All the actors in Octavia, a pseudo-Senecan drama, are afraid of something. Only the Roman people are capable of overcoming their fears and of supporting the emperor's rejected wife and this eventually leads to their fall. Octavia, who enjoys the people's sympathy, nonetheless remains passive. Her passivity can be interpreted as a form of resistance through inactivity - she considers this the only means of preventing the impending marriage between Nero and Poppea.
Juno, the goddess of marriage who is able – in her form of Lucina – to bring children to light, does not appear to be particularly “motherly” in the ancient sources. I will explain this paradox showing that both attitudes are aspects of Juno’s control over motherhood and childbirth, which can manifest itself both in a negative and in a positive way. Moreover, I will show how control over motherhood and childbirth is nothing but one of the numerous tasks which the feminea dea par excellence has to perform in order to regulate the roles of the Roman women.
Main goal of the study is to enlighten the "realism before realism" of Jakov Ignjatović according to his biography. In the beginning of his career he wrote romantic novels, but in his ripe ages he felt obliged to summarise his life and assess his perspectives. In addition he had just been over an unsuccesful marriage which ended up with a sudden devorse. These were the circumstances which determined the birth of the novel "Milan Narandžić", which contains autobiographic elements both in direct and indirect forms. This work is an important moment of Ignjatović's life-work and also in the history of the Serbian novel.
The closest of friends in the early eighteen-thirties, Berlioz and Liszt shared artistic aspirations (especially around the latter’s reworkings of the former’s Symphonie fantastique and its sequel, Le Retour à la vie) and personal adventures (especially around the former’s irrational passion for the Irish actress Harriet Smithson and the latter’s efforts at counsel and consolation). These matters are discussed in the context of Berlioz’s private (and I believe insensitive) announcement, in a letter to Liszt sent four days after the marriage, that his new wife had been a virgin.
This paper aims to
reexamine the arguments concerning the three main problems of the fragmentary
, i.e. what character and conflict lies
behind Phaethon's excessive reluctance to the marriage; who the mysterious
bride is; and finally, what kind of exodos fits in the dramatic context on the
basis of the fragmentary textual evidence. In my discussion Goethe's
reconstruction is dealt with closely; moreover, the poet's suggestions prove to
be valuable not only artistically, but philologically as well. Some personal
bias of his treatment nevertheless hints at a new articulation of the
Phaethontic character in the Euphorion-episode of
and a general
reevaluation of the hybris-drama.
The Budapest painting of the Mocking of Christ is signed as Cornelis Coeurshof. Comparing it with the four known paintings with a signature C. Coeurship, it is by the same hand as the others, that is of Christiaen Coeurshof. No explanation can be found for the fact that he used the first name „Cornelis”on the Budapest painting, however the use of this name might be an indication that the Mocking of Christ was painted in the period of his second marriage in 1647.
Religious Conflicts and Cultural Differences in the Jászkunság Region in the 18.-20. Centuries - The Habsburg court and Queen Maria Theresa began the forced settlement of Catholics into Hungary in the 18th century. The study examines the form these efforts at recatholicization took among the Jazygians (Jászok) and Cumanians (Kunok) living in the north-west of the Great Plain, the denominational conflicts they caused and the influence on human relations, everyday and festive customs. The study also deals with Catholic-Calvinist mixed marriages and the differences in way of life and customs (differences in festive days, weddings and burials between the denominations living within the same settlement).
The following study shows metaphorical meanings of a verb(païr) that comes from the religious tradition. Two texts will be presented: a poem of Raimbaut d'Aurenga and an occitan short story. Both speak about love and both use païr in a somewhat unusual way. In the poem, païr expresses love of the Domna; in the short story, after their marriage, lovers take new names and the wife has one that contains païr. The study tries to reveal a possible literary relationship between semantic fields of païr and aimer.
In his youth Bela III, king of Hungary (1172-1196) lived in Constantinople as the betrothed of the emperor Manuel Comnenus' daughter and was appointed to be heir to the Byzantine throne. There he was called Alexius probably owing to an oracle, according to which Manuel's successor's name would start with the letter alpha. However, when a son - also named Alexius - was born to Manuel, he had him crowned co-emperor and had the betrothal of Bela and Maria dissolved on the pretext of a ruling of the 1166 Synod of Constantinople, which banned marriage between relations by marrige to the seventh degree. It is this ruling that is referred to in a sentence in Cinnamus, which has been ignored this far because of the assumption that Bela and Maria were related in the eighth degree. As a matter of fact, they were related in the seventh degree by the marriage of the Hungarian king Stephen IV and Maria Comnena, daughter of Isaac Sebastokrator.
The newly acquired register data reveal that the Viennese baroque painter, the younger brother of sculptor Johann Georg Dorfmeister (1736-1786) and cousin of the painter Johann Evangelist Dorfmeister (1742-1765) was born on 13 October 1741 in Pozsony. The signature of one of his pictures already divulged his age and he specified his place of birth for his marriage in Kremsier (Kroměříž) in 1762 correctly. The uncertainty prevailing so far was caused by a mistake in the death register in Sopron, as the deceased was registered as aged 68 in 1797, as well as by the fact that the populous Dorffmaister family – of shoemakers and embroiderers – living on Spittelberg did not have any son called Stephan registered at the St Ulrich parish of Vienna. His marriage data corroborates the so-far only presumed role of the Premonstratensians of Hradisch (Hradisko u Olomouce) in Dorffmaister’s career start in Hungary. While the decoration of the Premonstratensian church and monastery of Türje in west Hungary painted between 1761 and 1763 is being brought to light in its increasing richness as restoration progresses, there is no trace remaining of the painter’s work done for the Promonstratensians of Csorna, and moreover, the relevant sources are also uncertain. Research in the archives of the Premonstratensian abbey of Hradisch kept in Brno will hopefully bear further fruit.