Valerius Flaccus Argonauticája 5, 142 ruricolae, Gradive, tui kifejezésének értelmezése vitatott: az apollóniosi eredeti mögött valószínűleg egy a görög költő által még ismert, a vasérc mosására vonatkozó forrás állt. Apollónios Rhodios Chalybsökről adott, általa még szó szerint értett információit Valerius Flaccus fordítása a vaskorhoz kapcsolódó római képzetek jegyében romanizálva, metaforikus értelemben adja vissza.
Lucanus Cornelia-alakja a nyelvi és motivikus utalások szerint Vergilius és Ovidius mitikus nőalakjainak rokona, de motivikus szinten sokat köszönhet Propertiusnak és Seneca tragédiáinak is. Lucanus Cornelia-narratívájában meglehetős bizonyossággal tételezhető tudatos nyelvi és motivikus utalás egyrészt Catullus Ariadnéjára, másrészt Ovidius több, hosszabb-rövidebb Ariadne-narratívájára. A tanulmány áttekinti az Ariadne-történetre való lehetséges utalásokat Lucanus eposzában. Rómában, ahol az Ariadne-történet legtöbbet emlegetett része a naxosi epizód volt, a krétai királylány alakjához kapcsolódott a katastérismos képzete: az ’Ariadne Naxoson’-történet Corneliával való összekapcsolása ezért mitológiai metaforája lehet a megistenülés képzetének. Cornelia tehát erényes asszonyként éppúgy kiérdemeli a megistenülést a férjével kapcsolatban, mint Pompeius a maga férfiúi állapotában.
In this essay the author proposes a hypothesis: „sin and prayer” constitute one of the most complex metaphors of János Pilinszky's poetry. The study has a double structure: the vertical dimension is given by the examination of the dialogues coming from Pilinszky's poetry and Dostoievstky's, Kafka's and Camus' works, meanwhile the horizontal one places this intertextual analysis in the context of the poems, revealing the basic role of „sin and prayer”.
My reflexions propose a parallel reading of Pasternak and Nabokov. Firstly, some possible perspectives in the comparative research of these two authors are listed. Then, there follows an outline of some typological similarities in the two writers’ early period that may be deducted from their literary situation of the time and their similar position between traditions and innovations. Finally, I discuss a very possible intertextual dialogue that may cast a new light on Nabokov’s Pale Fire.
The paper (originally a chapter in a book published in Hungary, extensively investigating into the system of intertexts of Turgenev's novel, Rudin - cf. Budapest, 2002) raises the problem of the intertextual poetics of Turgenev's prose fiction as represented in his novel, Rudin. As elements of the intertextual system of this novel, on the one hand, Griboedov's comedy, Gore ot uma, on the other hand, Pushkin's novel, Evgenij Onegin are examined in detail from the specific point of view of how these literary works are creatively built into the semantic world of the Turgenevian text in a way that their joint presence there as an intertextual complex sheds light on the complicated poetic interrelation of these two texts themselves (interpreted in the contexts of the history of the text evolution and from the perspective of poetic meaning formation within the semantic universe). It is the motif of travelling (metaphorically construed as pilgrimage) which stands at centre stage in the analysis. The spatial dimensions of Chackij's figure as opposed to the dominance of the temporal semantic extensions of Sofia's poetic figure are under scrutiny as a crucial motivation factor for the plot construction. In the process of analysis the motif as belonging to the plot and the motif as representing a more abstract semantic unit with independent poetic development are consistently differentiated and also the semantic status of the pretext is separated from that of the intertext.
The use of lexical elements (words, expressions, and idioms) of a foreign language in everyday informal communication is a frequent but still little-studied phenomenon in modern linguistics. The present paper is devoted to the question of “lexical transplantation” of various verbal elements (including those of intertextual character) from Russian to Ukrainian as a typical phenomenon in modern communication of native speakers of the Ukrainian language. On the basis of numerous examples and contexts from colloquial speech, the authors present the linguistic nature of such units, their pragmatic functions in the text (both oral and written) as well as their classification.
This paper is based on three major premises derived from philosophy of history, historical poetics, and theory of intertextuality, which are seen as interconnected. Taras Bulba and Khadzhi Murat inherit different forms of epic writing from archaic ones (e.g. epic poems) to heroic ones (e.g. sagas, bylinas, chivalric romance, etc.). Some variations and distant derivatives of these multiple forms (e.g. tales about bogatyrs, Orlando Furioso by Ariosto, Alonso Quijano by Cervantes, ballad, historical novella, etc.) are related to some extent to the given texts by Gogol and L. Tolstoy.
This study examines how 19th-century Russian literary tradition is manifested in L. Ulitskaya’s short story Sonechka; a tradition which poses questions in the field of the philosophy of artistic creation through the portrayal of painters and their paintings. L. Ulitskaya’s short story does not directly evoke this 19th-century tradition; it is transmitted into the textual world of Sonechka by a 20th-century novel, V. Nabokov’s Camera Obscura. The revelation of the intertextual connection between the two works sheds light on the connection between Ulitskaya’s short story and the tradition cited above.
The paper entitled “The poetic development of the motifs word and deed in Turgenev's novel, Rudin” examines the structure and the semantic evolution of the motifs under scrutiny. It throws light upon the different semantic configurations the variants of word and deed systematically form in different layers of the text-on the plot-level where they reveal themselves focussing around the main hero of the novel (see the protagonist's debate with Pigasov or his complaint about his fate); in their linguistic representations including their lexical and phonic manifestations (cf. e.g. the expression ???????? ??????); in the consequently constructed motif clusters, which reveal significant semantic parallelisms (cf. the semantic sequence of variants: fire-love-wandering-speaking), and in the intertextual practice of the novel. The interpretation formulates the idea of the isomorphic structural and semantic composition of the motifs word and deed, relating their poetic meaning to the problem of semantic motivation. This latter one “overwrites” the evaluation of Rudin's figure offered in the framework of his unrealized love story with Natalya or given by the characters or the narrator. The paper aims at elucidating the true semantic character of the literary figure, deeply embedded in his intertextual role incarnations, out of which the Rudin-Onegin parallelism is paid special attention.