Początkowe stadia życia ludzkiego według Homera

Author(s): Marek Gilski / Language(s): Polish Issue: 1/2013

The article tried to find a response to the question how Homer identified the first stages of human life. The analysis helped to make the following conclusions: Many Greek terms used to describe human life (αἰών, βίος, ζωή, ϑυμός, μένος, ψυχή) show awareness of ancient Greeks for the rich phenomenon of human life and the difficulties in describing it precisely; Homer’s works testify to the rising of the terminology connected with human life. Among them we can find the terms referring to the fact of conception (γείνομαι, κυέω, τίκτω, ὑποκύομαι) and birth (γείνομαι, ἐξάγω πρὸ φόως, τίκτω). Homer understands the notion of “embryo” in a quite different way comparing it to the later literature. He refers this term not to a child in the mother’s womb, but to a child already born. According to Homer’s opinion childbirth does not constitute any significant turning point in human life. The new life is a result of God’s cooperation with parents.

A tolvajok istene? Megjegyzések a homérosi Hermés-himnuszhoz

Author(s): Zsolt Adorjáni / Language(s): Hungarian Issue: 1/2012

This paper deals with some notorious passages of the Homeric Hymn to Hermes, which present problems of textual and interpretative nature. The first chapter investigates the sandal-making scene (82–86) in order to determine the real motivation of Hermes by this deed, and proposes a new conjecture for verse 86; the second chapter looks at the feigning-episode in the cave, analyses the skills of Hermes qua actor and tries to emend the corrupt line 242. Finally, the last chapter tracks Hermes’ ascent in the closing part of the Hymn from a cunning thief to an inspired bard without losing any of his former capacities.

Az uralkodói és polgártükör mint irodalmi műfaj gyökereihez

Author(s): László Havas / Language(s): Hungarian Issue: 1/2012

Mirrors for princes are one of the oldest forms of European literary culture, with roots in the wisdom literature of the Ancient East, in which the personal instructions of a ruler to his son were known from very early times. This form, however, remained alien to Greek literature for a long time because the notion of eleutheria contradicted the principle of monarchic power to be passed from father to son. The situation was more or less similar in Rome, where the aristocratic society contented itself with the declaration of moral concepts considered to be non-appealable. Change came with the conquest of the Mediterranean region when the old social framework was beginning to be decomposed and the ideal of civis bonus was outlined, which appeared in the form of parental admonitions or instructions from relatives (Cato, Sempronia, Q. and M. Cicero). Augustus himself, the creator of the new monarchic order, laid the foundations of good government as a parens patriae for his “sons”, the citizens of Rome. Radical change, however, followed when the monarchic ideal was integrated into more general forms of culture and civilization, i.e. philosophy and historiography, as in Greece. In the Latin tradition guidance provided by wise people to rulers survived and continued into the period after the emergence of Christian monarchy. The laudation of the monarch was assigned to poets, grammatici and rhetors, fathers of the Church, who were supposed to glorify God as well as his vicar on earth. In the Franconian Empire this tradition was revived, which applies to Charles the Great’s time as well. Later, when the concept of dual power put forward by Pope Gelasius strengthened, it became obvious that it was the duty of the Church to instruct the monarch. After the solidification of theocratic power in the Holy Roman Empire a new type of monarchic mirrors emerged. Saint Stephen’s Admonitions marked a new start: he appeared as a real vicarius Dei, whose personal instructions provided in his capacity as monarch replaced the role of the Church in educating the successor.

Mater semper certa est? Költői és műfaji származásproblémák egy új papiruszon (P. Oxy. 4952)

Author(s): Péter Mayer / Language(s): Hungarian Issue: 1/2012

Héliodóros és a Makkabeusok, avagy adalékok a Héliodóros-kronológiához

Author(s): Tibor Szepessy / Language(s): Hungarian Issue: 2/2012

There are two remarkable parallels between the Maccabees first two books and ¸ Heliodoros’ novel. Th e first one (1Mac 6, 43–47 ~ Hel. 9, 17–18) is of content character, it visualizes the seldom applied method used in the ancient world to frustrate the war elephants and the armoured cavalry (the kataphraktoi), and which other ancient sources also refer to (Plut. Crassus 25, 8). The second parallel is a double oxymoron: “to sail on the mainland, to go on foot on the sea” (2Mac 21 ~ Hel. 9, 5, 5), but versions of this phrase can be found in the works of a number of other ancient Greek and Latin authors (Isocr., Paneg. 89, 1, 8, Curtius Rufus, Hist. Alex Magni 9, 21, 4–6; Iamblichos, frg. dubia no. 101 Habrich, p. 73; Polemon, decl. 1, 8 and 28, decl. 2, 44; Achilleus Tat. 4, 14, 7–8; Lucian, Rhetorum praeceptor 18, 17–18; Iulianus, or. 1, 22, 10–16). Greek and Latin authors resort to oxymoron only if the obvious absurdity in it seems them still to be viable somewhere somehow. Iulianus and Heliodoros see and make us see the circumstances of storming towns an oxymoron that came true; Iulianus relate a historical event, the storming of Nisibis in 350 A.D., and because in Heliodoros’ novel the siege of Syene (9, 1, 1 sqq.) is in many respect similar to the emperor’s story, many researchers believe 350 A.D. to be a decisive date in regards of the chronology of Heliodoros, as well. However, the obvious popularity of the oxymoron leaves the possibility open namely that Heliodoros deduced a series of events from the oxymoron relying on his own invention, without a historical example, in other words that it could have worked in the first half of the 3rd century.

Pindarosi áthallások Apollónios Rhodiosnál (Arg. 4. 1537–1619 és 1731–1772)

Author(s): Zsolt Adorjáni / Language(s): Hungarian Issue: 2/2012

Hazatérőben az argonauták számos megpróbáltatáson mennek keresztül. Miután kénytelenek egész Líbiát vállukon az Argóval átszelni, eljutnak a Tritonis tóhoz. Itt megjelenik előttük a helyi isten, Tritón, aki vendégajándékként egy földdarabot nyújt át nekik, melyet Euphémos ragad meg. Emellett az isten megmutatja a nyílt tengerre kivezető utat is (1537–1619). További szerencsésen átvészelt viszontagságok után Euphémos álmot lát: a földrög lánnyá lesz, mire az argonauta ellenállhatatlan vágyakozást érez, hogy az álomalakkal szerelembe keveredjék. Erre az Libyé és Tritón leányaként fedi fel magát és arra buzdítja az argonautát, hogy juttassa vissza őt valódi otthonába, a Néreisek körébe. Az álmot Iasón fejti meg: Tritón ajándékát, a földrögöt a tengerbe kell vetni, hogy ott szigetté változhassék. Euphémos hallgat az okos szóra, s így születik Kallisté, melyet később a hős leszármazottai fognak benépesíteni s az alapító Thérasról új névvel illetni (1731–1764). Kallisté szigetéről a hősök Aiginára hajóznak, ahol barátságos mérkőzést rendeznek vízhordásban (1765–1772). Ezzel az epizóddal zárul az argonauták útja.

Források

Author(s): Zsolt Adorjáni,Imre Áron Illés,Miklós Könczöl / Language(s): Hungarian Issue: 1/2011

MICHAÉL PSELLOS: 1. EURIPIDÉS ÉS GEÓRGIOS PISIDÉS, 2. HÉLIODÓROS ÉS…ACHILLEUS TATIOS SYNKRISISE; MICHAÉL PSELLOS: A DIGESTA FELOSZTÁSA; MICHAÉL PSELLOS RÉTORIKÁJA;

Different translations and various types of Cavafy in Hungarian language and literature

Author(s): Csaba Csapó / Language(s): English Issue: 1/2011

The publication of a new edition of the poetry of Constantine Petros Cavafy in Hungarian translation in 2006 added a degree of nuance to the prevailing literary translationa techniques in Hungary because Balázs Déri’s translations of the poems not included in the 1968 edition made a departure towards domestication from the commonly used reconstructional method. This caused different understandings of Cavafy’s poetry as well as various images of the poet in Hungarian culture. Furthermore, in the same year, the publication of András Ferenc Kovács’s Cavafy transcriptions, that is, his pseudo-translations, further influenced our understanding of the Alexandrian poet. In this article, after offering a brief overview of various methods of translation prominent in 20th century Hungarian culture, I aim at pointing out that the first edition of Cavafy’s poems in Hungarian used the typical model of reconstruction, whereas Déri’s new, 2006 translation is a move away towards domestication. Having analyzed four poems in the original Greek and their Hungarian translation, I would like to point to the necessity of diversity in literary translation; having different types of Cavafy also means understanding contemporary Hungarian poetry from multiple angles.

One City Two Novels

Author(s): Meral Demiryürek / Language(s): English Issue: 2/2014

Thessaloniki is a cultural and commercial city and it constitutes the settings for several contemporary novels, in that the cities location and historical background is important for Greeks, Bulgarians and Turks. In this study we will examine two novels, one of which was published in Turkey, Like a Sword Wound (Kılıç Yarası Gibi) by Ahmet Altan, and the other having been published in Greece, Skoteinos Vardaris by Elena Houzouri. Although the characters and the narrators of these two novels are different, they reflect the same time period and the same geography. These two novels tell us about the Balkan Wars and national bandits from the Turkish and from the Greek point of view, and Thessaloniki is one of the joint settings of the two novels previously mentioned. Therefore, the aim of this study is; to examine the different points of view, to compare these novels and show how historical events affect the literary works.

PERSONAE DRAMATIS У СОФОКЛОВОЈ ДРАМИ АНТИГОНА

Author(s): Svetlana Stevanović / Language(s): Serbian Issue: 65/2018

El presente trabajo tiene como objetivo analizar la tragedia Antígona de Sófocles mediante la aplicación del modelo de las funciones dramáticas, desarrollado por Étienne Souriau, haciendo referencia también al modelo actancial de Greimas, expuesto en el estudio titulado “Modelo actancial en el teatro”, cuyo autor es Anne Ubersfeld. El trabajo tiende a poner de manifiesto las modificaciones que se podrían introducir en el esquema desarrollado por Ubersfeld, quien aplicó el modelo actancial de Greimas al ejemplo de Antígona. Dichas modificaciones provienen de las conclusiones sacadas de la aplicación del modelo de las funciones dramáticas a la tragedia ya mencionada. De este modo se hace posible un mejor entendimiento de personae dramatis de drama objeto de nuestro interés. Tomando en consideración diversas situaciones dramáticas, se llega a la conclusión que los cambios cruciales afectan la función de objeto (el bien o valor buscado), tal como las funciones de oponente y de obtentor del bien buscado. Además de lo dicho, en el trabajo se propone introducción de una nueva función, designada como el representante del árbitro.

AVRUPA RESİM SANATINDA HOMEROS’UN ILİADA’SINDAN KONULAR

Author(s): Betül Serbest Yılmaz / Language(s): Turkish Issue: 9/2017

Troy myths which have affected European cultures for ages form the connection between image and reality through painting. The art of painting that makes pagan world, which consists of Gods and heroes, traceable help these myths to leave a mark on the minds of societies. Troy myths, which were turned into epics by Homer and made the history of Roman civilization by Vergilius, presented an ideal story of belonging in Medieval ages when the knighthood was dominant and were adopted into the aesthetic of the era within Christianity frame. Myths which preserved their existence through the characters that have universal qualities such as Achilles, Helena, Paris and Hector became a source of inspiration for the significant artists of the era such as Flaxman, Hamilton and David in 18th century when Neo-Classical style was affective because they enhance the society on an educational ground because of the ethic contexts of them.

ЛНТИЧКИ КОРЕНИ ТЕОДОСИЈЕВЕ ПОЕТИКЕ

Author(s): Irena Špadijer / Language(s): Serbian Issue: 2/2010

Theodosios of Hilandar is one of the few medieval writers whose work includes explicit poetic views. These views are in line with Horatio’s well-known statement on the function of literature (prodesse et delectare, utile et dulce); however, the way in which these views reached and were incorporated in the Serbian medieval literature is very specific. Theodosios’ view is that the lives of exceptional people are written and read for the benefit of the readers/listeners — “these works are beneficial to the listeners per se, and that benefit is the writers’ reward”. In addition, the moral instruction obtained from the reading of hagiographic works can be very pleasant. By stressing the motives of “benefit” and “pleasant instruction” in his prose works, Theodosios joins the advocates of the approach to literature and its function which had an undisputable legitimacy since the antiquity and throughout the Middle Ages, even in the centuries that followed. The roots of that approach can be found in the classical Greek (Aristotelian) poetics which was adopted and further developed by Hellenistic writers, particularly by Neoptolemus (3rd century BC) and which, through late antiquity (The Academy of Athens in particular) and early Byzantine period and, later, Aton literature — reached Theodosios.

Penelopa na delu

Author(s): Peggy Kamuf / Language(s): Serbian Issue: 59.5/2000

Kao što se veoma često dešava u poetskom tekstu naše kulture, tako se i u Odiseji nailazi na trenutke samopredstavljanja bez dna, trenutke kada pesma pokušava da zauzme mesto u dve različite i međusobno isključive sfere, kada klizi između toga da predstavlja nešto, i toga da bude nešto predstavljeno. Jedan takav trenutak, u Prvom pevanju, podudara se s prvim neposrednim predstavljanjem Penelope. U stvari, Penelopa stupa na pozornicu pripovedanja da bi to pripovedanje prekinula. [...]

Aiskhylos’un Persler (Persai) Tragedyasi Ve Kserkses’teki ‘Aşiri Gurur (Hybris)’

Author(s): Esengül Akinci Öztürk / Language(s): Turkish Issue: 03/2018

In the Persians, Aeschylus implies that Xerxes’ tragic downfall is caused by his violent arrogance. But the question of what exactly Xerxes’ hybris was is a point at issue. In this paper, after roughly presenting some important approaches to this question, I will try to indicate that there is a close connection between Xerxes’ hybris and the reason for behind his desire to enslave the Greeks. In what follows, I will defend the view that the essence of his hybris consists in the self-indulgent misuse of his authority in a futile aim merely to aggrandize himself.

POETICS OF MIASMA: NUCLEAR WASTE AND ANTIGONE IN THE ANTHROPOCENE

Author(s): Simon Ryle / Language(s): English Issue: 1/2018

This essay traces a poetics of miasma in Sophocles’ Antigone. It reads Sophocles in overtly contemporary and ecocritical terms: specifically, in the context of nuclear waste. It argues that questions of nuclear waste cannot help but seep into the poetics of miasma central to the ethical and theological debates of the play. The geological traces left by nuclear waste constitute the ecological contamination that in some definitions differentiates the Anthropocene era, the first era in which mankind has had a recognisably geological effect. This essay traces the relation of Athenian civic space and miasma to Anthropocene pollution. There is a shift from a maternal conception of sacred burial space that Sophocles figures in Antigone’s zealous love, to a recognisably modern notion of pollution initiated by the Greek polis that occurred contemporary to Sophocles’ writing. This essay charts a genealogy of waste as it recapitulates this shift, exploring how the Greek conception of pollution remains with us today. An ecocritical reading of Sophocles’ poetics locates in 5th century Athens the forebear of our contemporary waste management situation.

Маски в мистериальных культах эпохи Римской импери

Author(s): Aleksey Panteleev / Language(s): Russian Issue: 23/2015

The article deals with the use of masks at the beginning of our era in the mysterial cults (the ancient Egyptian religion, the cult of Cybele and Attis, Mithraism). The basis for research are brief references to masks in Greek and Roman literature and pictorial and archaeological sources. Masks appeared in the rituals of religion, that claimed to Eastern origin but reformed to facilitate their perception of the inhabitants of the ancient world; mysteries were part of this adaptation. We suppose that the masks performed several functions in these cults: they showed their connection with the alien tradition and the special oriental wisdom which contained in them; they created a new system of social relations based on the degree of initiation; mask could help to change the state of human consciousness; finally, people in masks could feel of belonging to a large community, whose head was a god. We should also mention that the masks were associated with deities associated with the world beyond the grave.

RAZGOVOR TRIJU ŽENA O LJUBAVI: FЕDRA, MARINA CVETAJEVA I SARA KЕЈN

Author(s): Ioana Papadopulu,Panajiotis Asimopulos / Language(s): Serbian Issue: 1/2018

Uprkos dominantnom mišljenju da je bio žestok ženomrzac, mudri Euripid se u klasično doba divi Fedrinim vatrenim osećanjima: u tragediji Hipolit Ovenčan (428. p. n. e.) majstorski vodi dramsku junakinju, dok kroz njenu ranjivu psihu prikazuje poguban preobražaj nevinog osećanja u autodestruktivnu strast.Na Fedrinom mitu zasniva se buntovna pokretačka sila Marine Cvetajeve u istoimenoj pesmi (1923), gde ruska pesnikinja uspeva da spoji svoja vanbračna traganja sa postizanjem punoće intelektualnog i umetničkog stvaralaštva. Oponašajući tragičan kraj legendarne Fedre, ali i izopštene Cvetajeve, Sara Kejn, kontroverzna autorka pozorišnog dela Fedrina ljubav (1996), vešanjem okončava svoj kratki život. Pri tome, usvajanjem autentičnog Brehtovog stava zadivljuje gledaoce; ne manipuliše njima pasivno, ali napada lažne moralne vrednosti dok provodi multidimenzionalnu politiku i oštru feminističku kritiku.Usklađen sa bazičnim načelima intertekstualnog proučavanja i komparativne književnosti, ovaj se rad, pomoću karakterističnih citata, osvrće na specifičnu dijalektičku raspravu dveju pesnikinja o Fedrinom liku, dok teži ka ustanovljenju njegove fizionomije i diferencirane percepcije. Razmatranjem drevnogrčke tragedije, inspiracije Marine Cvetajeve i pesme Sare Kejn, izvodi se zaključak da je ljubavna strast čvrsta podloga jakih sukoba sa opšteprihvaćenom logikom, ali i neiscrpan izvor kreativnosti.

The Memory of the Persian Wars through the Eyes of Aeschylus: Commemorating the Victory of the Power of Democracy

Author(s): Eleni Krikona / Language(s): English Issue: 1/2018

The present paper addresses Aeschylus, and the way he wanted to be remembered by his fellow Athenians and the other Greeks. Having lived from 525/524 until 456/455 BCE, Aeschylus experienced the quick transition of his polis from a small city-state to a leading political and military force to be reckoned with throughout the Greek world. The inscription on his gravestone at Gela, Italy, commemorates his military achievements against the Persians, but makes no mention on his enormous theatrical renown. His plays were so respected by the Athenians that after his death, his were the only tragedies allowed to be restaged in subsequent competitions. And yet Aeschylus, when time came to describe himself and the work of his lifetime, mentioned exclusively his contribution in the fight against the Persian Empire as an Athenian. Triggered by the poet’s narrative on his most memorable moment of his life, the present paper seeks to shed some light on the Athenian political identity, emerged during and soon after the Persian Wars, which not only derived from the newly-established democratic constitution of the late sixth century, but also supported it. Aeschylus’ epigram as well as some particular plays of his (the Persians, the Eumenides, and the Suppliants), narrates the confidence, the solidarity and the feeling of equality the Athenian citizens shared in regards to the defence of freedom of their polis as well as of all Greece, which came above anything else in their life, meaning above noble lineage and wealth. The gravestone of the poet stresses, in other words, how it felt like for an Athenian to live during the emergence of the very first Democracy that progressively supported the claim of Athens to become a ruler in the Aegean, by constructing its naval "Empire", ideologically upon the commemoration of the victory of the Athenian Democracy against the tyranny of Persia at Marathon and Salamis.

ARHAIČNO OSAVREMENJIVANJE

Author(s): Slobodan Obradović / Language(s): Serbian Issue: 150-151/2010

Postavljanje Bahantkinja na veliku scenu Narodnog pozorišta značajno je ne samo kao nastavljanje dalje saradnje sa švedskim Kraljevskim pozorištem Dramaten već i zato što je ta poslednja tragedija koju je Euripid napisao prvi put prevedena na srpski jezik tek nedavno (Euripid, Izabrane drame, preveo Aleksandar Gatalica, Plato, 2007). Dobra vest - u ovoj inscenaciji izostavljena je rak rana većine modernizovanih postavki nastalih prema klasičnim dramskim delima, nema video-bima ili upotrebe mobilnih telefona. Ipak, to što je banalizacija izbegnuta ne znači da je rešen i problem prevođenja istorijskog i društvenog konteksta antičke tragedije. Taj postupak, u režiji Stafana Valdemara Holma, jeste načinjen, ali kojim povodom, kakvim sredstvima i šta to prevođenje u savremenim okolnostima znači, pitanja su koja ostaju otvorena.

INTERDISCIPLINARNO SAGLEDAVANJE ODNOSA KNJIŽEVNOSTI I PRAVA NA PRIMJERU JEDNE GRČKE TRAGEDIJE

Author(s): Svetlana Kalezić Radonjić / Language(s): Bosnian,Croatian,Serbian Issue: 22/2018

This paper is about assessing the connection between two different fields – literature and law. To examine law and literature as an instance of interdisciplinarity can be questioned first of all because the textuality of law is different from that literature: interpretations of legal text invoke coercive power of state, while interpretations of literary text examine power of art of words. Considering the fact that law is not an autonomous system of norms, but rather an instrument of conscious pursuit of social welfare, it requires lawyers to understand not only legal, but also social facts. Therefore, literature is to supplement, enrich or correct law offering better insights into law issues. This paper will enlight some aspects of that influence using Sofocle’s Antigone.