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sokistenhivő atyáinkat görbe <<b>>pásztorbottal ólokba hajtván először tette birkákká: annak van ma ünnepe; – de én másról beszélek!” 4 A levél nyitósoraiban Propertius mint a latin nyelv szimbóluma jelenik
transmitido en dos versiones: la llamada recensio prior, escrita en un latín más incorrecto, y la re- censio altera, vertida en una lengua más elaborada. En el comienzo de esta última recensio (de la que existe además una recensio breviata) hay ciertos cambios
basa su una selezione di testi inclusi nella Library of Latin Texts edita da Brepols. In particolare, della serie A si è presa in considerazione l' Aetas Patrum I (ca. 200 d.C. - 500 d.C.) e II (501-835 d.C.), della serie B, invece, la sola
in certe tipologie di testi. Si veda ad esempio quanto sottolineato a proposito di testi di ambiente notarile in CALBOLI, G.: The Development of Latin (Cases and Infinitive). In PINKSTER, H. (ed.): Latin Linguistics and Linguistic The- ory
Introduction Looking at the list of Hungarian language dictionaries published in the 16th and 17th centuries, we will find that most of those works were bilingual and paired Hungarian with Latin. However, Hungarian also appeared in polyglot
1 INTRODUCTION Dans cet article, nous étudions les démonstratifs latins présents dans les chartes privées rédigées en Italie du Sud entre le 8 e et le 10 e siècle. Nous nous focalisons particulièrement sur IPSE. Notre objectif est de réaliser une
This study aims to answer the question whether the ancient Cēra kings sailed the seas and, if so, whether their technology was suitable for crossing the Indian Ocean, while it tries to summarize what we know about shipbuilding in ancient Southwest India. On the following pages, an attempt is made to introduce the most important passages of the Old Tamil Caṅkam literary sources in order to analyse their data in the light of Greek and Latin sources, and of Indian and Mediterranean inscriptions. It can be concluded that although inscriptions of Tamil traders can be found from Egypt to Thailand, and the Cēra kings built a maritime fleet for probably the first time in the history of ancient South India in order to punish their enemy, the kaṭampu tribe by sailing on the seas, their nautical contribution to the long-distance trade of the Arabian Sea as well as their engagement in coastal shipping can be classified as moderate and incidental in the antiquity.
Dürer nyitott ajtós címere és a korai híradások apai őseiről
Dürer’s open door coat of arms: early news about his paternal ancestors
Albrecht Dürer’s name first appeared in Jacob Wimpfeling’s book on German history, printed in 1505, in which the Alsatian author praised the then famous artist. In his book on the work of Martin Schongauer, printed in Nuremberg in 1515, the humanist Christoph Scheurl mentioned that Dürer’s father was born in Cula, near the town of Várad in Hungary. He was therefore the first, albeit with an incorrect town name, to make this biographical information public. Joachim Camerarius also mentioned in the preface to his book on the artist’s symmetry, published posthumously in 1532, that Dürer’s paternal lineage was from Pannonia. The only surviving manuscript is the calligrapher Johann Neudorfer’s biography of Dürer, in which the artist’s father’s biography is in agreement with his family records. This knowledge also reached the Hungarian humanist János zsámboky (Sambucus), who compiled a Latin and Greek epigram in praise of Dürer, mentioning the Pannonian origins of the artist’s ancestors. This information was published in Adam Melchior’s book on the life of German scholars, published in 1615, in the section about Dürer. The artist’s own notes were published by Joachim von Sandrart in 1675.
From then on, this publication became the basis for biographies of Dürer. The present essay will now look at the reception of these family records in Hungary, with its pitfalls, especially the village of Ajtós and the Dürer name, as well as the related open-door coat of arms and the portrait of the artist’s father.
Modéliser la prise de Constantinople (1204) •
Les lettres fictives de Boncompagno da Signa et leur intertextualité
Les « Latins » ont décrit Byzance à l’époque de sa première « chute », lors de la quatrième croisade, et de ses suites, en utilisant des langages variés. Les formes textuelles de ces descriptions divergent en fonction de la typologie documentaire
Abstract
The present paper examines the understanding of the Prometheus figure in three works of Goethe. In the unfinished drama Prometheus (and the poem belonging to it) Prometheus is not only the great rebel against dogmatic religiosity and an autonomous creator in the sense of Shaftsbury, but even more a Kulturbringer as Rousseau outlined the development of culture. In Dichtung und Wahrheit Goethe re-interprets his own previous interpretation: Prometheus is the solitary and isolated artist. Finally in his similarly unfinished drama Pandora Prometheus is like a modern industrialist, he is led only by practical motives and has no sense for beauties.
