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At the beginning of the 19th century, there was an intensive productive reception of the Corpus Tibullianum in Russian poetry, particularly of Tibullus’ elegy I 1. By analyzing the titles, the notes, and selected aspects of the main text of the six Russian translations of the elegy, Oraić Tolić’s Romantic notion of the paradigm shift from “illustrative” to “illuminative” quotation can be seen. However, this change does not take place in a linear fashion: Although the change in the titles and notes occurs in a consequential manner, the main texts meander between the stated poles.

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My paper aims at examining the poetics of Sergei Dovlatov’s novel Sanctuary, with particular emphasis on motivic repetitions and the Pushkinian intertexts embedded in the novel. It reveals a complex relationship linking Dovlatov the author, Alikhanov the narrator, Alikhanov the protagonist and the narrative itself to Pushkin’s life, persona, his texts and language. By referring to two Pushkinian intertexts, I argue that Alikhanov’s understanding of Pushkin develops simultaneously as his relationship to his wife Tanya progressively becomes a text. Alikhanov recreates Pushkin’s ars poetica for himself by aphoristically identifying the poet with an indifferent nature. The fictional equivalent of this will be Tanya, whom Alikhanov the narrator describes with the attributes of indifference. This motif of indifferent nature establishes a connection between Pushkin’s lyrics and Dovlatov’s text. Pushkin, the greatest cultural subject in Russia’s collective memory, is salvaged by Dovlatov’s text through Alikhanov’s Tanya as well as the narrator’s own personal history; a history that necessarily evolves from Pushkin. Alikhanov the protagonist and Alikhanov the narrator interpret Pushkin in the context of their own crucial, existential questions, the questions of amorality and destiny, and the possibilities of late modern-postmodern prose writing.

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From the point of view of translation studies, Nabokov’s case, his practicing selftranslation is very apt to shed light on some new aspects of practical and theoretical problems of literary translation. As several of his novels were self-translated, the two original versions represent a double authenticity. Translating Nabokov into a third language raises a number of practical problems. The paper also challenges the notion of the minimal and the maximal unity as well as the axiomatic question of equivalence.

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The research interprets the textual references of Pharsalia based on the presupposition that the epic aims to emulate and reinterpret (in an anti-Virgilian and anti-Ovidian way) Virgil’s Aeneid _

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A Dumuzi és Ĝeštinanna című szöveg a sumer elbeszélő költemények problémás darabjai közé tartozik. A szokatlan megfogalmazások hátterében az állhat, hogy a szöveg ókori szerkesztője Dumuzi isten történetének problémáit a narratíván belül próbálta kommentálni. A szöveg „szerzője” nem explicit módon fogalmazta meg a teológiai kérdéseket, hanem hermeneutikai technikákkal juttatta ezeket kifejezésre: például mely ékjelekkel írjon szavakat, hogy azok Dumuzi lényegére utaljanak. Több helyen szokatlan fordulatokat használtak, amelyeknek intertextuális vonatkozásai lehetnek: ezek Dumuzi isten és a király, illetve Dumuzi és a felesége kapcsolatával hozhatók összefüggésbe.

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Tracking a devil in a textual maze

Citations from the Mudrārākṣasa in anthologies of Sanskrit poetry

Acta Orientalia Academiae Scientiarum Hungaricae
Author: Dániel Balogh

Viśākhadatta’s Mudrārākṣasa is somewhat unique among Sanskrit dramas in that its plot is concerned with political intrigue. Though the occurrence of certain stanzas of the Mudrārākṣasa in other (non-fiction) works has been noted even by early editors of the play, no attempt has yet been made to fully explore the textual interconnections of the play. The present paper attempts to sketch a map of the appearance of Mudrārākṣasa stanzas in anthologies of Sanskrit poetry. Such anthologies containing hundreds of well-phrased (subhāṣita) stanzas — collected from classical literature, but detached from their context and usually arranged in thematic chapters — made their appearance on the literary stage at the end of the 11th century and remain popular to the present day. Out of the total 175 stanzas of poetry in the Mudrārākṣasa, 18 occur in one or more major subhāṣita anthologies and other literary works. While 12 of these are probably indeed Viśākhadatta’s own compositions according to the testimony of the anthologies, the authorship of the remaining 6 is somewhat dubious, since they are attributed in one or more anthologies to a different source, and/or are found in texts that may be earlier than the Mudrārākṣasa. The paper argues that stanzas of poetry, mostly of a gnomic/didactic nature, could freely migrate not only from works of fiction into anthologies but also in the opposite direction. Widespread quotes that sounded relevant to a specific situation may well have been inserted into the text of dramas (and other opuses) both by the playwrights themselves and by subsequent copyists or redactors of their texts.

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Cato und die Bienen

Zur Rezeption der Vergilischen Georgica in Einigen Gleichnissen Lucans

Acta Antiqua Academiae Scientiarum Hungaricae
Author: Markus Kersten

The paper focuses on the bee-simile (9. 283–293) and its application to Cato. Via a detailed analysis of the motif, the passage, and the context as well as the inter- and intratextual aspects of Lucan’s Bildsprache (especially with respect to Vergil’s Georgics) the author discusses how the Lucanean Cato can be understood and how he may be assessed with regard to an interpretation of the narrative as a whole. The elaborate simile not only gives a frightening insight into the figure’s character, but also, by evoking the similes previously used for Pompey, it inevitably draws the characters into relation with each other. The famous, but perhaps simplistic idea that Cato, the perfect stoic and republican, is the real ‘hero’of the poem, is challenged.

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The Cornelia-figure of Lucan is a relative of the female figures of Virgil and Ovid according to linguistic and motivic references, however, on a motivic level, it should be grateful to the tragedies of Propertius and Seneca. In the Cornelia-narrative of Lucan we can assume, on the one hand a conscious linguistic and motivic reference to Ariadne of Catull with a reasonable certainty, and on the other hand to many other longer or shorter Ariadne-narratives of Ovid. The study reviews the possible references to the Ariadne-story in the epic of Lucan. In Rome, where the Naxos-episode, the most frequently mentioned part of the Ariande-story was set, the image of katasterismos was linked to the figure of the princess of Crete: which means that the connection of the ‘Ariadne in Naxos’-story with Cornelia can be a mythological metaphor of the image of becoming god. So, as a virtuous woman, Cornelia does deserve becoming a god in connection with her husband, just like Pompey as a man.

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Kallimachos Artemis-himnusza

Megjegyzések a művészi egység és a datálás kérdéséhez

Antik Tanulmányok
Author: Adorjáni Zsolt

Kallimachos Artemis-himnusza az a költemény a himnuszok könyvében, melynek művészi egysége, különösen Wilamowitz elmarasztaló ítéletének hatására, mind a mai napig élénk vita tárgya. Jelen tanulmányban ehhez a kérdéskörhöz szólok hozzá. Először a himnusz könyvben elfoglalt helyét, illetve a többi vershez való viszonyát vizsgálom. Ezek után kísérletet teszek az egység jellegének meghatározására a kohéziós elemek feltérképezésével, miközben eredményeimet kritikusan ütköztetem korábbi befolyásos nézetekkel, különösen a „fejlődéspszichológiai” irányzattal. Végezetül kiszélesítem a vizsgálatot a költemény tágabb történelmi kontextusára, és ennek keretében javaslatot teszek datálására is.

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A Pharsalia szövegszerű utalásait a kutatás abból az előfeltevésből kiindulva értelmezi, hogy az eposz egyfelől Vergilius Aeneisét (esetenként Georgicáját és eclogáit is), másfelől Ovidiust (különösen Ovidius Metamorphosesét) akarja felülmúlni és átértelmezni (antivergiliánus és antiovidiánus). A költeményben utalások tárhatók fel a magasabb szerkezeti egységek és a szavak szintjén egyaránt. Az első csoport allúziói úgy is felhívhatják a figyelmet az Aeneis előszövegére, hogy ugyanabban a sorszámú Pharsalia-könyvben kerülnek elhelyezésre. Az előszövegek ugyanakkor maguk is utalhatnak más szövegekre, s felvetik a problémát, hogy a költő csak egyik vagy másik, esetleg mindkét előszövegre akart-e utalni, s ha igen, miben látta a két előszöveg viszonyát. A dolgozat a Pharsalia 9, 1—108. sorokban lévő Vergilius-allúziókat tárja fel és kommentálja, a vizsgálódásba bevonva más feltételezhető előképeket is.

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