This article is focused on research of interaction and interpenetration of Christian and archaic mythologies and revealing of beliefs’ traits of another folks in the etiological legends concerning Moon spots. To solve this problem the following issues are considered to systematization and classification of the complex of etiological legends concerning Moon spots; detection of archaic origins and Christian elements presented in the Moon spots legends; comparative analysis of Belarusian Moon spots legends with such legends of other folks to show genesis and relations of some legends. We used for analysis this sources: ethnographic material from the 19th and 20th century, digital Polesie archive, “field”-materials collected by the author and another researchers in 2005–2008. As a result we show that some Moon spots legends could migrate to Belorussia region from Poland, Russia and Lithuania. Also archaic origins in the legends were revealed.
A rotating black and white disc which causes the perception of colours is a remarkable phenomenon and as such has been the object of research for more than a century. The disc carries the name of its creator, a toy maker Charles E. Benham. The colours the disc can produce, varying from orange to blue or purple and including others as well, are not real. The exact place in the visual apparatus where these colours are generated has not been revealed yet but mostly it is considered to be related to the retina. However, as the newest papers indicate, the interactions within the retina itself are not sufficient to fully explain the phenomenon. The colours seen on the disc are called subjective colours or patterns induced flicker colours. Their tint, brightness or intensity are influenced by different conditions. The position of the arcs within the white part of the disc, the width of the arcs, speed of rotation or illumination of the disc and other parameters are all important. and Pozoruhodný jev, kdy rotující černobílý kotouč vyvolává vjem barev, pojmenovaný po výrobci hraček Charlesi E. Benhamovi, je předmětem zkoumání více jak jedno století. Na kotouči mohou být viděny barvy jako je oranžová, modrá, fialová a další, ve skutečnosti jsou však jen zdánlivé. Místo ve zrakovém aparátu, které způsobuje jejich vznik, dosud není odhaleno. Nejčastěji je jejich původ vztahován k sítnici. Jak se ale ukazuje v novějších studiích, samotné sítnicové interakce jsou pro úplné vysvětlení jevu nedostatečné. Barvy viděné na disku se označují jako subjektivní nebo ''vzorem vyvolané blikající barvy''. Jejich odstín, jas či intenzita jsou ovlivněny různými parametry. Důležitá je poloha prstenců v rámci bílé plochy kotouče, jejich tloušťka, rychlost otáčení disku, osvětlení a další.
Louis Cazamian develops Henri Bergson’s concise remarks, which show humour as a special sort of comical transposition of language. Cazamian stresses that humour is based on transposition, which is inevitably conscious, and he is concerned with the division of humour into four different species according to the modes of transposition. Cazamian focuses especially on the complexity of humour and its impact. Even if a certain view of the world and life, that is, a kind of “matter” of humour, is obviously suggested by the mechanism of transposition, that is, by the “form” of humour, it is impossible to determine any universal rule describing the relationship between matter and form. In that sense Cazamian emphasizes the indefinability of humour, and points to the indeterminability of the humorous effect. These arguments demonstrate the essential influence that many important themes of Bergson’s aesthetics and philosophy have had on Cazamian’s conception of humour, a conception that proves to be integrally Bergsonian.