo studio monografico completo di questo corpus architettonico e si basa sulla ricognizione diretta delle opere di Steffann; ne è derivata una narrazione non conseguente a un ordine cronologico o di presupposta importanza degli edifici, bensì che ricerca ed evidenzia corrispondenze tra nodi di una rete ideativa la quale, con diversi gradi di finitezza, in punti non sempre omogenei del tempo e dello spazio, denota un'esperienza autentica del comporre e del costruire. Il racconto individua gli oggetti architettonici, ne discute la consistenza aprendosi a riferimenti altri (in particolare il pensiero ecclesiologico-liturgico di Romano Guardini e quello estetico-teologico di Hans Urs von Balthasar) in grado di illuminarne la genesi e la manifestazione, li lega infine in sequenze analogiche. Una serie di tavole fotografiche originali, parte ineludibile e integrante della ricerca, testimonia dello stato attuale dei luoghi, connotando ulteriormente l'aspetto info-rappresentativo della loro composizione architettonica. In chiusura, la sintesi architetturale vuole essere uno strumento di verifica e progetto, quindi di trasposizione futura, correlato all'elaborazione documentaria.

Democrazia e cattolicesimo negli Stati Uniti. La libertà di religione e il pensiero di John Courtney Murray

L'elaborato affronta il pensiero di John Courtney Murray dal punto di vista teologico e politico, sottolineandone le influenze esterne ai circoli intellettuali cattolici e la particolare rilevanza per l'integrazione della comunità cattolica nella società statunitense.

Il banchetto e le sue rappresentazioni. Le radici di un dibattito contemporaneo

La ricerca si propone di sondare in maniera completa e approfondita la rappresentazione del banchetto nel testo letterario e, in senso più ampio, nel testo inteso come sistema di segni (siano essi parole, gesti, espressioni facciali, modi di esprimersi, mezzi di comunicazione in genere). Il banchetto è una ‘messa in scena’ che assume nel testo letterario e nei linguaggi espressivi dell’arte contemporanea diverse funzioni a livello tematico e stilistico. Nel lavoro si analizza ognuna di queste funzioni: la funzione denotativa, connotativa, strutturale, metaforica, metanarrativa e stilistica e comunicativa. La linea di analisi tracciata si conclude con un particolare focus sulla rappresentazione del banchetto nel testo letterario e nei media come strumento di comunicazione all’interno di un altro mezzo di comunicazione. Con questa premessa la candidata termina con il capitolo conclusivo dedicando spazio all’immagine del pasto postmoderno. Il banchetto, in quanto rito simbolico, media contenuti legati all’universo culturale, rivela connessioni con la realtà storico-sociale, con l’assetto profondo dell’identità individuale e collettiva, costituendo un polo di aggregazione di diverse dimensioni di umanità. Nonostante l’estrema duttilità alla quale si presta l’immaginario del banchetto sul piano artistico e concettuale, nella quotidianità il momento conviviale continua per l’uomo postmoderno a evocare sentimenti e valori tradizionali ai quali ispirarsi.

Christoph Graupners Musik zu zeremoniellen Anlässen am Hof der Landgrafen zu Hessen-Darmstadt

Die politische Rolle der Hofmusik in der ersten Hälfte des 18. Jahrhunderts ist im Kontext der repräsentativen Machtmittel innerhalb des höfischen Kräftefeldes verortet. Die höfischen Zeremonielle bildeten nicht nur den Aufführungsrahmen, sondern legten sämtliche Determinanten für die musikalischen Ereignisse fest. Zu den Aufgaben der Hofkapellmeister im kleinen, aber innerhalb des Reiches nicht ganz unbedeutenden und durchaus paradigmatisch stehenden Fürstentum Hessen-Darmstadt gehörten die musikalischen Umrahmungen der fürstlichen Hochzeiten, Trauerfälle, Geburtstage sowie politischer und kirchenpolitischer Anlässe. Christoph Graupner wirkte hier als Hofkapellmeister zwischen 1709 und 1760; bis zu seiner Erblindung im Jahr 1754 schuf er ein umfangreiches Werk, das die Verhältnisse dieser Landgrafschaft in signifikanter Weise spiegelt. Graupners Musiken zu den Festen der Landgrafen umfassten immer Kirchenkantaten für den Gottesdienst, daneben oft auch weltliche Musik zur Unterhaltung der Gäste. Obwohl die – damals hochmoderne und in der Entwicklung begriffenen – Gattung der Kantate bei weitem überwiegt, sind es auch Bühnenwerke, die diese Funktion erfüllten, aber lediglich im ersten Jahrzehnt von Graupners Dienstzeit in Darmstadt aufgeführt wurden. 83 panegyrische Werke (57 geistliche, 24 weltliche Kantaten, 2 Bühnenwerke) konnten als Zeremonialmusiken systemisch in ihrem Aufführungskontext analysiert werden. Dabei ergaben sich etliche neue Erkenntnisse wie Datierungen, Zuordnungen zu Anlässen, auch Funde von bisher als verschollen geltenden Textdrucken. Der Geheimrat Johann Jacob (von) Wieger konnte als mutmaßlicher Textdichter identifiziert werden. Insbesondere ist deutlich geworden, dass der Bedeutungsverlust höfischer Repräsentation am Ende der absolutistischen Epoche wie in anderen Residenzen auch in Darmstadt die Zeremonialmusik tangierte. Für Graupner blieb vor diesem Hintergrund einerseits die ungebrochene Unterordnung unter die hierarchischen Verhältnisse, was die Huldigung als Form der Pflichterfüllung einschloss. Andererseits jedoch zeigten sich latente Distanzierungsversuche: zum einen die Schaffung musikalischer Subtexte in gewissen panegyrischen Werken, zum anderen aber vor allem die Hinwendung zur Kirchenmusik und damit zu einer Religiosität, die nicht nur die Anmahnung der christlichen Tugenden ermöglichte, sondern auch mit dem “Schaffen zur Ehre Gottes” eine persönliche Rechtfertigung jenseits von allem tagespolitischen Geschehen bot.

The Social Principles of Jesus: A Critical Re-examination of Walter Rauschenbusch’s Social Gospel

It has been nine decades since Walter Rauschenbusch (1861-1918) published a slim volume entitled The Social Principles of Jesus. Though today less well known than his other works Christianity and the Social Crisis (1907) and Theology for the Social Gospel (1917), it is Social Principles that most adeptly summarizes the theological ethics of Rauschenbusch’s “social gospel.” Taking the form of a pedagogical treatise, Social Principles reads as both a finely tuned analysis of the modern relevance of the teachings of Jesus, and an impassioned plea on the part of its author for an end to the folly of interpreting Christianity solely in “individualistic” terms. It is Rauschenbusch’s expressed aim to resurrect the core teachings of Jesus, which are social and ethical, and apply these to a renewed, socially conscious liberal democracy, establishing a grand harmony between religion, ethics, and social evolution. How far this vision was from the burgeoning “fundamentalism” of his day (and ours) is more than evidenced by the critical reaction of many of his more conservative peers, but also indicates the continuing relevance of his work for theologians and others looking for alternative paths. The following exposition is supplemented with appreciative and critical comments.

Faith and the Sublation of Modernity: Kierkegaard and the Transformation of Fideism

This article retraces the “genealogy” of the fideist perspective in philosophy as well as literature, especially within the writings of Søren Kierkegaard and the novel Don Quixote. It contends that a demythologized perspective of the fideist-humanist sort, based upon Erasmian tolerance and intellectual creativity and updated with the insights of post-analytic theory (e.g., the work of Alasdair MacIntyre, Richard Rorty, and Jeffrey Stout), without revoking the vocabulary of transcendence, can reinforce the weathered but still valuable post-Enlightenment moral vocabulary, and can reiterate the humaneness of liberal hope without undue encumbrance from the dogmatic baggage of traditional theological jargon and metaphysics.

ARISTOTLE AND THE IMPORTANCE OF VIRTUE IN THE CONTEXT OF THE POLITICS AND THE NICOMACHEAN ETHICS AND ITS RELATION TO TODAY

While much of Aristotle's works are preserved in various volumes, two of his famous works are the Nichmachean Ethics and the Politics, both of which contain a rich compilation of ethical and political thought. In the Ethics, Aristotle describes a thorough understanding of ethical and intellectual virtue. By pursuing these virtues, Aristotle argues that a person can achieve a life of fulfilling happiness. The ideal polis as described in the Politics serves as a place where the virtuous life is attained in the best manner.Citizens who pursue virtue make the polis better, and the rulers that guide the polis ensure that the citizens have every opportunity to pursue the virtuous life. In this thesis, I see how relevant Aristotle's theory is by laying out the basic principles of the Ethics and the Politics and the connections between the two works. Indoing so, I found that Aristotle's ideal theory points out a significant flaw in our political system: the fact that we do not share a common moral conception such as the one concerned with the virtuous life as Aristotle proposes. This does not suggest thatAristotle's view was actualized during his time period, but that Aristotle conceives of an ideal life and an ideal polis that could be realized. Certainly there are issues with Aristotle's thesis concerning the inferiority of slaves and women. But what is morepoignant is the impracticality of instituting a shared common conception when today's political system permits various ideas about ethics and morality.

Not in the Legends

In writing “Not in the Legends”, one of the images and concepts which constantly returned was that of pilgrimage. I began to write these poems while studying abroad in London, after having passed the previous semester in France and travelling around Europe. There was something in the repetition of sightseeing— walking six miles in Luxembourg to see the grave of General Patton, taking photographs of the apartment where Sylvia Plath ended her life, bowing before the bones of saints, searching through Père Lachaise for the grave of Théodore Gericault— which struck me as numinous and morbid. At the same time, I came to love living abroad and I grew discontent with both remaining and returning. I wanted the opportunity to live everywhere all the time and not have to choose between home and away. Returning from abroad, I turned my attention to the landscape of my native country. I found in the New England pilgrims a narrative of people who had left their home in search of growth and freedom. In these journeys I began to appreciate the significance of place and tried to understand what it meant to move from one place to another, how one chose a home, and why people searched for meaning in specific locations. The processes of moving from student to worker and from childhood to adulthood have weighed on me. I began to see these transitions towards maturity as travels to a different land. Memory and nostalgia are their own types of pilgrimage in their attempts to return to lost places, as is the reading of literature. These pilgrimages, real and metaphorical, form the thematic core of the collection. I read the work of many poets who came before me, returning to the places where the Canon was forged. Those poets have a large presence in the work I produced. I wondered how I, as a young poet, could earn my own place in the tradition and sought models in much the same way a painter studies the brushstrokes of a master. In the process, I have tried to uncover what it means to be a poet. Is it something like being a saint? Is it something like being a colonist? Or is to be the one who goes in search of saints and colonists? In trying to measure my own life and work based on the precedent, I have questioned what role era and generation have on the formation of identity. I focused my reading heavily on the early years of English poetry, trying to find the essence of the time when the language first achieved the transcendence of verse. In following the development of English poetry through Coleridge, John Berryman, and Allison Titus, I have explored the progression of those basic virtues in changing contexts. Those bearings, applied to my modern context, helped to shape the poetry I produced. Many of the poems in “Not in the Legends” are based on my own personal experience. In my recollections I have tried to interrogate nostalgia rather than falling into mere reminiscence. Rather than allowing myself poems of love and longing, I have tried to find the meaning of those emotions. A dominant conflict exists between adventure and comfort which mirrors the central engagement with the nature of being “here” or “there”. It is found in scenes of domesticity and wilderness as I attempt to understand my own simultaneous desire for both. For example, in “Canned Mangoes…” the intrusion of nature, even in a context as innocuous as a poem by Sir Walter Raleigh, unravels ordinary comforts of the domestic sphere. The character of “The Boy” from Samuel Beckett’s Waiting for Godot proved such an interesting subject for me because he is one who can transcend the normal boundaries of time and place. The title suggests connections to both place and time. “Legends” features the dual meaning of both myths and the keys to maps. To propose something “Not in the Legends” is to find something which has no precedent in our histories and our geographies, something beyond our field of knowledge and wholly new. One possible interpretation I devised was that each new generation lives a novel existence, the future being the true locus of that which is beyond our understanding. The title comes from Keats’ “Hyperion, a Fragment”, and details the aftermath of the Titanomachy. The Titans, having fallen to the Olympians, are a representation of the passing of one generation for the next. Their dejection is expressed by Saturn, who laments: Not in my own sad breast, Which is its own great judge and searcher out, Can I find reason why ye should be thus: Not in the legends of the first of days… (129-132) The emotions of the conquered Titans are unique and without antecedent. They are experiencing feelings which surpass all others in history. In this, they are the equivalent of the poet who feels that his or her own sufferings are special. In contrast are Whitman’s lines from “Song of Myself” which serve as an epigraph to this collection. He contends for a sense of continuity across time, a realization that youth, age, pleasure, and suffering have always existed and will always exist. Whitman finds consolation in this unity, accepting that kinship with past generations is more important that his own individuality. These opposing views offer two methods of presenting the self in history. The instinct of poetry suggests election. The poet writes because he feels his experiences are special, or because he believes he can serve as a synecdoche for everyone. I have fought this instinct by trying to contextualize myself in history. These poems serve as an attempt at prosopography with my own narrative a piece of the whole. Because the earth abides forever, our new stories get printed over the locations of the old and every place becomes a palimpsest of lives and acts. In this collection I have tried to untangle some of those layers, especially my own, to better understand the sprawling legend of history.

Must We Forgive?: Exploring the Limits and Possibilities of Forgiveness and Resentment

Conflict has marked civilization from Biblical times to the present day. Each of us, with our different and competing interests, and our desires to pursue those interests, have over time wronged another person. Not surprisingly then, forgiveness is a concern of individuals and groups¿communities, countries, religious groups, races¿yet it is a complex idea that philosophers, theologians, political scientists, and psychologists have grappled with. Some have argued that forgiveness is a therapeutic means for overcoming guilt, pain, and anger. Forgiveness is often portrayed as a coping mechanism¿how often we hear the phrase, ¿forgive and forget,¿ as an arrangement to help two parties surmount the complications of disagreement. But forgiveness is not simply a modus vivendi; the ability to forgive and conversely to ask for forgiveness, is counted as an admirable trait and virtue. This essay will explore the nature of forgiveness, which in Christian dogma is often posited as an unqualified virtue. The secular world has appropriated the Christian notion of forgiveness as such a virtue¿but are there instances wherein offering forgiveness is morally inappropriate or dangerous? I will consider the situations in which forgiveness, understood in this essay as the overcoming of resentment, may not be a virtue¿when perhaps maintaining resentment is as virtuous, if not more virtuous, than forgiving. I will explain the various ethical frameworks involved in understanding forgiveness as a virtue, and the relationship between them. I will argue that within Divine Command Theory forgiveness is a virtue¿and thus morally right¿because God commands it. This ethical system has established forgiveness as unconditional, an idea which has been adopted into popular culture. With virtue ethics in mind, which holds virtues to be those traits which benefit the person who possesses them, contributing to the good life, I will argue unqualified forgiveness is not always a virtue, as it will not always benefit the victim. Because there is no way to avoid wrongdoing, humans are confronted with the question of forgiveness with every indiscretion. Its limits, its possibilities, its relationship to one¿s character¿forgiveness is a concern of all people at some time if for no other reason than the plain fact that the past cannot be undone. I will be evaluating the idea of forgiveness as a virtue, in contrast to its counterpart, resentment. How can forgiveness be a response to evil, a way to renounce resentment, and a means of creating a positive self-narrative? And what happens when a sense of moral responsibility is impossible to reconcile with the Christian (and now, secularized imperative of) forgiveness? Is it ever not virtuous to forgive? In an attempt to answer that question I will argue that there are indeed times when forgiveness is not a virtue, specifically: when forgiveness compromises one¿s own self-respect; when it is not compatible with respect for the moral community; and when the offender is unapologetic. The kind of offense I have in mind is a dehumanizing one, one that intends to diminish another person¿s worth or humanity. These are moral injuries, to which I will argue resentment is a better response than forgiveness when the three qualifications cannot be met.

Differentiation in Male and Female Speech Styles

From the moment of their birth, a person's life is determined by their sex. Ms. Goroshko wants to know why this difference is so striking, why society is so concerned to sustain it, and how it is able to persist even when certain national or behavioural stereotypes are erased between people. She is convinced of the existence of not only social, but biological differences between men and women, and set herself the task, in a manuscript totalling 126 pages, written in Ukrainian and including extensive illustrations, of analysing these distinctions as they are manifested in language. She points out that, even before 1900, certain stylistic differences between the ways that men and women speak had been noted. Since then it has become possible, for instance in the case of Japanese, to point to examples of male and female sub-languages. In general, one can single out the following characteristics. Males tend to write with less fluency, to refer to events in a verb-phrase, to be time-oriented, to involve themselves more in their references to events, to locate events in their personal sphere of activity, and to refer less to others. Therefore, concludes Ms Goroshko, the male is shown to be more active, more ego-involved in what he does, and less concerned about others. Women, in contrast, were more fluent, referred to events in a noun-phrase, were less time-oriented, tended to be less involved in their event-references, locate events within their interactive community and refer more to others. They spent much more time discussing personal and domestic subjects, relationship problems, family, health and reproductive matters, weight, food and clothing, men, and other women. As regards discourse strategies, Ms Goroshko notes the following. Men more often begin a conversation, they make more utterances, these utterances are longer, they make more assertions, speak less carefully, generally determine the topic of conversation, speak more impersonally, use more vulgar expressions, and use fewer diminutives and more imperatives. Women's speech strategies, apart from being the opposite of those enumerated above, also contain more euphemisms, polite forms, apologies, laughter and crying. All of the above leads Ms. Goroshko to conclude that the differences between male and female speech forms are more striking than the similarities. Furthermore she is convinced that the biological divergence between the sexes is what generates the verbal divergence, and that social factors can only intensify or diminish the differentiation in verbal behaviour established by the sex of a person. Bearing all this in mind, Ms Goroshko set out to construct a grammar of male and female styles of speaking within Russian. One of her most important research tools was a certain type of free association test. She took a list comprising twelve stimuli (to love, to have, to speak, to fuck, a man, a woman, a child, the sky, a prayer, green, beautiful) and gave it to a group of participants specially selected, according to a preliminary psychological testing, for the high levels of masculinity or femininity they displayed. Preliminary responses revealed that the female reactions were more diverse than the male ones, there were more sentences and word combinations in the female reactions, men gave more negative responses to the stimulus and sometimes didn't want to react at all, women reacted more to adjectives and men to nouns, and that, surprisingly, women coloured more negatively their reactions to the words man, to love and a child (Ms. Goroshko is inclined to attribute this to the present economic situation in Russia). Another test performed by Ms. Goroshko was the so-called "defective text" developed by A.A. Brudny. All participants were distributed with packets of complete sentences, which had been taken from a text and then mixed at random. The task was to reconstruct the original text. There were three types of test, the first descriptive, the second narrative, and the third logical. Ms. Goroshko created computer programmes to analyse the results. She found that none of the reconstructed texts was coincident with the original, differing both from the original text and amongst themselves and that there were many more disparities in the male than the female texts. In the descriptive and logical texts the differences manifested themselves more clearly in the male texts, and in the narrative texts in the female texts. The widest dispersal of values was observed at the outset, while the female text ending was practically coincident with the original (in contrast to the male ending). The greatest differences in text reconstruction for both males and females were registered in the middle of the texts. Women, Ms. Goroshko claims, were more sensitive to the semantic structure of the texts, since they assembled the narrative text much more accurately than the other two, while the men assembled more accurately the logical text. Texts written by women were assembled more accurately by women and texts by men by men. On the basis of computer analysis, Ms. Goroshko found that female speech was substantially more emotional. It was expressed by various means, hyperbole, metaphor, comparisons, epithets, ways of enumeration, and with the aid of interjections, rhetorical questions, exclamations. The level of literacy was higher for female speech, and there were fewer mistakes in grammar and spelling in female texts. The last stage of Ms Goroshko's research concerned the social stereotypes of beliefs about men and women in Russian society today. A large number of respondents were asked questions such as "What merits must a woman possess?", "What are male vices and virtues?", etc. After statistical manipulation, an image of modern man and woman, as it exists in the minds of modern Russian men and women, emerged. Ms. Goroshko believes that her findings are significant not only within the field of linguistics. She has already successfully worked on anonymous texts and been able to decide on the sex of the author and consequently believes that in the future her research may even be of benefit to forensic science.

Meanings of Citizenship: Czech Citizen in a Comparative Perspective

This was an interdisciplinary cross-cultural project which subjected Czech citizens to theoretical analysis and empirical examination. In the first, theoretical, part of the work a typology of post-totalitarian citizenship was proposed containing five types of citizens: responsible democratic, social materialistic, passive asocial, hedonistic consuming, and predatory antisocial. While democratic citizenship stems from preserved civic virtues, the deficient types of citizenship are partially caused by the post-totalitarian syndrome. In the concrete empirical studies of the international context the most significant aspects of citizenship were examined. Czech citizens (students) displayed an encouraging level of political civic culture when they loaded more often than six other national samples on the factor of democratic citizenship (based on a questionnaire and Q-sort by Feierabend, Q-factor analysis), but their level of loyalty and low critical rebelliousness can also be seen as reason for concern. The Czech population provided contrasting results in measures of civility; although chronically complaining about interpersonal relations, they passed relatively well in a series of situational field experiments even in the international comparison (Levine's helping measures. Czech nationalism is primarily "cultural nationalism", which is less favourable for democratic citizenship than the "civic nationalism" of Americans.

The Representation of Motherhood in Polish Cinema

The project aimed to analyse representations of motherhood in Polish cinema as a special case of a more general system within the representation of women. It concentrated on the image of the Polish Mother created during the 19th century in Polish culture under the influence of specific political, social and religious factors. Ms. Ostrowska's initial hypothesis was that this symbolic image became one of the most stable elements in Polish cinema and as her research revealed, it was valuable for the preservation of national identity but nevertheless a fiercely constraining model for Polish femininity. In order to fully understand the nature of this persistent image it was initially necessary to related it to broader contexts and issues in representation. These included the image of the Polish Mother within general mythological structures (using the notion of myth in the Barthesian sense). Following her initial research Ms. Ostrowska felt that it was most appropriate to view the myth of the Polish Mother as a dominant ideological structure in the discourse of motherhood within Polish culture. An analysis of the myth of the Polish Mother can provide an insight into how Polish society sees itself at different periods in time and how a national identity was constructed in relation to particular ideological demands stemming from concrete historical and political situations. The analysis of the film version of this myth also revealed some aspects of the national character of Polish cinema. There the image of woman has become enshrined as the "eternal feminine", with virtues which are inevitably derived directly from Catholicism, particularly in relation to the networks of meanings around the central figure of Mary, Mother of God. In 19th century Poland these were linked with patriotic values and images of woman became part of the defence of the very idea of Poland and Polishness. After World War Two, this religious-political image system was adapted to the demands of the new communist ideology. The possibility of manipulating the ideological dimensions of the myth of the Polish Mother is due to the very nature of the image, which as a symbol of civil religion had been able to function independently of any particular state or church institution. Although in communist ideology the stress was on the patriotic aspect of the myth, its pronounced religious aspect was also transmitted, consciously or not, in the denotation process, this being of great significance in the viewer's response to the female character. This appropriation of elements derived from the national patriotic tradition into the discourse of communist ideology was a very efficient strategy to establish the illusion of continuity in national existence, which was supposed to convince society of the rightness of the new political situation. The analysis of films made in the post-war period showed the persistence of this discourse on motherhood in a range of cinematic texts regardless of the changing political situation. Ms. Ostrowska claims that the stability of this discursive formation is to a certain extent the result of the mythological aspect of the mother figure. This mythological structure also belongs to the ideology of Romanticism which in general continues to prevail in Polish cultural discourse as a meta-language of national community. The analysis of the films confirmed the hypothesis of the Polish Mother as a myth-sign whose signifier is stable whereas the signified depends on the specific historical conditions in which it is set. Therefore in the famous propaganda documentary Kobiety naszych dni (Women of Our Days, 1951) by Jan Zelnik, and in other films made after the October 1956 "thaw" it functions as an "empty sign. She concludes that it would be difficult to deny that the myth of the Polish Mother has offered Polish women a special role in national life, granting them a high moral position in the social, hierarchy. However the processes of idealisation involved have resulted in a deprivation of her subjectivity and the right to decide about her own life. This idealisation also served to strengthen traditional patriarchal structures through this set of female obligations to the mother land. In Polish ideology it is not a man who demands sacrifice from a woman but the motherland, which, deprived of the institutions of male power for nearly 150 years, had functioned as a feminine structure. That is why oppressive aspects of the myth have been obscured for so long. While Polish women were doubtless able to accept the constrictions because of their sense of national duty and any misgivings were overridden by the argument of the cause, it is important to recognise that the strength of these constructions, compounded by the ways in which they spoke of and continue to speak of a certain perfection, make them persist into contemporary Poland. Poland is however no longer embattled and the signs that made these meanings are potentially empty. This space for meaning will be and is already being contested and increasingly colonised by current western models of femininity. Ms. Ostrowska's final question is whether this will help to prevent a possible resentful victimisation of the silent and noble Polish Mother.