Margaret Atwood’s Lady Oracle is a novel extremely rich in Gothic resonances, making numerous approaches to the Gothicness
of the book possible. My analysis will focus on the roots of protagonist Joan Foster’s fascination with the Gothic. What I
intend to argue is that, in contrast with most analyses of the novel, the Gothic is present not only in the form of clichs
which Joan (wrongfully) imposes on real people and real situations; in fact, it is not by mere chance that Joan turns to writing
Costume Gothics in order to satisfy her desire for romance. The roots of her fascination with the genre lie with the two most
influential people of her life: her mother Frances Delacourt and her surrogate mother Aunt Lou who educate her early into
the female/maternal legacy of Gothic thinking which manifests itself in Joan’s views on all aspects of life: problems of selfhood,
personal relationships as well as personal aspirations. Moreover, the fact that the Gothic permeates the lives and thoughts
of all the significant female characters of the novel indicates that female existence as a whole is presented by Atwood as
essentially and inevitably Gothic. I will pursue this line of argument by first discussing the significance of the two mother
figures in Joan’s life as well as the process of Joan’s education into patterns of female existence that bear a striking resemblance
to such patterns common enough in the Gothic. I will also show how the creative process of writing her Gothic novels as well
as her “Lady Oracle” poems contributes to Joan’s understanding that the bonds that connect her with her mother are primarily
bonds of love and not of hate as she thought before, and that under the disguise of apparent differences they do share whatever
is essential about womanhood. It is through this realization that Joan can set herself free from the past – by coming to terms
with it rather than discarding it – and may, thus, actually start working on her present.
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.
Boer , J. Z. de - Hale , J. R. - Chanton , J. 2001 New Evidence for the Geological Origins of the Ancient Delphic Oracle (Greece) . Geology XXIX : 707 - 710 .
Breitenstein , Thorkild 1971 Hésiode et
The two Augusti and two Caesars of Diocletian's tetrarchy have been commilitones, originating from the Balkanic provinces. They were chosen by Diocletian an the basis of friendship that was corroborated by family connections. Although these connections were changed partly because of invidia, Diocletian achieved a remarkable success through his system which was tightly connected with the possible oracle of a celtic sibyl. She said that Diocletian would became emperor if he slayed the wild boar. As Diocletian killed Flavius Aper (= boar), the oracle came true. The only representation of the boar slaying that relates to Diocletian is an inscribed tegula with such a representaion found in Intercisa.
The Historia Augusta mentions some oracles of Juno Caelestis, the Carthaginian goddess who uttered them shortly before the reigns of Pertinax and Severus. This Juno and her prophecies were imporant to the author of the Historia Augusta mainly because they were concerned with the forthcoming death of Commodus and the coming of Pertinax and Severus.
There are two acceptable noble gas monitoring measurement modes for Comprehensive Nuclear-Test-Ban-Treaty (CTBT) verification purposes defined in CTBT/PC/II/WG.B/1. These include beta-gamma coincidence and high-resolution gamma-spectrometry. There are at present no commercial, off-the-shelf (COTS) applications for the analysis of - coincidence data. Development of such software is in progress at the Prototype International Data Centre (PIDC) for eventual deployment at the International Data Centre (IDC). This paper includes flowcharts detailing the automatic analysis algorithm for - coincidence data to be coded at the PIDC. The program is being written in C with Oracle databasing capabilities.
This paper presents an automated model and a project, Arrakis, for finding defects in shading algorithms for graphics rendering and compute workloads. A key challenge in shading algorithm testing is the lack of an oracle that can determine the quality and the output of a custom shading algorithm; this is crucial in graphics workloads because expensive assets are often wasted on solving these problems. A broad solution, Arrakis is developed, which builds on current graphics technology advances in Vulkan, SPIR-V and SPIRV-X by leveraging the standardization with mappings from SPIR-V and C++. Findings show that utilizing the demonstrated technology can improve quality whilst increasing productivity.
Every Pindaric ode poses the question of literary unity, which is the main issue of Pindaric scholarship. But every ode presents a specific form of unity, and so does the Sixth Olympian, one of Pindar’s most accomplished poems, whose ways of achieving unity are the chief concern of this paper. I argue that unity in O. 6 comes about by dint of a metaphoric parallel between the poet (Pindar) and the prophet (Hagesias, the victor, and Iamos, the mythic protagonist). This parallel is based on two significant moments, which are typical of both the prophet and the poet: the moment of inspiration and that of the utterance (of the oracle viz. poem). The same moments are brought to the fore in vv. 58–70 concerning the prophet Iamos, then in vv. 82–91 (the main stumbling block in the interpretation of the poem) concerning the poet Pindar. From this core metaphors of prophetic-poetic activity permeate the whole epinician ode.
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.
The aim of this paper is to examine the role of sexually ambiguous human individuals in the Mirabilia by Phlegon of Tralles. The text preserves two curious accounts of the birth of hermaphroditic infants. In antiquity hermaphrodites were usually regarded as maleficent portents which needed a propitiation of the gods; traces of this belief are to be found also in the Mirabilia, since both accounts represent these ‘creatures’ as evil omens. However, in Phlegon’s times hermaphrodites ceased to be considered dangerous and became objects of refined entertainment. I attempt to show that Phlegon, incorporating these particular stories of hermaphrodites into his compilation, plays with the former significance of this phenomenon. First of all, hermaphrodites perfectly fit Phlegon’s collection of marvels, which is focused exclusively on human oddities. But most importantly, he chooses two stories, one of which is strikingly drastic, highly incredible and exceptionally complex in terms of the odd and the bizarre, and the other is reduced to mere quotations from vague and gloomy Sybilline Oracles; in both of them the hermaphrodite is just a part of the sensation and triggers off a sequence of many other extraordinary elements. No longer seen as dangerous, these very special hermaphrodites are used for entertainment purposes providing amusement to the readers by means of shock, astonishment and sensation, along with other ‘freaks of nature’ in the Mirabilia.