The article deals with the role of the Greek goddess Hera and her Roman counterpart, Iuno, in the poetic treatments of the myth of Argonauts. The focus is put especially on Iuno’s character development in Valerius Flaccus’ adaptation of the myth. Iuno’s character in this work has already been discussed by Werner Schubert in his fundamental study (1991), in which he pointed out the remarkable approximation of Iuno fabulosa and Iuno civilis. Referring to this study, the article emphasizes rather the literary development of Iuno’s character. It is shown that Valerius Flaccus portrays the highest goddess not only as a peculiar helper (socia), as suggested by Schubert, but also as a permanent participant in an intertextual dialogue with the epic poems of Homer and Apollonius Rhodius. Valerius Flaccus’ aim here is to invert his literary predecessors’ accounts in a subtle and witted way (as Debra Hershkowitz has already presented).
Both demonology and medical learning wanted to define what material proofs they were to use in order to alleviate the politically rooted disease symptoms of the early modern period. Finding the proper therapeutic treatment required the appropriate description of the pathology, revealing the causes and consequences and making the right diagnosis. Several key questions were formulated concerning these requirements. Most of the questions formulated in this way are based on a formal syllogism that meets the normative requirements of disciplines that include law, theology and medicine and whose formal elements became valid within the systems of fulfilment of these disciplines themselves. In this paper I shall attempt to introduce the scholarly literature based on these formal logical criteria that address material proofs, omens, prophecies, oracles and miracles. I shall then outline how this debate in European secondary literature has been received in Hungarian scholarship.
In the second half of the 16th century increasing interest in Greco-Roman drama lead to a revival of the fabula praetexta, i.d. plays staging Roman history. One of the finest examples is the “Lucretia, tragoedia nova” by the Silesian writer Samuel Iunius (*1567). In dramatizing the Livian story the poet follows Greek tragedies (e.g. Sophocles, Aias), but first of all imitates Vergil by assimilating Lucretia to Dido. Due to further parallels in structure and narrative technique Iunius' play even emerges as a kind of dramatic counterpart to the Aeneid. The choice of the subject as well as its treatment seem to suggest that the author lent his voice to political criticism and Anti-Habsburg opposition.
What happens when we consider “poetics,” a term and concept well-known from Aristotle’s philosophical treatment of Greek epic
and tragic drama, in the larger context of world literature as we understand it today? What would be the essential elements
in the definition of poetics? What sort of critical issues it can address, and what resources it may draw on in the world’s
various literary traditions? In the ancient world, East Asia and South Asia all have distinct traditions of literary expression
with emphasis and critical conceptualizations rather different from those of the Greek-Roman tradition. What would the consideration
of poetics in a broad cross-cultural perspective lead us to? In this presentation, these are the theoretical issues to be
explored to arrive at a better understanding of poetics not only in the Western tradition, but truly of the world, with the
richness of content and critical functions considered with relation to a global concept of world literature.
The goal of this paper is to analise the magical elements of mesopotamian medical texts. The Mesopotamian concept of illness is interpreting physical complaints and pain, that is symptoms and illness, as messages from the gods (omens), claiming that medical texts deal with a specific type of this kind of message transfer, namely those cases when the bad omen occurs on the human body. In this article I introduce the sources and the cultural context of Mesopotamian medical texts, then I examine the magical elements in the process of healing treatment. We can conclude that the minor role of practice in the curing of illnesses is supported by the magic elements (e.g. aspects of numerology, or magic circles) identifiable in each step of healing with medicaments.
How far can canon and language be sources of (dis)continuity in literary history? Continuity and discontinuity are concepts of such complexity that only philosophers can hope to make a successful attempt to define them in general terms. All I can offer is a tentative analysis of their significance for literary history. Since even such an investigation would ask for a lengthy treatment if conducted on an abstract level, I shall limit myself to reflections on how continuity and discontinuity are related to the concepts of canon and language. In the second half of my paper a personified abstraction called nation will also be introduced with the intention of making some remarks on the legitimacy of the terms national and world literature. The essay also raises the question of whether it is possible to write literary history in a postmodern world.
The article deals with the problem of a Greek collection of maxims in Arabic translation. The collection under examination has two special features among the many similar collections: 1) In this gnomology each one of the maxims ascribed to Aristotle is compared with one of the maxims abstracted from the poems of al-Mutanabbi’ (915–965), who lived in the tenth century. 2) The maxims deal with some traditional concepts of the late antique moral teaching usual in other collections (desire, pleasure, wisdom, etc.), but their negative treatment (e.g. that of desire and pleasure) is turned into a positive one many times in our collection. The maxims quoted in this collection cannot be ascribed to Aristotle, but they are not alien to the Aristotelian tradition. This collection together with other ones seems to prove that maxims played a much more important role in the late antique literature, than it used to be thought earlier.
This article focusses on discussing the reason of existence of factors (
) in the three time periods (
) as it is recorded in the Vaibhāṣika *
and in the Sarvāstivāda works that postdate this text. The origin of this discussion is traced back in the earliest Sarvāstivāda Abhidharma works. Also the Chinese Sanlun philosopher Jizang (549–623), in his “
Shi’er men lun shu
”, a commentary on Nāgārjuna’s *
Shi’er men lun
”, raises this discussion. Here, references are made to the vibhāṣā literature. The treatment of the subject in the “
Shi’er men lun shu
” reveals (1) that the Chinese Sanlun (and Madhyamaka) philosophers were familiar with this discussion in Sarvāstivāda philosophy; (2) that they criticised the Sarvāstivāda viewpoint; and (3) gives evidence for a rise of Indian Madhyamaka philosophy and a place of origin of Nāgārjuna in the North of the Indian subcontinent.
Bartók left behind over 300 folksong arrangements. In the field of vocal music, three series are based on Slovak folksongs: Five Slovak Folksongs for male choir (1917, BB 77), Four Slovak Folksongs for mixed choir and piano (1917, BB 78) and Village Scenes (1924, 1926, BB 87). The series are strongly connected among themselves in terms of textual content, formal concept, and treatment of folk melodies. In Village Scenes, Stravinsky’s influence is unmistakable. Not only was Bartók “influenced” by Stravinsky but he also imitated and even “quoted” Les Noces (1923). The article examines the relationship between the two works using Bartók’s 1928 essay Hungarian Folk Music and New Hungarian Music as a point of reference.
The idea of ‘national’ in Croatian 19th-century music shows evolutionary tendencies, which can be articulated in four phases. It started in the period 1800–1830 as a construct leading towards higher general musical standards, displaying universality above particularity as its ideal. It continued in the period 1830–1850 with pragmatic treatment of music as incidental to poetry, supporting non-musical, mostly political issues, where universality equaled particularity. It achieved in the period 1850–1870 the status of a substantial part in the scholarly re-construction of national history, still equaling universality with particularity. Finally, as a concept of ethnic or national art music, it reached in the period 1870–1916 a status of general interest in national cultural life and education, displaying particularity above universality.