Polyglossia 2023

2023 discovery

Emily Stonebridge

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From the editor

Polyglossia is the Cambridge University Languages and Cultures Society (CULCS) magazine, a new issue of which is published annually.

Anyone affiliated with the university can submit one or multiple pieces of work in a format of their choosing. The collection is then standardised and managed by a team of editors and a graphic designer.

When asked to describe themselves in one word, many members of the Department of Modern and Medieval Languages and Linguistics choose “curious”, “explorer”, and the like. This year, we decided to set a theme that reflected this quality: “Discovery”. Given its immense breadth, the aim was to guide our contributors without limiting them.

Some submissions were centred directly around the idea of discovery, while in others, it shines through in more subtle ways. The range of topics seen is always phenomenal, and 2023 is no exception. A brief overview is provided on the next page to help you decide what piques your interest.

If your name is featured below, we extend our heartfelt thanks for your creative input. From an initial draft housing a whirlwind of colours, sizes, and fonts, we have produced a souvenir that we hope you will be proud to showcase for a long time to come. With any luck, you will have discovered something about yourself in the process, whether that be your artistic style or an interest in a particular topic.

If you are one of our readers, we sincerely appreciate your support in giving a group of young writers an audience. We will continue to do our best to convince you that the work of linguists, artists and historians will never become obsolete!

Maria Baranova

Contributors: William Anderton-Pithers, Maria Baranova, Rose Dolan, Qinglan Du, Jess Gowers, Mariyah Haque, Aidan Jones, William Lan, Cathryn Lewis, Chang Liu, Nadya Miryanova, Rudolf Moos, Alex Mortimer, Alice Mumford, Ranulf Prentis, Simran Rakar, Smruthi Shankar Betgov, Nadina Solovjova, Emily Stonebridge, Lois Turner, Andreas Velimachitis Head editor: Maria Baranova Deputy editor: Alex Mortimer Sub-editors: Sania Uteem, Freya Swinburne Graphic design: Niels Steinhoff Front cover: Maria Baranova. Santorini, Greece

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Contents 5 A day like any other

To kick off, Rudolf Moos has shed some light on just how chaotic it really is to live in Cambridge as a student—an experience many of us can relate to!

6 Thalassa

Andreas Velimachitis has personified the sea and described his relationship with it in a way that will immerse you in a deep emotional atmosphere while evoking all your physical senses.

unearthing of France’s 7 The “Little Pompeii” Intrigued by the partial destruction and partial preservation of a Roman neighbourhood near Lyon, Simran Rakar has commented on the distinctiveness of this recent archaeological discovery.

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When war imitates art and Servant of the people Alice Mumford has explained the powerful ways in which President Zelenskyy and social media companies have influenced Ukrainians and the wider world over the last two years.

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Rediscovering the classics: Kochanowski’s Laments and the revival of Roman and Greek literature in Renaissance Polish poetry Nadya Miryanova has delved into Kochanowski’s symbolism of death and grief, inspired by the loss of his daughter on the one hand and ancient mythology on the other.

Gesundheitsversorgung 18 Psychische für Kinder und Jugendliche in Deutschland: Aktueller Stand und Zukunftsaussichten William Lan has contemplated the extent to which young Germans’ mental health has gained the societal recognition and corresponding research it deserves.

24 Dal Rinascimento al Manierismo:

in che modo e perché differisce l’Angelo musicante di Rosso Fiorentino da una sua fonte d’ispirazione – la Madonna Sistina di Raffaello?

Providing an insightful comparative analysis of Fiorentino and Raffaelo’s paintings, Jess Gowers has been brave enough to write their article in a language they have studied for just one year.

your (grand)mother’s tongue 27 When isn’t your mother tongue Drawing from their experiences as a heritage speaker and third-generation immigrant, Alex Mortimer has reflected on issues of linguistic insecurity and cultural identity.

a Russian pop song might 28 How sound in French and How a Soviet film song might

sound in French When translating an alliterative phrase, should you prioritise preserving the phonetic effect or semantic accuracy? Maria Baranova has found their own answers to questions like this through two songs from their childhood.

an excerpt from Shakespeare 30 How might sound in modern Portuguese William Anderton-Pithers’ translation of Twelfth Night both emulates and re-interprets Shakespeare’s unique manner.

It is no coincidence that both authors are named William!

ancient Korean poetry might 32 How sound in modern English Chang Liu has embraced the challenge of translating lyrical verse from an isolating, character-based language (Classical Chinese) into an inflected, alphabet-based one.

33 Discovering the world

Finally, this collage represents a collective effort to bring together the wonders we have encountered abroad since the last publication of Polyglossia!

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▲ Artwork by Emily Stonebridge

A day like any other Rudolf Moos

07:00. My eyelids are heavy. It’s getting cold outside. I can see my breath becoming mist in the air. The insulation in my room is bad, but River Cam appears after you pull away the curtains. It’s worth it.

I put on my shorts and the sweater I got from Eton. Then, I take my morning walk. Everybody likes the sound of dry leaves cracking under their feet; I don’t.

When passing the Sidney Sussex boat house, I spot a team of rowers in the water.

They’re doing what needs to get done before lessons start. The guy in position seven tries to focus but panics and loses his rhythm. His blade hits one of the boat houses before cutting into the water again, emitting a dull sound that probably wakes someone up. These shipowners, it seems, lead such a romantic existence. But when it comes to taking a shit or a shower or just practising a straight posture, probably not a desirable one.

On my way back, I get to the Museum of Technology with some time still remaining. I decide to walk through the college. Not many people around the gardens or our library. All silent. I pass the dining hall; it’s empty. The long tables are not set for any occasion; they look ordinary. On the back wall, I see a portrayal of Mandela next to numerous paintings of white guys. Every South African I can recall from my studies is white.

Turning around, I take a glance into the kitchen. An apron was left on the metal worktop. She immediately comes to my mind, a ring on the right side of her nose, with these hilarious transparent braces that one immediately recognises. Redhead.

Her co-workers, they call her Grace, but I’ve never asked her name. One day I will.

Maybe. We usually meet on Sundays and Tuesdays, when she serves me during formal dinners and two worlds intersect.

I’m one of the few third-year students who had had a girlfriend even before enrolling. Not to drown in sadness, but I left Viola last year. Freedom is so important to me, as it will always be. I’m now 18 and love to live away from home.

Alone. Here, I guess I became myself without being judged too much. And

that’s how it will be, at least as long as my academic performance remains the same.

Frankly speaking, I am the worst of the best, but, at least, I’ve made it here.

I hustled so much for this, not knowing where such geniuses were supposed to come from that were so gifted they never actually studied. I’ve still never befriended this kind of individual.

I go on, passing the porters’ lodge.

Charlie watches Netflix, as he always does.

I don’t know how many series he’s already finished in his time here. It’s good, I think.

This guy gets paid to do what most do in their free time. I wave at him; he doesn’t notice me.

Having left college, I need to cross the narrow Magdalene Street to enter The Village, which is the courtyard on the other side of college where I live. I look left: cars coming; I look right: four bicycles. But I walk. Nobody gets angry or dares to honk their horn, because that’s how confident I am, my back straight like an arrow.

Thirty-five minutes left. I decide to take a small detour and head to Fitzbillies for a coffee. Cambridge has made me into this caffeine addict I never thought I’d become.

It’s my daily highlight now: a cappuccino.

Right before the library swallows me whole, spitting me out hours later. But not today. It’s faculty time.

At the entrance, an employee unlocks the door for me. I notice a homeless guy sitting on the empty benches right in front of the café. I clearly remember his face.

Some moments you don’t forget. During my first year in town, he once sat next to me in Jesus Green Park. I was skimming through the homework I’d received for the week, while he was just sitting there.

When our eyes met, he gave me a friendly smile, then, all of a sudden, farted. It was so outrageously loud that the rack of the bench vibrated slightly. He couldn’t have thought I’d heard this one, but didn’t react either way, and neither did I. I’ve never revealed this to anyone.

And why? Honestly, it’s a funny story, but I kinda decided to save this guy’s face and give him a second chance. Today, he

doesn’t see me, so I just go inside and buy my drink. Twenty-seven minutes.

In my room, I quickly change clothes.

I wouldn’t go downtown dressed like this; wearing shorts, I mean. So: white shirt, dark blue V-neck jumper, brown belt, brown shoes, and gray wool pants. That’s it.

The faculty isn’t far away, and the way there is almost straight. Down King’s Parade, past Trumpington Street, and a final right turn to arrive at the Engineering Department. I like to ride my bicycle with no hands. It’s a childhood memory I rediscovered here. You remember that feeling when you finally got it and cruised the streets of the neighbourhood while showing the move off to everyone, a look of pride and superiority on your face.

That’s how I enter St John’s Street, passing the entrance of St John’s College and heading towards Trinity and its stupid tree. People are looking at me, but I keep my eyes centred.

When at the corner of St. Mary’s Street, a delivery driver overtakes from behind on his electric bicycle. Silent and fast. I stay calm, but there’s this woman wearing a helmet and glasses who doesn’t. Irritated by the driver’s unexpected manoeuvre, she adjusts her direction and suddenly ends up in my lane. There’s no time for intuition.

I’m airborne for a second, then, before I know it, I’m hitting rough cobblestones with my right arm, followed by my shoulder and kneecap.

The only thought in mind? This is so fucking embarrassing.

I’m not concerned about my bleeding hand nor the throbbing pain in my hip, the broken bike or the ripped pants, let alone about the other cyclist. At least twelve people have seen how I fell from my bike while I rode it with no hands.

“Are you alright?”

Multiple voices ring almost simultaneously. I stand up and pretend that nothing happened, the passersby looking more shocked than me. The wheel of my bike is bent, so I have to walk from here.

I look at my watch; it’s scratched.

Fourteen minutes. I’ll still make it, even on foot.

Rudolf Moos

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Thalassa Andreas Velimachitis

Anatolian fuel, Mediterranean complexion.

Souvenirs of a lost life.

I remember it well: Its golden thighs; That lazy aura it wore seductively, like perfume during the summer.

Now, the beast holds my soul prisoner.

Its radiant chains, Its eternal gramophone, Enforcing my restlessness.

The sea: my lost siren.

My love, my sea, torn from me.

Once one with her, She would call my name; I would bathe in her glistening beauty, In that giant emerald eye with which I was in love.

Once, both of us drunk on some forgotten spirit, I was led by her to This old box, Rooted eternally to the bottom of A blue Aegean mass; That lazy beast from antiquity.

Closely clung mould; green rust, whose scar-like beauty I now cherish.

Archaic adornments, legends of yonder, nostalgic nights, the joy of my childhood, Carved into the box’s diminished structure.

Locked inside: my spirit, my pride, my blood, Drowning in an opiate opulence; Dissolving in lonely liquor; Dying in ignored isolation.

Now, memory, her ugly cousin, Is whom I court.

It taunts the grey walls of my mind.

My chest of treasures, my nation, my eyes, my voice, my language, To its greedy gut forever chained.

I close my eyes and squeeze out her voice.

I hope to feel her brush upon my body, her next ascent Waiting like a ghost, ready to drown me in its eternal blue, like so many times before.

But she never comes.

Cloaked by the miasma Of my own yet imposed grey sky, Painting the walls of my house With shades of black and green and tears And the blood of my own nation, I question myself And ponder momentary quests to liberate my soul and other futile quests, Trying to pacify undying cries for love that go silent into the powdery pall of the night.

I lay bruised, waiting, Basking in the heroin of wallow – my only temporary escape.

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The unearthing of France’s “Little Pompeii” Simran Rakar

“Undoubtedly the most exceptional excavation of a Roman site in 40 or 50 years.”

That is how the discovery of a wellpreserved ancient Roman neighbourhood in the southeast of France was described

by Benjamin Clément: the archaeologist at the head of a 20-strong team responsible for its unearthing six years ago. Covering 7,000 square metres, the site is about 20 miles south of Lyon and situated on the outskirts of the city of Vienne, a former Roman provincial capital with an abundance of Gallo-Roman monuments.

These include a theatre and a temple dedicated to the emperor Augustus and his wife Livia. However, the neighbourhood was only uncovered because a housing complex was scheduled to be constructed there at the time. Archaeologists like Clément, working with the company Archeodunum, were tasked with evaluating the site on account of its proximity to Vienne before construction could go ahead. The French Ministry of Culture echoed the likes of Clément at the time, labelling the discovery an “exceptional find”. Over the course of several months, further excavations revealed just how significant this archaeological site is, as well as how the tragic destruction of the neighbourhood led to it being referred to as France’s “Little Pompeii”.

In August 2017, Clément told reporters from Radio France International, Agence France-Presse, and the New York Times about two devastating fires, one of

which occurred in the beginning of the second century AD and the other in the middle of the third. These resulted in the destruction and abandonment of the neighbourhood, believed to have been inhabited for around 300 years. Yet, it is them that allowed for the preservation of both the neighbourhood’s architecture and the artefacts left behind, through the carbonisation of wooden beams in homes and the “baking” of the bricks between them, in addition to the oxidation of iron objects, such as doors, hinges and even axe heads. Although, fortunately, no evidence has been found of any residents killed by the flames, the unprecedented level of preservation has seen the site be labelled a “Little Pompeii” in Vienne.

Having discovered an extensive variety of shops used for food production and metalworking, as well as a warehouse containing wine jugs, the team of archaeologists believes that the site was built around the largest ancient Roman market square in France. A large public building containing a fountain adorned by a statue of Hercules was also uncovered, and is thought to have once been a school of philosophy. In a different part of the site, archaeologists discovered a temple with an altar— although it is unclear to which God or Goddess the altar was dedicated—inside of which they found a bronze medal made in 191 AD . Nonetheless, the most impressive find across the whole of the site is, arguably, a multi-storey villa dubbed the “Bacchanalian House”, which, despite being partially destroyed, could be restored, according to Clément, “from the floor to the ceiling”. The house’s nickname comes from its mosaic floor depicting a

procession of satyrs and maenads, the female followers of Bacchus (the Roman equivalent of the Greek god of wine and revelry, Dionysus). The villa also showcases marble tiling, extensive gardens and a water supply system. Its overall luxury and decadence gives the archaeologists reason to believe that it once belonged to a wealthy merchant.

This ancient Gallo-Roman neighbourhood was destined for destruction and obscurity. Yet, it has defied the odds and stood the test of time, providing today’s researchers with an unparalleled, incredibly detailed snapshot of life during the earlier period of the Roman Empire. A truly exceptional excavation indeed.

Agence France-Presse (2017). ‘France: archaeologists uncover “little Pompeii” south of Lyon’, The Guardian. www.theguardian.com/world/2017/aug/02/francearchaeologists-uncover-little-pompeii-south-of-lyon

Archaeology Newsroom (2017). ‘A “Little Pompeii” is uncovered in France, south of Lyon’, Archaeology Wiki. www.archaeology.wiki/blog/2017/08/03/littlepompeii-uncovered-france-south-lyon/

bolon, anne-sophie and chan, sewell (2017).

‘Roman Ruins Found in France Are Called “Exceptional” ’, The New York Times. www.nytimes.com/2017/08/02/world/europe/franceroman-neighborhood-sainte-colombe-vienne.html

daley, jason (2017). ‘Archaeologists Discover a “Little Pompeii” in Eastern France’, ­Smithsonian Magazine. www.smithsonianmag.com/smartnews/archaeologists-discover-little-pompeiieastern-france-180964311/

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WHEN

WAR IMITATES ART Alice Mumford

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ometimes, current events—or their media portrayal—can only be described as surreal. Ever since the “unprecedented” events of 2020, many of the news stories which unfold on our screens have seemed more like absurd fiction than real life. This is more evident in the Russian war of aggression in Ukraine than anywhere else. It has become a fictionalised and mythologised conflict: every moment is captured, circulated and distorted in its orbit around the internet; every figure glorified, mocked or speculated upon. All in all, it is a war in which the boundaries between real life and fiction appear to have been blurred.

This is, of course, partially a result of the world in which we live: anyone with access to the Internet can find and interact with different versions of the truth, as

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well as publish their own views on them, no matter the size of their audience. It is also a product of the specific political landscapes of Russia and Ukraine and the role played by the media in both nations.

In many post-Soviet countries, people rely on social media far more than official news sources when it comes to learning about the world. Since the official start of the war in Ukraine, Instagram has played a particularly important role, with President Zelenskyy posting live video addresses, which have mimicked the style of a vlog. Other accounts, such as With Ukraine and Saint Javelin have focused on publishing updates from different regions affected by the war. Saint Javelin began as a single drawing made by a UkrainianCanadian journalist for a small fundraiser; this caught the public imagination and

is now a news organisation employing 15 people. For many Russians, Telegram is their main source of news: as well as having access to a free messaging service, users can subscribe to channels, which are a mixture of headlines, comments, eyewitness accounts and opinions—but equally highly graphic, unmoderated images of devastation. I joined the Russian-language channel Украина сейчас and received constant notifications in the format of a message from a friend, but containing updates on the war.

“Ten people injured in Dnipro explosion”; “Shelling in Zaporizhzhia oblast”; “Fire reported on motorway outside Kyiv”.

It was overwhelming.

The trusted news sources of those who oppose the war tend to be even more social-network-oriented. Over the past

year, Russia’s already harsh media-related laws have tightened further, and almost all non-state-controlled sources have been banned. Popular liberal news organisations such as TV Dozhd and Novaya Gazeta have been forced to leave the country and operate in exile; others, such as Meduza, left Russia following the clampdown in the wake of the Russian invasion of Crimea in 2014. In fact, Russians can no longer access independent or international news websites without a VPN. This is what has led to a dependence on social media for access to information free of government bias, with political analysts publishing their reports on YouTube and anti-war content now being shared on TikTok. If the information war can be considered a legitimate strategy in conquering or controlling the minds of civilians, then social media is one of the front lines.

For the first time, social media has truly become a battlefield used to try to spread information (whether genuine or false) and win people over in order to overpower the opposing side. This is where the strange overlap between tragedy and performance comes into play: social media users are documenting their experiences of the war as a diary for posterity and a testament to those who are still unconvinced. The most popular TikTok of Aleksandr Huk, a Ukrainian soldier, has racked up 88 million views: it features him dancing in a field in his military uniform, in the same way that a teenager might perform from their neonlit bedroom. Another Ukrainian influencer, Valeria Shashenok, uploads videos with titles ranging from “Things that just make sense in a bomb shelter” to “POV : you are a Ukrainian refugee in Italy”. It is difficult to comprehend these very real situations when they are presented in a format normally reserved for hyperbole or fiction, especially when juxtaposed with the swathe of make-believe videos that use similar templates.

The outbreak of war suddenly catapulted millions of ordinary people into an extraordinary new reality, and this dissociation between regular daily life and war seems to have been bridged by fiction. Ukrainian civilians are having to assume roles and carry out tasks that most people have only seen in Harry Potter, The Hunger Games, and the like. Young people organising a resistance movement; students picking up guns instead of textbooks: the idea of all odds being against a band of brave

“

For the first time, social media has truly become a battlefield

souls who will eventually prevail against an evil dictator is a typical dystopian trope. Without a doubt, works of art are inspired by historical events, but those of us without any experience of villainous overlords or plucky rebellions now use the aforementioned literature as a reference point for real-world occurrences.

When a mysterious Ukrainian plane was spotted in one of the first days of the war, it was dubbed the “Ghost of Kyiv”, the unidentified pilot being treated like a mythical superhero. Amidst the speculations and falsified images, it is unclear whether this “ghost” was even a single individual.

It is difficult not to find oneself swayed by emotional moments like that of Elena Mandziuk making Molotov cocktails instead of her usual fashion vlogs. “Light will triumph over darkness”, quoted from the president himself, may as well have been lifted directly from a young adult fiction novel. However, we must not begin to see real people faced with tragic circumstances as fictional heroes and romanticise their situation on the Internet. They have spent a year dealing with impossible circumstances and will be feeling like anything but the main characters of adventure films. Some of those who live far away from the not-soglamorous, mundane atrocities still act like the war is not really happening. Others have claimed for a long time that the ubiquity of violence in films and videogames might be desensitising us to the horrors of war. This can be observed in the ignorant and offensive comments made

by a group of foreigners under a video of a nighttime bombing in Kyiv, comparing it to an “aesthetic”, “pretty” display of fireworks.

For those who are taking part in the war, the line between reality and imagined versions of devastation may be just as blurry. One of Huk’s videos is shot from the dashboard of his comrades’ car, showing him walking back and forth along a road in exaggerated strides; an unmistakable imitation of a video-game protagonist. Yet, this is no game. If this is how the actual combatants are reacting to the changes of the past year, it is little wonder that the rest of us are also perplexed.

debusmann jr, bernd (2022). ‘How “Saint Javelin” raised over $1m for Ukraine’, BBC News. www.bbc.co.uk/news/world-us-canada-60700906

gessen, masha (2023). ‘How Russian Journalists in Exile Are Covering the War in Ukraine’, The New Yorker. www.newyorker.com/magazine/2023/03/13/howrussian-journalists-in-exile-are-covering-the-warin-ukraine

peter, laurence (2022). ‘How Ukraine’s “Ghost of Kyiv” legendary pilot was born’, BBC News. www.bbc.co.uk/news/world-europe-61285833

stokel-walker, chris (2022). ‘The first TikTok war: how are influencers in Russia and Ukraine responding?’, The Guardian. www.theguardian.com/media/2022/feb/26/socialmedia-influencers-russia-ukraine-tiktok-instagram

AlexHook_2303ua, TikTok. www.tiktok.com/@alexhook_2303ua

Valerisssh, TikTok. www.tiktok.com/@valerisssh

Alice Mumford

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▲ Artwork by Emily Stonebridge

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Servant of the people: Zelenskyy’s dress rehearsal Alice Mumford

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etween 2015 and 2019, a Ukrainian comedian created, produced and starred in a political satire about a fictional president. By the time the series finale had aired, he had become the real president. By 2022, his achievements had got him onto the cover of Time Magazine as Person of the Year.

It all started with Слуга народу, otherwise known as Servant of the People.

Prior to the full-scale invasion of Ukraine last year, international public knowledge of President Zelenskyy was limited. Inside the country, however, he was a popular politician before he ever entered the Verkhovna Rada. For four years, Volodymyr Zelenskyy starred in the series as an unnamed history teacher suddenly turned president; in May 2019, he himself was elected as president, his real party being named after his fictional one: Слуга народу.

Watching Servant of the People for the first time this year, I immediately remarked on its dissonance with the present situation. The show paints a warm and sunlit image of Kyiv, a city now going through a very dark chapter of its history. In this alternate reality, Zelenskyy, styled as Vasyl Petrovych Holoborodko, jokes freely with his colleagues—no khaki clothes; no dark circles shadowing his eyes. The influence of Russia and Belarus is limited to some light mockery of Putin and Lukashenko, which may feel slightly personal to some viewers, but, at least, these nations’ tanks are not seen circling the streets of Ukraine.

Nonetheless, the most striking thing about watching the series this year is the strange parallel between film and reality.

Zelenskyy is not the first president to have dipped his feet into politics after having pursued an acting career. Both Reagan

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and Trump originally obtained fame on screen, retaining elements of their television personas in their presidency.

Former Slovenian Prime Minister Marjan Šarec and Guatemalan ex-president Jimmy Morales also used to be comedians.

They performed sketches in which they masqueraded as leaders of their respective countries. In Zelenskyy’s case, however, his long-standing role as Ukraine’s fictional president did more than just prepare him for his real office: it is almost identical to his current position. The reasons why his film character became popular enough to be elected as president are the same as the grounds on which real-life Zelenskyy received political support. These include his vehement opposition to corruption and injustice and the fervent belief in a more democratic Ukraine; one whose values are more closely aligned with those of liberal Europe. In the television programme, Vasyl Petrovych is catapulted into fame when a secretly recorded video of him ranting about the state of the country goes viral. Zelenskyy’s portrayal of an ordinary, honest person having political power resonated so much with fans of Слуга народу that they chose to vote him into office.

Therefore, it can be argued that the series is one of the reasons Ukraine still exists. Eight years ago, when the first Russian invasion of Ukrainian territory took place, there was far less trust in and support for Ukraine’s government. Citizens were, generally, more indifferent to the political situation, perhaps because they thought that whoever was in charge of their country, they would be corrupt. Now, they have much more to fight for. Without the changes enacted by Zelenskyy— heralded by his buoyant and optimistic

attitude towards political change as Vasyl Petrovych—Ukraine might have met a drastically different fate over the past year.

When giving his inaugural speech, Vasyl Petrovych begins with a partially plagiarised version of Lincoln’s Gettysburg Address, before launching into an unscripted, heartfelt entreaty to his fellow Ukrainians. This moment has its echoes in Zelenskyy’s real-life virtual speech to the UK Parliament, in which he quoted Churchill’s famous wartime speech. Both instances rely on the idea of attaching oneself, through association, to a historical figure who embodied righteous defiance in the face of invasion and oppression, and, to some extent, playing the role of this figure to garner support. In the past year, as Zelenskyy has unexpectedly been thrust into playing the part of the hero on the world stage, there has been a role reversal, since he is no longer just an actor, but a character whom others try to imitate.

President Macron was criticised for staging an alleged “Zelenskyy photoshoot”, which seemed like a grotesque cosplay of a wartime hero, while the president’s iconic khaki fleece was sold for £90,000 at an auction in London. The focus was, naturally, on raising funds to compensate for military efforts, but it is strange to think that someone might be walking the streets of London in a “Ukrainian president” costume.

On the other side, Putin could be considered an actor, not only for his bizarre and overly masculine public persona of a bear wrestler and topless calendar model, but also for his constant references to World War Two. If Zelenskyy is branding himself as Churchill, then Putin must be playing the part of Stalin, encouraging Russians to support his

war by reminding them of the last time that they collectively felt proud of their country: the “Great Patriotic War”. It is somewhat ironic that Britain and the USSR were allies in this conflict.

In Servant of the People, Zelenskyy actually has another role aside from that of the president, and that is as his own body double. Grisha is an ordinary man who has been transformed into the president’s doppelgänger through plastic surgery, so that he can, as some have joked, stand in for Vasyl and save him both

from assassination attempts and tedious events like drinks with Lukashenko. It is a popular assumption in Ukraine that Putin has several body doubles, so the inclusion of Grisha as a character seems all the more natural. This means there are, in fact, three identical presidents: the real one, the pretend one, and a pretend pretend one.

Perhaps, when Zelenskyy created these characters, it was merely a rehearsal for Act One of his actual presidency. No one could have predicted what was going to happen in Act Two.

sage, adam (2022). ‘Emmanuel Macron goes for the Zelensky look’, The Times. www.thetimes.co.uk/article/macron-goes-for-thezelensky-look-h99nk5m3w

shuster, simon (2022). ‘Volodymyr Zelensky is TIME ’s 2022 Person of the Year’, TIME . www.time.com/person-of-the-year-2022volodymyr-zelensky/

sottile, zoe (2022). ‘Zelensky’s iconic fleece sold for over $100,000 at Ukraine fundraiser’, CNN . www.edition.cnn.com/2022/05/08/world/zelenskyfleece-auction-fundraiser-trnd/index.html

Image: President of Ukraine. www.president.gov.ua

Alice Mumford

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Rediscovering the classics: Kochanowski’s Laments and the revival of Roman and Greek literature in Renaissance Polish poetry Nadya Miryanova

“Y

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the poetry produced by Horace, Virgil, and Homer, but also the Stoic reflections of Cicero. The introductory quotation mirrors the language of a question posed in the consolation letter that Publius Sulpicius Rufus wrote to Cicero, where he asked: “Can you be so greatly moved by the loss of one poor little woman’s frail spirit?” The poet’s reply is clearly assenting.

Kochanowski’s grief leads him to interpret and discover Classical literature in a different light: Stoic philosophy does not give him reason, but a new understanding of the world, while mythological characters and imagery grant him a frame of reference for conceptualising his daughter’s death and afterlife.

The Latin epigraph to the Laments marks the first Classical allusion in the cycle: “The minds of men are reflections of how father Jupiter himself illuminated the fertile lands with light”. This is a fragment from Homer’s Odyssey as translated by Cicero and passed on by St. Augustine in De civitate Dei. Reflecting upon the ephemeral and impotent nature of humanity when compared to the greater power of the Gods, this quotation stages the tension between the all-powerful Biblical God and pagan wisdom. The resulting friction presides over the entirety of Kochanowski’s

▲ Artwork by Emily Stonebridge

ou’ve turned my household into empty space, my dear Ursula, leaving with no trace.

It’s full, yet feels as if no one is here: with one tiny life, so much disappeared,” wrote Renaissance Polish poet Jan Kochanowski (1530–1584) in Lament VIII. Recognised as the greatest poet during Poland’s existence as an independent kingdom, Kochanowski wrote the Laments—a collection of nineteen poems—in memory of his daughter, who died prematurely at the age of thirty months. These express deep grief, heartache and other intimate emotions through an erudite literary style. His lyricism is as beautiful as it is devastating: heart-wrenching memories are depicted through the harmonious rhythm of the Polish Alexandrine, alternating between longer 13-syllable and truncated 7-syllable lines, as if in an attempt to manage the aforementioned feelings in the form of structured verse.

The sharp humour of Kochanowski’s Trifles and the sunny optimism of his Songs have all but dissolved, yet the author continues to elevate Polish as a vernacular by inscribing it within the esteemed Classical tradition, which formed a crucial part of his humanist education.

Kochanowski derives inspiration from both Greek and Roman literature: notably

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poetic cycle and concludes with the poet embracing the consolation that his Christian faith can bring him. However, the Laments, especially the earlier poems, are imbued with mythological references that accentuate the theme of death and intense sorrow. In the very first Lament, Kochanowski draws an implicit parallel between his own poetic role and that of two Greek writers: Heraclitus (“the weeping philosopher”) and Simonides (an elegiac poet famous for his laments).

Kochanowski calls for unity and collective

Kochanowski reflects upon Niobe’s fate and finds that he understands her pain: “I am not surprised that Niobe turned to rock / Amid the lifeless bodies of her dearest flock”. The poet goes a step further in Lament XV, as he not only shows a true understanding of Niobe’s situation, but feels that his despair can be elevated to her level: “Calm my distressed thought just for a moment, / ’Ere I turn into a stone monument, / That’s shedding bloody tears through live marble”. In Ray J. Parrott’s words, Kochanowski “raises the Death

“

The underworld imagery opens up a new poetic possibility for Kochanowski

mourning: “All the cries, all tears of Heraclitus, / All wails, and complaints of Simonides [....] / And you do soar to my house together / And help me mourn for my precious daughter”. In doing so, he amplifies his grief against the background of Classical writers; one that is closely associated with lamentation.

Kochanowski invokes mythological figures that experienced a dramatic downfall or devastating peripeteia (sudden reversals of fortune): Niobe, in particular, is a prominent character that the poet begins to connect with. Having boasted about her superiority as a mother of seven daughters and sons to Leto (the mother of Apollo and Diana), Niobe called upon the people of Thebes to worship her instead. To punish her sinful behaviour, Apollo and Diana killed all of her children, leaving her to turn into stone from grief and shed tears for eternity, as narrated in Ovid’s “Metamorphoses”. In Lament IV,

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theme to a final crescendo” by calling for an end to Niobe’s grief: “What do you, Phoebus and vengeful goddess, / Do with unerring bow and swift arrows? / Either in wrath (for her guilt) or in pity / End,

by God, her feeble longevity”. Allusions to traditional mythological ideas and characters thus serve to dramatise the poet’s grief and give it a tangible, comparative threshold for the reader.

The theme of death runs as a consistent thread throughout the Laments, and it is, thus, unsurprising that Kochanowski employs the Classical imagery of the underworld. Frequent references are made to Pluto, the King of the Dead, as well as his wife Proserpine, who is often portrayed as a representation of Death itself. The poet directs his bitter anger towards both of these figures, invoking “harsh Pluto” with a “stone-like heart” and the “harshness of Proserpine”, while characterising the legendary Queen as a

“cruel, relentless, / Unbending princess of vanishing shades” who prematurely took Ursula into the “regions of endless night” (Lament II). He cries out to her in a direct address at the end of Lament V: “‘O harsh Persephone, / How could you let so many tears flow fruitlessly?”: a reflection of his desperation and the immense pain that he feels has been inflicted unjustly. The ferryman of the underworld, Charon, also appears in the Laments: Kochanowski almost definitely drew inspiration from book VI of The Aeneid, where this old god is depicted with “glaring eyes [that] are lit with fire and a foul cloak hang[ing] from a knot at his shoulder”. His role is described as follows: “With his own hands he plies the pole and sees to the sails as he ferries the dead in a boat the colour of burnt iron”. Mirroring this vivid presentation, Kochanowski asks Ursula in Lament X: “Does Charon ferry you / Across lakes of sorrow and make you drink / Waters of oblivion so you know nothing / Of my tears?”. In Lament XIV, Kochanowski also invokes Charon, but this time in the context of the myth of Orpheus and Eurydice. He contemplates the location of the “ill-starred gate” through which Orpheus strode and expresses his wish to enter it himself: “O, could I the same path also travel, / Seek my dear daughter and cross the river, / Where a horrid boatman ferries pale ghosts / And drives them to the mournful cypress groves”. Just like Orpheus sought Eurydice, Kochanowski desires to enter the underworld to return Ursula to the living world—a comparison that magnifies the poet’s aching feeling of parental loss and longing. The underworld imagery opens up a new poetic possibility for Kochanowski: a way of figuratively rebuking the agents of death that took his daughter away from him and even reaching out to her soul in the afterlife.

The event of his daughter’s death also leads Kochanowski to reflect critically upon the doctrine of Stoic philosophy, which places a distinct emphasis on rationality and the state of being virtuous while living life in perfect accordance with reason. The poet directly rebukes the premise of this philosophy in Lament XI, showing his lack of conviction through the figure of Marcus Junius Brutus, Caesar’s assassin and a symbol of the earliest republican values: “‘Virtue—a trifle!’—said vanquished Brutus. / Trifle, all know, trifle in all cases. / Who was ever saved by his piousness? / Who was

preserved from ill chance by goodness?”.

As Michael Mikoś points out, just after his defeat by Augustus Caesar at the Philippi, Brutus was rumoured to have stated that virtue was “but a name”. Kochanowski thus mirrors this opinion by questioning whether acting virtuously truly does bring any benefits to one’s lived reality.

The poet continues to contemplate the idea of virtue in Lament XVI, where he directly rebukes Cicero: “‘Death,’ you say, ‘frightens only the godless’; / Why did you not want to die, virtuous, / When because of the insults which you said, / You risked your head?”. This quotation reads as a paraphrase of Cicero’s Tusculan Disputations (I.49, 118, according to Mikoś): the orator attacked Mark Antony in his speeches, an offence punishable by death, and when faced with a centurion of the emperor’s order, his attempts to save his life proved futile. Equally, he attacks Cicero’s Stoicism and pagan rationality earlier on in the same poem, questioning his logic: “Wordy Arpinian, why in tears do you roam / From your beloved homeland?

Not glorious Rome, / But the world is the City of the wise man / In your judgement”.

In his Tusculan Disputations (5, 37, 108, according to Mikoś), Cicero diminishes the gravity of being banished, citing Socrates in saying that the wise man is “a native and citizen of the whole word”.

However, Kochanowski points out that the orator was plunged into despair when the situation befell him: here lies the flaw within the Stoic approach—it is much more straightforward in theory than in practice. He also draws a clear parallel between his and Cicero’s situations: “Why do you grieve so much for your daughter? / After all, you shun only dishonour; / You treat all the other adversities / Almost like bliss”. Cicero’s daughter, Tullia, died at a young age, not long after her second pregnancy, and the poet concludes that Cicero’s philosophy had also failed in helping him to process his own guiltstricken grief. Kochanowski’s conclusion is clear: “You convinced all but yourself, Arpinian; / I see, for you too, easier said than done; / O, angelic quill, in mishap your heart / Was, like mine, scarred”. In other words, Stoicism is not the answer. It is only in the final Lament, taking the form of a consolatio and modelled on the letter of Servius Suplicius in Cicero’s Epistulae ad familares (according to Mikoś), that the poet finds the silver lining, as pale as it might be. Kochanowski emphasises his

Faith in God’s plan: “God’s judgements are hidden, what He’s resolved / Would best be also by us approved”, and the lament ends with a renewed acceptance of God’s judgement, albeit tainted with grief: “You adhere to this, my son, and the human lot / Bear like a man. There’s one Lord of grief and reward”. In rejecting the Stoic philosophy that he once admired, Kochanowski discovers a different path: finding consolation in God’s wisdom.

Perhaps the most devastating image in the Laments is the portrayal of Ursula as a small olive shoot that is cut off by a weeding gardener: a stem of potential destroyed prematurely. In Odyssey, the olive tree acts as a sacred symbol representing peace, life, and civilisation.

For example, when Odysseus returns to his home in Ithaca after his wanderings, he sleeps under an olive tree. The tree was not indigenous to Poland, so this comparison will seem especially striking to well-informed readers. While the olive shoot was a popular symbol in Classical literature, it is made more poignant when juxtaposed with certain scenes from The Aeneid. Virgil extensively uses flower imagery to describe lives taken before their prime: most notably, in book IX, the Trojan youth Euryalus’ dying body is described as a “scarlet flower languishing and dying when its stem has been cut by the plough”. This image is Catullan and elegiac in nature: take the conclusion of poem 11, where Catullus describes his love dying “like the flower at the farthest meadow, after it was touched by the plow passing”—cultivating an image of lost, unrequited love. Virgil turns this image around to eulogise a talented youth, which Kochanowski mirrors in Lament XV, where he describes Niobe’s children as “lying like flowers by a scythe cut down / Or beaten by a fierce rain to the ground”. However, when compared to Ursula’s olive shoot, this image magnifies his tragedy: Niobe’s children had been blossoming in their prime, whereas Ursula’s had been taken from her before she could even reveal her true colours to the world. This natural Classical imagery allows Kochanowski to figuratively express the promise that Ursula held and the cruel way in which it was stripped away from her and her parents alike.

While Kochanowski ultimately fails to reconcile his grief through pagan philosophy and Classical imagery, turning with greater focus to Christian

consolation, his poetry is still greatly shaped by mythological narratives and follows in the footsteps of the Classical tradition. Like the bard Demodocus in Homer’s Odyssey, Kochanowski weaves his own story through lyric, but on a profoundly personal note that resonates deeply with love and loss. In his epigram dedicated to Homer, Kochanwoski wrote: Sooner darkness will eclipse the day and the night Will be flooded by sunshine and glow in the light, Sooner limitless sea waters will become sweet, The dead will leave their graves the rays of sun to greet, Than the name of Homer and his glory upheld By his divine writings will perish from his world.

This stunning tribute commemorates the timeless nature of Homer’s works and their relevance. I cannot help but conclude that the same stands for Kochanowski’s own poetry: his heartfelt grief, breathtaking lyricism, and strong paternal love will, undoubtedly, continue to touch readers’ hearts for centuries to come.

mikoś, michael j. (1995). Polish Renaissance Literature: An Anthology. Columbus: Slavica Publishers. parrott, ray j. jr. (1969). Mythological Allusions in Kochanowski’s Laments. The Polish Review, 14.1, 3–19. virgil (2003). The Aeneid. Penguin Classics.

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PSYCHISCHE GESUNDHEITS­VERSORGUNG FÜR KINDER UND JUGENDLICHE IN DEUTSCHLAND Aktueller Stand und Zukunftsaussichten

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William Lan

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ie psychische Gesundheit von Kindern und Jugendlichen ist ein zentrales Thema, das in den vergangenen Jahrzehnten weltweit verstärkt Beachtung gefunden hat. In Deutschland, wo das Bewusstsein für die Wichtigkeit der psychischen Gesundheit in der Kindheit und Jugend stetig gewachsen ist, spiegelt sich diese globale Tendenz wider. Diese ­Altersgruppe ist für verschiedene psychische Erkrankungen anfällig, darunter Depressionen, Angstzustände und Verhaltensstörungen, die langfristige Auswirkungen auf ihre Lebensqualität haben können. Daher ist es entscheidend, die psychische Gesundheitsversorgung für diese Bevölkerungsgruppe zu verbessern und anzupassen, um ihren besonderen ­Bedürfnissen gerecht zu werden.

In diesem Artikel werden wir die histo­rische Entwicklung und den aktuellen Stand der psychischen Gesundheits­ versorgung für Kinder und Jugendliche in Deutschland diskutieren. Ebenso werden wir uns mit den Auswirkungen von sozialen Medien und der COVID -19-Pandemie auf die psychische Gesundheit dieser Altersgruppe auseinandersetzen. Abschließend werfen wir einen Blick in die Zukunft der psychischen Gesundheitsversorgung, indem wir neue Forschungsergebnisse und politische Maßnahmen in Betracht ziehen, die darauf abzielen, die Versorgung und das Verständnis für die psychische Gesundheit bei Kindern und Jugendlichen zu verbessern.

Historischer Überblick der psychischen Gesundheitsversorgung für Kinder und Jugendliche in Deutschland In der Anfangszeit der psychischen ­ esundheitsversorgung wurde Kindern G und Jugendlichen häufig nicht die Aufmerksamkeit gegeben, die nötig gewesen

wäre. Es wurde weitestgehend angenommen, dass sie vor psychischen Erkrankungen geschützt seien und es gab wenig Anerkennung für die spezifischen Bedürfnisse dieser Altersgruppe (Castell et al., 2003).

Mit der Zeit hat sich dies jedoch geändert.

1900: In der Frühzeit der Psychologie wurde die Kinder- und Jugendpsychiatrie hauptsächlich als Unterzweig der ­Erwachsenenpsychiatrie behandelt und die Behandlungsmethoden waren oft repressiv und auf Verhaltenskontrolle ausgerichtet.

1950: Nach dem Zweiten Weltkrieg begann in Deutschland ein Wandel in der Kinder- und Jugendpsychiatrie. Es wurde ein stärkerer Fokus auf die Entwicklung von Kindern und die Auswirkungen von Kriegstraumata gelegt, was zu einer verstärkten Betonung von Therapie und Beratung führte (Castell et al., 2003).

2000: Im 21. Jahrhundert wurde die psychische Gesundheit von Kindern und Jugendlichen besser verstanden und anerkannt. Es wurde deutlich, dass viele psychische Störungen im Kindesalter beginnen und eine frühe Intervention entscheidend für die Vorbeugung und ­Behandlung sein kann. Infolgedessen ­wurden in Deutschland verstärkt ­Kinderund Jugendpsychiatrie-Programme eingeführt und ausgebaut.

2023: Heute wird die psychische ­Gesundheit von Kindern und Jugendlichen als ein integraler Aspekt der ­allgemeinen Gesundheit und des Wohlbefindens ­anerkannt. Es gibt ein stärkeres Bewusstsein für die Auswirkungen von Traumata, Stress und anderen psychosozialen Faktoren auf die psychische Gesundheit in der Kindheit und Jugend.

2023+: Einige wichtige Erkenntnisse haben in den vergangenen Jahren den Weg für die Zukunft der psychischen Gesundheitsversorgung von Kindern und Jugendlichen in Deutschland geebnet. Eine davon

ist die zunehmende Erkenntnis, dass die Umwelt, in der Kinder aufwachsen, einen erheblichen Einfluss auf ihre psychische Gesundheit hat. Dies umfasst sowohl das unmittelbare familiäre Umfeld als auch größere sozioökonomische Faktoren, die Stress und Traumata bei Kindern verursachen können.

Die Entwicklung der psychischen Gesundheitsversorgung für Kinder und ­Jugendliche in Deutschland ist ein ­dynamischer Prozess, der im Laufe der Jahre einen erheblichen Wandel erfahren hat. Von der frühen Ignoranz über die spezifischen Bedürfnisse dieser Altersgruppe bis hin zur heutigen Anerkennung ihrer speziellen Bedürfnisse und der Notwendigkeit einer individualisierten und ganzheitlichen Betreuung.

Aktueller Stand der psychischen Gesundheitsversorgung für Kinder und Jugendliche in Deutschland Die psychische Gesundheit ist ein wesentlicher Bestandteil des Wohlergehens von Kindern und Jugendlichen. In Deutschland wurden in den vergangenen Jahrzehnten erhebliche Fortschritte in der Versorgung dieser Altersgruppe erzielt, doch die aktuelle Landschaft ist nach wie vor mit Herausforderungen konfrontiert. Die Art und Weise, wie Kinder und Jugendliche Zugang zur psychischen Gesundheitsversorgung erhalten, die Grenzen des derzeitigen Systems und die Auswirkungen von sozialen Medien sowie der COVID -19-Pandemie auf die psychische Gesundheit, sind alles relevante ­Aspekte, die einer sorgfältigen Unter­ suchung bedürfen.

Der Zugang zur psychischen Gesundheitsversorgung für Kinder und Jugendliche in Deutschland ist ein komplexes Thema mit vielen Facetten. Trotz gewisser William Lan

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Fortschritte gibt es nach wie vor Barrieren, die den Zugang zu Diensten erschweren und die Qualität der Versorgung beeinträchtigen. Dazu gehören der Mangel an spezialisierten Gesundheitsdienstleistern in bestimmten Regionen und die unzureichende Integration der psychischen Gesundheitsversorgung.

Im Hinblick auf die Grenzen des derzeitigen Systems und die Bemühungen zur Verbesserung steht Deutschland vor einigen Herausforderungen. Obwohl einige Fortschritte erzielt wurden, gibt es immer noch erhebliche Lücken. Insbe-

sondere in Bezug auf die Integration der psychischen Gesundheitsversorgung in Schulen und Gemeinden sowie für die Nachsorge von Jugendlichen, die in das Erwachsenen­system wechseln, besteht Verbesserungsbedarf. Die Beseitigung des mit psychischen Erkrankungen verbundenen Stigmas hat in den vergangenen Jahren zwar deutlich zugenommen, befindet sich jedoch noch immer nicht auf einem wünschenswerten Niveau.

Die Rolle von sozialen Medien und der COVID -19-Pandemie in Bezug auf die psychische Gesundheit von Kindern und

Jugendlichen spielt eine entscheidende Rolle. Es wird zunehmend erkannt, dass beide Faktoren erhebliche psychische Auswirkungen haben können, was die Notwendigkeit unterstreicht, sowohl die positiven als auch die negativen Aspekte dieser Phänomene in Betracht zu ziehen.

Insgesamt bietet die aktuelle Landschaft der psychischen Gesundheits­ versorgung für Kinder und Jugendliche in Deutschland sowohl Herausforderungen als auch Chancen. Indem wir diese A ­ spekte erkennen und sie in unsere Bemühungen um Verbesserungen einbeziehen, können wir sicherstellen, dass die Versorgung ­weiterhin den Bedürfnissen dieser wichtigen Bevölkerungsgruppe gerecht wird.

Zugang zur psychischen Gesundheitsversorgung

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Trotz gewisser Fortschritte gibt es nach wie vor Barrieren 20 Polyglossia

In Deutschland erfolgt der Zugang zur psychischen Gesundheitsversorgung für Kinder und Jugendliche in der Regel über den Kinderarzt oder den Hausarzt.

Nach einer Erstbewertung können diese eine Überweisung an einen spezialisierten Kinder- und Jugendpsychiater oder Psychotherapeuten ausstellen. Eine Herausforderung besteht darin, dass es in einigen Teilen des Landes, insbesondere in ländlichen Gebieten, einen Mangel an solchen Spezialisten gibt. Dadurch kann es zu langen Wartezeiten und Schwierigkeiten beim Zugang zu Behandlungen kommen.

Grenzen des derzeitigen Systems und Bemühungen zur Verbesserung Das derzeitige System der psychischen Gesundheitsversorgung für Kinder und Jugendliche in Deutschland ist begrenzt.

Dazu gehören die oben erwähnten Zugangsschwierigkeiten, aber auch Probleme wie die unzureichende Integration von psychischer Gesundheitsversorgung in Schulen und Gemeinden. Ebenso stellt die unzureichende Nachsorge und Unter­ stützung für Jugendliche, die die Versorgung im Erwachsenenalter erstmals selbst übernehmen, und das Stigma, das immer noch mit psychischen Erkrankungen verbunden ist, eine Problematik dar.

Zur Verbesserung der Versorgung gibt es mehrere laufende Bemühungen. Dazu gehört etwa die Verbesserung der Aus- und Weiterbildung von Fachleuten im Bereich der psychischen Gesundheit, um die Versorgungskapazität zu erhöhen. Zudem gibt es Initiativen zur Förderung der psychi-

schen Gesundheit und zur Prävention psychischer Erkrankungen in Schulen und Gemeinden, einschließlich Schulungs­ programmen für Lehrer und andere Mitarbeiter, die mit Kindern und Jugendlichen arbeiten (Bundesministerium für Gesundheit, 2008).

Auswirkungen von sozialen Medien und COVID-19 auf die psychische Gesundheit Die zunehmende Nutzung sozialer Medien unter Kindern und Jugendlichen hat erhebliche Auswirkungen auf die ­psychische Gesundheit dieser Altersgruppe. Während soziale Medien positive Aspekte wie die Möglichkeit zur Ver­netzung und Kommunikation haben können, sind sie auch mit Risiken wie ­Online-Mobbing, dem Vergleich mit anderen und der Exposition gegenüber schädlichen Inhalten verbunden.

Die COVID -19-Pandemie hat ebenfalls erhebliche Auswirkungen auf die psychische Gesundheit von Kindern und Jugendlichen hinterlassen. Viele haben durch die Pandemie und die damit verbundenen Maßnahmen, wie Schul­schließungen und soziale Isolation, Stress und Angst erlebt (Ravens-Sieberer et al., 2022). Es wird erwartet, dass die Nachwirkungen der Pandemie auf die psychische Gesundheit von Kindern und Jugendlichen auch noch in den kommenden Jahren spürbar sein werden.

Stigma im Zusammenhang mit psychischen Erkrankungen, das dazu führen kann, dass einige Kinder und Jugendliche zögern, Hilfe zu suchen oder ihre Erfahrungen zu teilen.

Die wachsende kulturelle Vielfalt in Deutschland stellt eine weitere Herausforderung dar. Kinder und Jugendliche mit Migrationshintergrund können zusätzliche Hürden bei der Suche nach psychischer Gesundheitsversorgung haben, einschließlich sprachlicher Barrieren und kultureller Unterschiede in Bezug auf die Wahrnehmung und Behandlung von psychischen Erkrankungen.

Es gibt jedoch zunehmende Bemühungen, das Bewusstsein für diese Fragen zu schärfen und integrativere Praktiken in der psychischen Gesundheitsversorgung einzuführen. Darunter fallen unter anderem Programme zur Förderung der psychischen Gesundheit in Schulen, die speziell auf kulturelle Unterschiede eingehen, und

mit einer Reihe von bahnbrechenden Entdeckungen und neuen Richtlinien. Diese können die Art und Weise, wie psychische Gesundheitsdienste bereitgestellt und genutzt werden, potenziell revolutionieren.

Eine der aufregendsten Entwicklungen in diesem Bereich ist die zunehmende Verwendung digitaler Technologien wie mo­ bile Anwendungen und Telemedizin zur Verbesserung des Zugangs zur Versorgung und der Effektivität der Behandlungen.

Die COVID -19-Pandemie hat die ­Nut­zung dieser Technologien beschleunigt und gezeigt, wie sie verwendet werden kön­nen, um Hindernisse für die Versorgung wie geografische Distanzen und mangelnde Fachkräfte zu überwinden. Es gibt bereits eine Reihe von erfolgreichen Initiativen in diesem Bereich wie digitale Tools für die psychische Gesundheits­ versorgung einschließlich Selbsthilfe­ materialien, Diagnosetools und Therapieprogramme.

Initiativen zur Verringerung des Stigmas im Zusammenhang mit psychischen ­Erkrankungen.

Neue Richtlinien und Gesetzgebungen spielen ebenfalls eine entscheidende Rolle bei der Gestaltung der Zukunft der psychischen Gesundheitsversorgung in Deutschland. Beispielsweise hat die Bundesregierung bereits in der Vergangenheit eine Reihe von Maßnahmen angekündigt, um die Versorgung zu verbessern. Dazu gehören eine Erhöhung der Finanzierung für psychische Gesundheitsdienste, eine verbesserte Ausbildung für Fachkräfte

Kultur und Identität: Einfluss auf die psychische Gesundheit und die Gesundheitsversorgung Die deutsche Kultur und Identität hat einen signifikanten Einfluss auf die psychische Gesundheit von Kindern und Jugendlichen und die Gesundheitsversorgung. Eine der bemerkenswertesten ­Facetten der deutschen Kultur ist das hohe Maß an Struktur und Ordnung, das oft in der Erziehung und Bildung ver­mittelt wird. Während diese Struktur Kindern und Jugendlichen helfen kann, sich sicher und stabil zu fühlen, kann sie auch Druck und Stress erzeugen, insbesondere in Bezug auf schulische Leistungen und Zukunftsaussichten.

Das deutsche Gesundheitssystem, das tief in der Kultur und Identität des Landes verwurzelt ist, legt großen Wert auf Prävention und ganzheitliche Versorgung.

Allerdings gibt es immer noch ein gewisses

Zukunftsperspektiven für die psychische Gesundheitsversorgung in Deutschland: Entdeckungen und neue Richtlinien Die Zukunft der psychischen Gesundheitsversorgung für Kinder und Jugendliche in Deutschland ist vielversprechend,

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im Gesundheitswesen und Maßnahmen zur Reduzierung des Stigmas im Zusam­ menhang mit psychischen Erkrankungen ­(Bundesministerium für Gesundheit, 2013).

Eine weitere wichtige Entwicklung ist die zunehmende Anerkennung der Bedeutung der psychischen Gesundheit in der Schule. Es gibt eine wachsende Zahl von Programmen und Initiativen, die darauf abzielen, das Bewusstsein für psychische Gesundheitsthemen unter Schülern und Lehrern zu schärfen und Unterstützung und Ressourcen für Schüler bereit­zustellen, die mit psychischen Gesundheits­problemen konfrontiert sind.

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Ebenso rückt die Prävention psychischer Erkrankungen immer stärker in den Vordergrund. Es gibt eine wachsende Anerkennung dafür, dass frühzeitige Interventionen entscheidend sein können, um das Auftreten von psychischen Erkrankungen zu verhindern oder ihre Auswirkungen zu mildern. Eine Reihe von Programmen und Initiativen konzentrieren sich darauf, Faktoren wie Belastbarkeit, emotionale Kompetenz und soziale Fähigkeiten bei Kindern und Jugendlichen zu stärken, die dazu beitragen können, die psychische Gesundheit zu schützen und zu fördern.

Zusammenfassend kann gesagt werden, dass die Zukunft der psychischen Gesund-

Einer der aufregendsten Bereiche der aktuellen Forschung ist die Nutzung neuer Technologien Zusätzlich wird die Bedeutung der integrativen Versorgung immer mehr ­anerkannt. Dies beinhaltet eine ­stärkere Betonung auf die Zusammenarbeit zwischen verschiedenen Fachleuten wie Hausärzten, Psychologen, Sozialarbeitern und Lehrern, um eine ganzheitliche Versorgung für Kinder und Jugendliche mit psychischen Gesundheitsproblemen zu gewährleisten. Dieser Ansatz wird durch neue Modelle der Versorgung unterstützt.

Eine weitere Schlüsselentwicklung ist die zunehmende Berücksichtigung der psychischen Gesundheit von Kindern und Jugendlichen mit Migrationshintergrund. Es werden Strategien entwickelt, um die spezifischen Herausforderungen dieser Bevölkerungsgruppe zu bewältigen, wie sprachliche Barrieren und kulturelle Unterschiede bei der Wahrnehmung von psychischen Erkrankungen.

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heitsversorgung für Kinder und Jugendliche in Deutschland aufregende Möglichkeiten bietet. Mit den Fortschritten in der Technologie, neuen politischen Verpflichtungen und der wachsenden Anerkennung der Wichtigkeit der psychischen Gesundheit in allen Bereichen des Lebens gibt es eine Reihe von Möglichkeiten, um das System zu verbessern und sicherzustellen, dass jedes Kind und jeder Jugendliche die Unterstützung und Versorgung erhält, die er oder sie benötigt.

Forschung und Entwicklungen Im Bereich der psychischen Gesundheit von Kindern und Jugendlichen gibt es ständig neue Forschungen und Entwicklungen, die unser Verständnis von psychischen Erkrankungen und ihrer Behandlung vertiefen. Einer der aufregendsten

Bereiche der aktuellen Forschung ist die Nutzung neuer Technologien zur Verbesserung der psychischen Gesundheitsversorgung. Ein Beispiel ist die Entwicklung von KI -basierten Anwendungen, die auf die Identifizierung und Behandlung von psychischen Gesundheitsproblemen abzielen. Solche Anwendungen können dabei helfen, eine Früherkennung von Symptomen zu ermöglichen und Patienten durch kognitive Verhaltenstherapie (CBT ) oder andere Interventionen zu unterstützen.

Es gibt auch eine zunehmende Forschung über die Auswirkungen der Exposition gegenüber Traumata in der Kindheit auf die psychische Gesundheit im späteren Leben. Diese Forschungsergebnisse unterstreichen die Bedeutung einer frühen Intervention und Unterstützung für Kinder, die traumatischen Ereignissen ausgesetzt waren, um langfristige psychische Gesundheitsprobleme zu verhindern.

In Deutschland werden zahlreiche Forschungsprojekten durchgeführt, um bessere Einblicke in die psychische Gesundheit von Kindern und Jugendlichen zu gewinnen. Dazu gehört etwa das Projekt „MindMatters“, eine Schulkampagne zur Förderung der psychischen Gesundheit.

Im Rahmen dieser Initiative wird die Verwendung von Programmen zur Förderung der psychischen Gesundheit in Schulen unterstützt (MindMatters, 2023).

Eine weitere wichtige Entwicklung ist die Forschung auf dem Gebiet der Genetik.

Wissenschaftler versuchen, genetische Marker für bestimmte psychische Erkran­ kungen zu identifizieren, was neue Möglichkeiten für die Früherkennung und Behandlung eröffnen könnte. Diese Forschung befindet sich zwar noch in einem frühen Stadium, könnte aber das Potenzial haben, die psychische Gesundheits­ versorgung für Kinder und Jugendliche in Deutschland grundlegend zu verändern.

Neue Politik und gesellschaftliche Initiativen Die psychische Gesundheit von Kindern und Jugendlichen ist zunehmend ein zentraler Punkt in der deutschen Gesundheitspolitik. Es gibt verschiedene politische und gesellschaftliche Initiativen, die darauf abzielen, die Versorgung und Unterstützung für diese Gruppe zu ­verbessern.

Ein wichtiger politischer Schritt war die Einführung des Präventionsgesetzes im Jahr 2015, das den Fokus auf die Früh-

erkennung und Prävention psychischer ­Erkrankungen bei Kindern und Jugendlichen legt. Dieses Gesetz hat dazu geführt, dass Gesundheitsförderung und Prävention in allen Lebensbereichen, einschließlich Schulen und Gemeinschaften, stärker berücksichtigt werden (Bundesministerium für Gesundheit, 2019).

Ein weiteres bemerkenswertes politisches Engagement ist das „Gesetz für schnellere Termine und bessere Versorgung“ (Terminservice- und Versorgungsgesetz, TSVG ), das im Jahr 2019 in Kraft getreten ist. Dieses zielt darauf ab, den Zugang zur psychischen Gesundheits­ versorgung zu verbessern, indem Warte­ zeiten für Termine bei Fachärzten, einschließlich Psychiatern und Psycho­ therapeuten, verkürzt werden (Bundes­ ministerium für Gesundheit, 2019).

Auf gesellschaftlicher Ebene gibt es zahlreiche Initiativen zur Verbesserung der psychischen Gesundheit von Kindern und Jugendlichen. Ein Beispiel ist die Initiative „Offensive Psychische Gesundheit“, die vom Bundesministerium für Gesundheit in Zusammenarbeit mit verschiedenen Organisationen ins Leben gerufen wurde. Diese Initiative zielt darauf ab, das Bewusstsein für psychische Gesundheit zu fördern und die Stigmatisierung psychischer Erkrankungen zu bekämpfen (Bundesministerium für Arbeit und ­Soziales, 2023).

In Deutschland gibt es insgesamt eine Reihe von spannenden politischen und gesellschaftlichen Initiativen, die das Potenzial haben, die psychische Gesundheitsversorgung für Kinder und Jugendliche zu verbessern.

Innovative Therapieansätze und -techniken Mit der rasanten Entwicklung der Technologie zeichnen sich neue Wege in der Behandlung und Betreuung von Kindern und Jugendlichen mit psychischen Gesundheitsproblemen ab. Insbesondere digitale Gesundheitsanwendungen werden als potenzielle Lösungen zur Verbesserung der Zugänglichkeit und Effektivität der psychischen Gesundheitsversorgung angesehen (Bundesministerium für ­Gesundheit, 2023).

Ein aufkommender Ansatz ist die Nutzung von Online-Therapieplattformen.

Diese bieten Kinder- und Jugendpsychi­ atrie- sowie Psychotherapiedienste auf digitale Weise an, sodass sie jederzeit

und von überall aus zugänglich sind.

Studien haben gezeigt, dass diese Art der ­Behandlung genauso wirksam sein kann wie herkömmliche Therapieformen.

Ein weiterer innovativer Ansatz ist die Nutzung von Virtual-Reality-Technologien in der Therapie. Therapeuten können etwa mithilfe dieser Technologie eine kontrollierte Umgebung schaffen, in der sie bestimmte Situationen simulieren ­können, um Kindern und Jugendlichen bei der Bewältigung von Ängsten und Phobien zu helfen.

Neurofeedback ist eine weitere Technik, die zunehmend in der psychischen Gesundheitsversorgung verwendet wird.

Es handelt sich dabei um ein computergestütztes Verfahren, bei dem Kinder und Jugendliche lernen, ihre Gehirnwellenaktivität zu regulieren, um Symptome von Erkrankungen wie ADHS zu lindern.

Diese innovativen Ansätze bieten allesamt neue Möglichkeiten zur Verbesserung der psychischen Gesundheitsversorgung für Kinder und Jugendliche in Deutschland.

sondern auch wegen der langfristigen Auswirkungen auf die Gesellschaft als Ganzes.

Mit engagierten Bemühungen, Forschung und Innovation kann Deutschland ein Vorbild für die Verbesserung der psychischen Gesundheitsversorgung für Kinder und Jugendliche sein.

Es ist wichtig, dass wir uns weiterhin auf Entdeckungen und Innovationen konzentrieren, die dazu beitragen können, die psychische Versorgung für Kinder und Jugendliche in Deutschland zu verbessern.

Bundesministerium für Arbeit und Soziales (2023).

Offensive Psychische Gesundheit. www.inqa.de/DE/wissen/gesundheit/offensivepsychische-gesundheit/uebersicht.html

Bundesministerium für Gesundheit (2008). ­Strategie der Bundesregierung zur Förderung der Kindergesundheit. www.bundesgesundheitsministerium.de/fileadmin/ Dateien/5_Publikationen/Ministerium/BMG-G07051-Strategie-Kindergesundheit.pdf

Bundesministerium für Gesundheit (2013). ­Nationaler Aktionsplan für Menschen mit ­Seltenen Erkrankungen. www.namse.de/fileadmin/user_upload/

Schlussfolgerungen Die psychische Gesundheitsversorgung für Kinder und Jugendliche in Deutschland hat in den vergangenen Jahrzehnten erhebliche Fortschritte gemacht, doch gibt es immer noch Bereiche, in denen Ver­ besserungen notwendig sind. Die bestehenden Herausforderungen umfassen die Verbesserung des Zugangs zu psychischer Gesundheitsversorgung, die Erweiterung der Kapazitäten des Gesundheitssystems, die Reduzierung von Stigmatisierung und die Anpassung an neue Herausforderungen wie den Einfluss von sozialen Medien und die Auswirkungen der COVID -19Pandemie.

Jedoch eröffnen Entwicklungen in For­ schung und Politik spannende Möglich­ keiten für die Zukunft. Innovative Thera­ pieansätze und Techniken wie digitale Gesundheitsanwendungen, Online-Therapieplattformen, Virtual-Reality-basierte Therapien und Neurofeedback haben das Potenzial, die Versorgung zu revolutionieren. Neue politische Initiativen und gesellschaftliche Bewegungen setzen sich dafür ein, das Bewusstsein für psychische Gesundheitsthemen zu schärfen und Hindernisse bei der Versorgung zu beseitigen.

Die psychische Gesundheit von Kindern und Jugendlichen sollte eine Priorität sein, nicht nur wegen ihrer direkten Auswirkungen auf die betroffenen Individuen,

downloads/Nationaler_Aktionsplan.pdf

Bundesministerium für Gesundheit (2019). ­Präventionsgesetz. www.bundesgesundheitsministerium.de/service/ begriffe-von-a-z/p/praeventionsgesetz.html

Bundesministerium für Gesundheit (2019).

Terminservice- und Versorgungsgesetz (TSVG ). www.bundesgesundheitsministerium.de/ terminservice-und-versorgungsgesetz.html

Bundesministerium für Gesundheit (2023). Digitale Gesundheitsanwendungen (DiGA). www.bundesgesundheitsministerium.de/themen/ krankenversicherung/online-ratgeberkrankenversicherung/arznei-heil-und-hilfsmittel/ digitale-gesundheitsanwendungen.html

castell, r., nedoschill, j., rupps, m., bussiek, d. (2003). Geschichte der Kinder- und Jugendpsychiatrie in Deutschland in den Jahren 1937 bis 1961. Vandenhoeck und Ruprecht.

Deutsche Gesellschaft für Kinder- und Jugendpsychiatrie, Psychosomatik und Psychotherapie e. V. (2020). (Stationäre) kinder- und jugendpsychiatrische und -psychotherapeutische Versorgung von Kindern und Jugendlichen in Zeiten der COVID -19 Pandemie in Deutschland. www.dgkjp.de/versorgung-in-zeiten-der-pandemie

MindMatters (2023). www.mindmatters-schule.de

ravens-sieberer, u., erhart, d., devine, j., gilbert, m., reiss, f., barkmann, c., siegel, n., simon, a., hurrelmann, k., schlack, r., hölling, h., wieler, l. and kaman, a. (2022). Child and Adolescent Mental Health During the COVID-19 Pandemic: Results of the Three-Wave Longitudinal COPSY Study.

Journal of Adolescent Health.

William Lan

23

Dal Rinascimento al Manierismo: in che modo e perché differisce l’Angelo musicante di Rosso Fiorentino da una sua fonte d’ispirazione – la Madonna Sistina di Raffaello?

Jess Gowers

Q

uando andai a Firenze con la classe di italiano ab initio, un’opera d’arte che mi attirò l’attenzione era l’Angelo musicante di Rosso Fiorentino. Con la rappresentazione delicata ma impressionante del piccolo protagonista, era una scoperta negli Uffizi che mi motivò a scoprire un po’ di più sulla sua storia. Dopo aver guardato un video creato dagli Uffizi, che non solo introduce la storia dell’opera sé stessa ma anche un punto di riferimento e ispirazione per Rosso, la Madonna Sistina di Raffaello,

24 Polyglossia

decisi di confrontare le due opere e cominciare a capitare le ragioni stilistiche per le loro differenze.

Un tema principale del video è la posizione del quadro nella storia dell’arte, cioè il movimento artistico al quale partecipa l’opera di Rosso. Era allora quando scoprii il Manierismo per la prima volta. Blatt e Blatt, andando avanti con le idee di Friedlaender, caratterizzano il Manierismo come “a 16th century aesthetic revolution against the harmonic beauty and naturalism of the high Renaissance [una rivoluzione estetica del

Cinquecento contro la bellezza armonica e il naturalismo del primo Rinascimento]”.

Alla luce di questa definizione, è molto interessante analizzare le differenze tra l’opera di Rosso e il quadro famoso di Raffaello come casi di studio per il Manierismo e il alto Rinascimento rispettivamente.

Ci sono somiglianze chiare tra l’Angelo musicante e la Madonna Sistina: con i capelli e le ali degli angelini che tingono le scene di rosso, e le posizioni delle teste e le braccia delle figure divine, sembra innegabile l’influenza del capolavoro

Opposite Giovanni Battista di Jacopo, also known as Rosso Fiorentino Angelo musicante, 1521 Oil on panel, 39.5 × 47 cm Gallerie degli Uffizi, Florence

Above Raffaelo Madonna Sistina, c. 1513–1514 Oil on canvas, 265 × 196 cm Gemäldegalerie Alte Meister, Dresden

blatt, s., blatt, e. (1984). Continuity and Change in Art: The Development of Modes of Representation. www.semanticscholar.org/paper/Continuity-and-Change-in-Art%3A-The-Development-of-of-BlattBlatt/ced39e33b19802c69c8441a9ae9c27995306a591

Images: Flickr

rinascimentale sull’opera di Rosso.

Comunque, affermerei che l’intensità dei colori, il livello d’importanza dell’angelo nella composizione e l’inserimento di uno strumento musicale lasciano che Rosso interroghi, sebbene sottilmente, ‘i canoni classici’ del primo Rinascimento, indicativo del Manierismo. Il rosso vivace, per esempio, contrasta fortemente i toni attenuati degli angeli di Raffaello, una brillantezza che è contrario alla moderazione tipica del Rinascimento e le sue sottigliezze naturalistiche. L’uso di spazio nell’opera manierista è anche notevole: benché gli angeli di Raffaelo siano secondari in confronto alla scena religiosa di sopra, e solo osservino l’evento santo, l’angelo di Rosso riempie il pannello.

L’angelo diventa il protagonista invece a un astante, e perciò c’è un’importanza centrale per un personaggio tipicamente secondario.

L’Angelo musicante, quasi ironicamente, forse funzionava da un personaggio secondario a una composizione più grande con opere di Fra Bartolomeo and Raffaelo; tuttavia, questo non riduce la sua centralità nella sua propria composizione. È un’opera a sé stante negli Uffizi oggigiorno, e quindi ha un potere unico, un potere che è mancante per gli angeli marginali di la Madonna Sistina.

Inoltre, è possibile che lo strumento suonato dall’angelo di Rosso abbia una funzionedeliberatamente simbolica?

Sembra che la musica dell’angelo rappresenti la sperimentazione artistica e la propria espressione, alcune delle qualità che la allineano con il Manierismo come movimento reazionario e personale, patrocinando l’idea della soggettività dell’arte. I capelli rossi dell’angelo e la loro allusione al colore dei capelli del proprio artista servono a rafforzare il naturo personale del Manierismo, introducendo un aspetto autobiografico.

Insomma, la mia scoperta negli Uffizi dimostra che nascosta dietro a ogni quadro, per quanto semplice che sembri, è una complessità di intenzioni e collegamenti sottili con movimentati artistici e altre opere d’arte. Rosso imita l’opera di Raffaelo con molte sfumature, che lo permettono di rispettare gli artisti rinascimentali e, allo stesso tempo, di forgiare un luogo specifico per lui nella storia dell’arte. A causa di questa impressione semplice in una galleria d’arte, ho trovato che c’è tantissimo da scoprire quando si guarda al di là della tinta e della tela.

Jess Gowers

25

26 Polyglossia

When your (grand)mother’s tongue isn’t your mother tongue Alex Mortimer

O

nce, somebody asked me if English was my mother tongue.

I don’t love this question, just like the remark “Wow, you speak such good English!”. English is the only language I grew up with, and I know that people only inquire about my linguistic background because my face doesn’t match their perception of Englishness.

“But you speak another language at home, no?” he continued.

“No,” I replied, feeling oddly ashamed.

I began to ramble about how when my grandparents came to the United Kingdom, they had to work tirelessly to provide opportunities for their children in a country that didn’t exactly welcome them with open arms, and how they didn’t teach my parents Hindi as they didn’t really get that chance, with so much else to consider.

“Well, you have to learn Hindi later, right? You just have to,” he replied confidently.

He was mistaken, of course. Having Indian heritage doesn’t mean I must know the most widely spoken language of India; I don’t need to know Hindi to validate my identity. But in a way, he was also right.

Throughout my life, I’ve felt the urge to learn Hindi. Not out of practical necessity

in my daily life, but a yearning to speak the language to feel connected to my heritage.

I’ve tried to learn. But Duolingo Hindi has only taken me so far. And I admit that my commitment to learning the language has been inconsistent, to the point that I receive many of those subtly ominous threats from the Duolingo bird. I always feel guilty seeing Duo’s messages, and not solely due to the app’s clever marketing strategy, but also because of how I felt when asked if I spoke another language at home. It’s as if I’m not putting enough effort into learning about my background, and all this makes me less Indian.

I know I’m not alone. Many second and third-generation migrants can’t speak their heritage language, which was spoken by their parents or grandparents. And many people, as teenagers or adults, attempt to learn their parents’ or grandparents’ native language. But it’s never that straightforward, and it’s frustrating when your mind stumbles over phrases and structures that a native speaker would find basic.

The thing is, I don’t feel completely at ease in English either. I adored English Literature at school and secretly relished crafting my dramatic, absurd, and excessively detailed short stories during

English Language exams. Yet, somehow, I always felt like I didn’t have a place in the language. When I was younger, I aspired to become an English teacher, but I also questioned whether that was even possible. Would my students take me seriously, considering that people don’t think I “look English”? In reality, there’s no singular “English look”; England is immensely diverse, and your nationality isn’t determined by your appearance.

If language is closely intertwined with identity, then my relationship with English and Hindi reveals a complex, transitional and in-between state. But treating identity as a checklist is pointless. I don’t have to meet some mandatory criteria to call myself Indian. No one should feel ashamed for not speaking Hindi. While language is linked to identity, the inability to speak a particular language doesn’t strip away your identity.

The only thing I can do is try. I may never speak my (grand)mother(’s) tongue fluently, but I can learn about my grandparents from my mum, listen to my relatives speak Hindi, and cherish the traditions we upheld in my childhood. I can even learn a bit of Hindi myself. I love delving deeper into my family history. And I enjoy keeping Duo’s threats at bay too.

◄ Thoughts in Japan by Mariyah Haque Alex Mortimer

27

How a Russian pop song might sound in French Maria Baranova

Помолимся за родителей Original text

Prions pour nos parents Translated text

Я отпил у взрослой жизни рано, А вот сейчас бы убежать; в детство убежать. Как хочу к тебе прижаться, мама, И папе тайну рассказать, тайну рассказать ...

J’ai pris tôt une gorgée de l’âge adulte, Et maintenant je m’enfuirais; m’enfuirais en arrière.

Comme je veux me blottir contre toi, maman, Et dire des secrets à papa; des petits mystères …

Вы простите мне разлуки грешность – Время закрутило, занесло! Пусть хранят ваш дом Любовь и Нежность: Они из детства моего, детства моего.

Pardonnez-moi le péché du départ – Le temps m’a étourdi, ébloui !

Que votre maison soit gardée par Amour et Tendresse, Pris directement de mon enfance; pris de mon enfance.

Помолимся за родителей; За всех живых и небожителей! И в час, когда станет холодать, Их души свечами согреем.

Disons une prière pour nos parents; Pour les âmes célestes et tous les vivants !

Et à l’heure où il fera plus froid, Nos bougies réchaufferont leurs âmes.

Помолимся за родителей Ангелам, нашим, хранителям. Помолимся, и когда-нибудь Помолятся дети за нас.

Disons une prière pour nos parents Devant nos anges gardiens bienveillants.

Prions pour eux, et un de ces jours, Nos enfants le feront pour nous.

Я давно мудрее стал и старше, Но лишь сейчас одно постиг: истину постиг ... Дай вам Бог уйти минутой раньше Своих детей, давно седых – нас, давно седых.

Je suis devenu plus sage et plus vieux, Mais je viens de comprendre une chose: le vide du mépris …

Que Dieu vous laisse partir une minute plus tôt Que vos enfants aux cheveux gris – nous, aux cheveux gris.

Помолимся за родителей; За всех живых и небожителей! И в час, когда станет холодать, Их души свечами согреем.

Disons une prière pour nos parents; Pour les âmes célestes et tous les vivants !

Et à l’heure où il fera plus froid, Nos bougies réchaufferont leurs âmes.

Помолимся за родителей Ангелам, нашим, хранителям. Помолимся, и когда-нибудь Помолятся дети за нас.

Disons une prière pour nos parents Devant nos anges gardiens bienveillants.

Prions pour eux, et un de ces jours, Nos enfants le feront pour nous.

Link to song: www.youtube.com/watch?v=H6YM934DGgo

28 Polyglossia

How a Soviet film song might sound in French Maria Baranova

Крылатые качели Original text

La balançoire aux ailes Translated text

В юном месяце апреле в старом парке тает снег, И весёлые качели начинают свой разбег.

Au jeune mois d’avril illusoire, la neige fond dans le vieux parc, Pendant qu’une joyeuse balançoire chuchote, «Tout le monde embarque !»

Позабыто всё на свете, сердце замерло в груди, Только небо, только ветер, только радость впереди.

Tout est oublié sur-le-champ. Mon cœur danse en espérant.

Seulement le ciel; seulement le vent; seulement la joie nous attend.

Взмывая выше ели, не ведая преград, Крылатые качели летят, летят, летят ...

S’élançant dans le ciel bleu, hors des limites frivoles, La balançoire aux ailes s’envole, s’envole, s’envole …

Детство кончится когда-то, ведь оно не навсегда, Станут взрослыми ребята, разлетятся кто куда.

Notre enfance finira un jour parce que tout est temporaire.

Mes copains deviendront adultes et s’envoleront dans l’air ...

А пока мы только дети, нам расти ещё, расти, Только небо, только ветер, только радость впереди.

Mais tant que nous sommes des enfants, profitons du jour présent !

Seulement le ciel; seulement le vent; seulement la joie nous attend.

Взмывая выше ели, не ведая преград, Крылатые качели летят, летят, летят ...

S’élançant dans le ciel bleu, hors des limites frivoles, La balançoire aux ailes s’envole, s’envole, s’envole …

Шар земной быстрей кружится от весенней кутерьмы, И поют над нами птицы, и поём, как птицы, мы.

Le globe tourne plus vite, il paraît, grâce aux troubles printaniers, Et des colombes chantent sans arrêt, et nous chantons avec elles.

Позабыто всё на свете, сердце замерло в груди, Только небо, только ветер, только радость впереди.

Tout est oublié sur-le-champ. Mon cœur danse en espérant.

Seulement le ciel; seulement le vent; seulement la joie nous attend.

Взмывая выше ели, не ведая преград, Крылатые качели летят, летят, летят ...

S’élançant dans le ciel bleu, hors des limites frivoles, La balançoire aux ailes s’envole, s’envole, s’envole …

Link to song: www.youtube.com/watch?v=P84xofYoaTU

Maria Baranova

29

How an excerpt from Shakespeare might sound in modern Portuguese William Anderton-Pithers

Original text

Translated text

sebastian: I am sorry, madam, I have hurt your kinsman, But, had it been the brother of my blood, I must have done no less with wit and safety.

You throw a strange regard upon me, and by that I do perceive it hath offended you.

Pardon me, sweet one, even for the vows We made each other but so late ago.

sebastião: Sinto por ter ferido o seu parente, senhora, Mas, se tivesse sido o irmão do meu próprio sangue, Eu teria feito o mesmo por causa da ameaça da minha segurança.

Você olha-me numa maneira estranha, e por isso Assumo que se tenha ofendido.

Desculpe-me, meu amor, até pelos votos Que nos fazemos um pouco tempo atrás.

orsino: One face, one voice, one habit, and two persons!

A natural perspective, that is and is not!

orsino: Uma cara, uma voz, uma roupa, e duas pessoas! É o mesmo homem, e não é!

sebastian: Antonio, O, my dear Antonio!

How have the hours racked and tortured me Since I have lost thee!

sebastião: O António, Ô meu querido António!

Como as horas têm-me torturado Desde que te perdesse!

antonio: Sebastian are you?

antónio: Você é o Sebastião?

sebastian: Fear’st thou that, Antonio?

sebastião: Temes que não sou eu, o António?

antonio: How have you made division of yourself?

An apple cleft in two is not more twin Than these two creatures. Which is Sebastian?

antónio: Como você tem-se dividido?

Uma maçã cortada em duas não é mais idêntica Que estas duas criaturas. Quem é o Sebastião?

olivia: Most wonderful!

olivia: Que delícia!

sebastian: [looking at Viola] Do I stand there? I never had a brother, Nor can there be that deity in my nature Of here and everywhere. I had a sister Whom the blind waves and surges have devoured.

Of charity, what kin are you to me?

What countryman? What name? What parentage?

sebastião: [Olhando à Viola] Estou eu ali? Nunca tive um irmão, Nem posso ser de natureza divina Para estar em todas partes ao mesmo tempo. Tive uma irmã Quem as ondas cegas tragaram.

Por bondade, como você é um parente de mim?

Você é um compatriota? Qual nome? Qual parentesco?

viola: Of Messaline. Sebastian was my father.

Such a Sebastian was my brother too.

So went he suited to his watery tomb.

If spirits can assume both form and suit, You come to fright us.

viola: Sou de Messaline. O Sebastião foi o meu pai.

O meu irmão foi Sebastião também.

Vestido como você quando ele foi à sua tumba no mar.

Se os espíritos podem assumir ambos o corpo e roupas, Você vem assustar-nos.

30 Polyglossia

From Act 5, Scene 1, of Twelfth Night

by William Shakespeare

sebastian: A spirit I am indeed, But am in that dimension grossly clad Which from the womb I did participate.

Were you a woman, as the rest goes even, I should my tears let fall upon your cheek And say “Thrice welcome, drownèd Viola.”

sebastião: Sou um espírito, de verdade, Mas é trajando num corpo Que tem tido desde que estivesse no útero.

Se fosse uma mulher, Eu deveria permitir as minhas lágrimas cair na sua bochecha E dizer “Bem-vinda, a Viola afogada.”

viola: My father had a mole upon his brow.

viola: O meu pai teve um sinal no seu fronte.

sebastian: And so had mine.

sebastião: E o meu também.

viola: And died that day when Viola from her birth Had numbered thirteen years.

viola: E morreu naquele dia quando Viola, do parto, Teve treze anos.

sebastian: O, that record is lively in my soul!

He finishèd indeed his mortal act That day that made my sister thirteen years.

sebastião: Essa lembrança é animada na minha alma!

Ele encerrou de fato o seu ato mortal Naquele dia a minha irmã chegou treze anos.

viola: If nothing lets to make us happy both But this my masculine usurped attire, Do not embrace me till each circumstance Of place, time, fortune, do cohere and jump That I am Viola; which to confirm, I’ll bring you to a captain in this town, Where lie my maiden weeds; by whose gentle help I was preserved to serve this noble count.

All the occurrence of my fortune since Hath been between this lady and this lord.

viola: Se a única coisa que nos-impede de alegrar É o fato de eu estar a usar as roupas de homem, Então não me abrace até que possa provar, Em cada circunstância de lugar, tempo, e sorte, Que sou Viola. Para confirmar, Levarei-se a um capitão neste povoado, Quem está a guardar as minhas roupas de mulher.

Ele salvou-me para que eu pudesse atender este conde honroso.

A minha sorte desde esse acontecimento Tem envolvido este senhor e senhora.

sebastian: [to Olivia] So comes it, lady, you have been mistook.

But nature to her bias drew in that.

You would have been contracted to a maid.

Nor are you therein, by my life, deceived: You are betrothed both to a maid and man.

sebastião: [à Olivia] Aparece a mim, senhora, você tem sido confundido.

Você teria sido casado a uma donzela, Mas a Natureza, na sua sabedoria, Tornou-se o seu amor para a minha irmã para o amor para mim.

Por isso, porque sou virgem, você é ainda comprometida a ambos uma donzela e um homem.

William Anderton-Pithers

31

How ancient Korean poetry might sound in modern English Chang Liu

Original text

Translated text

秋夜雨中

Amidst the sobs of an autumn night

崔致远 秋風唯苦吟 擧世少知音 窓外三更雨 燈前萬里心

送人 鄭知常 雨歇長堤草色多 送君南浦動悲歌 大同江水何時盡 別涙年年添緑波

32 Polyglossia

Choe Chi-won Autumn’s winds howl; my heavy heart does groan.

To share my thoughts in this vast world, I seek a kindred soul.

In the somber depths of night, rain patters against the pane.

Beside the fading lamp, distant yearnings wander in vain.

Farewell at the riverbank Chung Ji-sang In the wake of rain, along the lengthy dike, verdant scenes prevail.

At Nampo, your departure stirs lament: a deep and mournful tune.

Ceaseless as the Taedong’s flow, my thoughts for you never wane.

Each year, tears of yearning swell the ripples of green.

▲ Vilnius, Lithuania Aidan Jones

e os

Jo n

es

R

▲ Skiathos, Greece Ranulf Prentis

glan Du, Jess Gower Qin s, A , n ida la o n D

ryn ath ,C

x Mortime r,

mr ,S tis

r rne Tu s i Lo

is, Ale Lew

uth

i Sh

Betgov, Nad ankar ina S

ol o vjo v

a,

▼ Nice, France Cathryn Lewis

R an u lf P re n

DISCOVERING THE WORLD ▼ Askam-in-Furness, England Rose Dolan

33

▲ Juliet’s Balcony, Verona, Italy Jess Gowers

▲ Granada, Spain Alex Mortimer

▼ Adiyogia Statue and Veena Temple, India Smruthi Shankar Betgov

34 Polyglossia

▲ Sorrento, Italy Nadina Solovjova ▼ Düsseldorf, Germany Aidan Jones

▲ Jerusalem and Bethlehem Qinglan Du

▼ Paris, France Lois Turner

35

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Polyglossia Magazine 2023 Cambridge University Languages and Cultures Society (CULCS)