The Rise of the Jöüngars Based on Primary Oyirod Sources

This paper draws on primary Oyirod and Mongol sources concerning the rise of the seventeenth-century Jöüngars. It relies on eighteenth- and nineteenth-century Mongolian historical texts to identify the 1638 creation of an Oyirod Jöüngar [Left Wing] and Baroun Gar [Right Wing]. This origin of the Jöüngars differs substantially from historical accounts that project existence of a Jöüngar to an earlier time. From Sarayin Gerel [Moon Light] and other sources we learn that the creation of the Jöüngar Khanate was sudden and even unlikely after the division of Baatar Khong Tayiji’s people among his sons. The Jöüngars were so weakened by this division that the Dalai Lama gave the title of Chechen Khaan to the Khoshoud Ochirtu Tayiji in 1666. The Yeke Caaji [Great Code] describes Oyirod political organisation in 1640. Sarayin Gerel also provides details of the reign of Galdan Boshugtu from 1672 until 1692.

Genesis and Other Biblical Events Depicted in Postmodern Drama.

A complex person (novelist, playwright, screenwriter, translator), George Tabori, pen name of György Tábori, born in Budapest in 1914, was little acclaimed in North America where he spent twenty years of his life and left a mark on the German culture of the 20th century. Due to his cathartic black humour, he overcame the tragic experience of the Holocaust that took away from him almost all his family. Known in post-war drama especially by means of his anti-Hitler farce Mein Kampf (1987) which he authored, directed and acted in, Tabori even took the East-German public by surprise with his special, yet less familiar perspective on history.1 Mein Kampf was the first play that had a Romanian staging, at Cluj; however, Die Goldberg-Variationen (1991), a real international success2, became known to our public at the theatre Radu Stanca in Sibiu under the same title and as Goldberg Show at the National Theatre of Iasi (TNI). Our aim, in this paper, is to analyse the biblical events in the play from a postmodern perspective as homage to the author’s contribution to the philological sub-field of Bible and literature, already consecrated by N. Frye’s Great Code and more recent studies.

The Great Code(r) Of Serbian Literature

Koder’s life and work still remain a big secret and mysterious code of Serbian literature: this writer is defi ned as a precursor of (post) modernism 20th and 21th century. During his lifetime (1806–1891) as a writer he was not accepted: after death is all but forgotten. Innovations introduced in the literature of his contemporaries were distant and vague, but they fi t perfectly into the context that has become the dominant one hundred years later. Koder’s life destiny and fate of his work here is viewed as a whole, and in the second part analyzes his relationship with symbolism and early modern in the late 19th century. In this way, Djordje Marković Koder appears as the forerunner of modern literary and artistic process.

Blake’s Songs, Their Introductions and the Bible

Although William Blake was highly eclectic and drawing from multifarious sources, religious system, philosophical thoughts and traditions, the Bible was Blake’s most predominant concern. Throughout his life of meticulous and tedious composite art Blake aimed at decoding the Bible as the Great Code of Art for helping people to be imaginative and visionary like Jesus Christ. Both in his complex and sophisticated prophetic works, meant for the illuminated people, and in his deceptively simple lyrics of the Songs of Innocence and of Experience, meant for the rank and file of society, Blake did keep this up. The present study is an attempt to focus on this element, by delving deep into the texts and designs of the Introductions of Songs of Innocence as well as of Songs of Experience, inevitably considering the totality of Blake’s works and in the special context of their marked allegiance or affinity to the themes and symbols from the Bible. Blake visualized a blend of lamblike meekness and mildness with the ferocity of tigers of wrath for having the human form divine perfect.

Memories, Dreams and Selections

This essay addresses a shift in the way religion was approached in the literature of the Romantic period, when religion itself was changing its shape and meaning in quite radical ways. The religious revival of the period was so protean in its forms that it is almost impossible to list all its characteristics. But for many Romantics, this was no revival of 17th-century piety, even though it claimed similar biblical inspiration. This revival was as much aesthetic as devotional. The most potent literary model was no longer classical but biblical. In Blake’s words the Bible was now “The Great Code of Art.” Behind this, however, was a second even more significant factor: a new inwardness. Religious observance was not enough. Nor, even, was evangelical conviction of sin and forgiveness. The religion of the heart was not just one of inspiration but of creativity.

The Laws of Gortyn and their Cretan Context

This chapter discusses the Gortyn Code within the wider context of Cretan law. It provides a comprehensive account of the laws of Gortyn as they can be reconstructed from the Great Code and from other legal inscriptions. It also offers an overview of the relevant source material and of its specificities. The areas discussed are personal and family relations (for example marriage, adoption, slavery), commercial law and economic transactions, and legal procedure in Gortyn. The chapter also integrates the discussion of the Gortyn code within the wider research question of the unity and diversity of Greek law, and compares Cretan procedures with those attested in other poleis.

Great Code or Great Codex? Northop Frye, William Blake, and Construals of the Bible

This article reconsiders Northrop Frye’s classic study of the Bible and literature,