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).
This paper sets out to investigate the coexistence of two different versions of explicitation in translation studies, which, with reference to Chesterman’s distinction between S-universals and T-universals, are called S-explicitation and T-explicitation in the first part of this article. Following a brief survey of the major strands in explicitation research, the specific characteristics of S-explicitation and T-explicitation are discussed. By tracing the development of the explicitation concept from its origins in Vinay and Darbelnet’s comparative stylistics to its widespread application in corpus-based translation studies, the circumstances leading to the emergence of T-explicitation are identified and it is shown that T-explicitation has developed in the wake of the more general paradigm shift from source-text orientation to target-text orientation. Looking at the issue from the conceptual side, several arguments for a profound conceptual difference between S-explicitation and T-explicitation are then laid out. The terminological implications of subsuming the two concepts under a common designation are discussed and it is argued that, after all, T-explicitation is not a form of explicitation proper but rather a form of comparative explicitness, since it lacks the necessary criterion of translational intertextuality and thus falls outside the cognitive reality and the translational action of the translator.
In dealing with biblical subjects (especially in dramatic production between 1910 and 1930) Croatian literary expressionism showed its potent artistic side. This paper attempts to identify active literary mechanisms used by Croatian expressionist writers in their works in order to mark the syntactic and semantic potential of the biblical text. The analysis of intertextual connections between the biblical original and new literary structures results in establishing the dichotomy between affirmation/reconstruction (M. Begović, A. Cesarec, J. Kosor, T. Prpić, F. Galović, S. Tucić, M. Ogrizović) and negation/disputing of biblical contents, motifs and symbols (T. Strozzi, M. Krleža, J. Kulundžić, K. Mesarić). A frequent choice of Christ’s character and events in connection with him for literary interpretation and the construction of structure and semantics of a new text gives evidence of functional overlapping and joining of a Christian myth on Jesus as a Savior of humankind and expressionistic myth on a New Man as a symbolic projection of spiritual renewal.
The paper deals with the strategies of using the proper names, intertextuality and allegory in the genre of neolatin bucolic poetry with special regards to Boccaccio’s eclogue Faunus. The study examines the possibilities of using the ancient code as an intertextual necromancy, the position of ego and identity in the poem, the tension between acustic and visual elements. The meaning or association-basis of the given name (mask) has special effect on the enrichment of the poetical imaginary, while the name also influences the context and the global allegorical level of the poem. The poet often uses pseudoetimological, mitological or historical approaches in the levelling of the poem, which is the part of his selfcanonisation strategies, while the genre of eclogue seems to be the mouthpiece of power.
Elisabetha Johanna Westonia was a poet with a hard life at the beginning of the 17th century. In the court of Rudolph II, her knowledge and education was recognised by the poet Georg Carolides von Karlsberg or Georg Martin von Baldhoven, who even helped to publish her poems. Her poetry, which has often been compared to the works of Olympia Fulvia Morata, is very complex, and the ancient patterns in her genres are clearly detectable. This study intends to analyse these poetic prototypes, as well as to investigate the question whether they were only crucial as poetic tools, or whether it is possible — when interpreting Westonia’s poems — to consider them as allusions, which may recall the (ancient) original context and are used for the self-reflection of the poet.
The much-cited theorist of autobiography, Philippe Lejeune, uses the term autobiographical pact to describe the silent contract between the author and reader, in which textual (and extra-textual) signals about referential and autobiographical nature of a narrative are understood as coming from the author and are accepted by the reader (Lejeune, 1989, 3–30). Autobiographical themes, connections and concrete allusions have always been present in Péter Esterházy’s fiction (e.g., Termelési regény, 1979; Helping Verbs of the Heart—A szív segédigéi, 1985; The Book of Hrabal—Hrabal könyve, 1990; Celestial Harmonies—Harmonia cælestis, 2000; Not Art—Semmi művészet, 2008). In this context, the text Revised Edition (Javított kiadás, 2002), written in the form of a diary, which describes a real event in the form of one of the most authentic autobiographical genres, signifies not only a change in the author’s understanding of the relationship between autobiography and literature, but also changes the reader’s expectations, i.e. the aforementioned silent covenant between him and the author. I will attempt to explicate the character of Esterházy’s autobiographical writing (understood on the one hand as autobiographical referentiality and on the other as an autobiographical way of writing) on the basis of the texts Celestial Harmonies and Revised Edition.
The aim of this paper is to demonstrate how M. Krleža takes advantage of the adaptabilities of multilingualism in his short story Hrvatski bog Mars. Soldiers from different linguistic areas served in the Austro-Hungarian multilingual army who needed to acquire the military language as well. However, establishing conversations with officers and soldiers of other languages was detained by misunderstandings and incomprehension, which lead to tragic and tragicomic consequences. The different social dialects created situations for talking at cross purposes, while the voided multilingualism of the upper classes signed cultural decadence, the coming of the end.