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Calliope éneke (5.338-678), illetve az Orpheus dalában kirajzolódó történetfüzér (10.1-11.84) számos ponton mutat párhuzamot egymással s az ovidiusi mű egészével is. A két részlet ilyen szempontú elemzése a varietas esztétikai alapján szerkesztett Metamor-phoses szerkezeti egyensúlyára éppúgy lehetséges magyarázattal szolgál, mint ahogy közelebb visz a teljes mű értelmezéséhez is. A két részlet párhuzamai és újragondolása újabb szempontokat vet föl az Orpheus-történet vergiliusi és ovidiusi feldolgozásának kapcsolatáról is, a parodisztikus újramesélés helyett utóbbinál is a költő dalnok szerepének fontosságára és drámaiságára hívva föl a figyelmet.
There is hardly any ancient work as complex and multi-layered as Apuleius’ novel Metamorphoses. Whether we regard it as a mere sophisticated literary entertainment, or a religious lesson disguised as fabula Graecanica, it certainly offers many angles of research. The aim of the paper is to examine one of its most significant aspects, namely its multicultural character. Although modelled on a Greek narrative and taking place in completely Greek environments following the Greek literary tradition, it undeniably possesses an air of Romanness. The author lets his characters fluctuate somewhere between Roman and Greek, urban and provincial, local and imperial, barbarian and sophisticated. In many places, Lucius, Apuleius’ alter ego, refers to the relationships between different cultures, especially Greek and Roman, not to forget African with respect to Apuleius’ origins. But we have to look even further and see the novel as a fictitious world of its own, playing on readers’ expectations, prejudices, as well as historical and cultural background. To understand the novel, one must try to uncover these subtle nuances reflecting the tastes of its readership. The paper tries to answer the question how Apuleius treats his target audience which was, no doubt, composed of a very multifarious mass of people, without losing sight of the famous Quis ille? – a paradigm of Apuleius’ approach in this novel, in which the questions asked never seem to expect any answers, and even if so, not just one is tenable.
Metamorphoses
The recent conservation-restoration in the ‘Hungarian Versailles’
forgatókönyve [Metamorphoses: The Hungarian Versailles in the light of three centuries: script of the exhibition under the project entitled ‘The Touristic Development of the Esterházy Palace in Fertőd’, identification number: GINOP–7
Just as in Gaius Stern's account, 1 this paper will address the subject of an impossible return home which is recounted in Book XI of Apuleius' Metamorphoses and concerns Lucius. Isis had inspired him to leave his homeland, Corinth, and to make
Ovidius Metamorphoses című művének fakatalógusa (10, 90—106) a mű nehezen értelmezhető részei közé tartozik. A tizedik könyv motívumk_0
The placement of Helenus, the Trojan seer, near the end of Pythagoras’ speech in Ovid’s Metamorphoses 15, humorously comments on the Augustan projection of Rome’s predestined world conquest. In Metamorphoses 15, the philosopher Pythagoras casts himself in the light of the Vergilian Helenus. Among the various common characteristics Helenus and Pythagoras share outstanding is their metaliterary identity as conveyed in an interfusion of comprehensive knowledge, communication of uncontested truth but also adherence to deception: the Ovidian Pythagoras’ speech is ridden with inaccurate information and chronological fallacies, while Ovid’s Helenus is in fact the Vergilian Helenus, a confused individual who lives in the deceptive contentment of an a-chronic world of ghosts. By means of undermining the infallibility of prophesying through the lack of credibility of the prophet, Ovid undermines the standardization of the literary motif of epic prophecies about Rome’s world conquest, a much advertized theme in the various expressions of Augustan ideology of global conquest.
The Georgics is in generally considered as a linear composition established by four major topics corresponding to the four books. The analysis seeks to demonstrate the presence of another, less evident structure of the poem. This is constituted by the mythological allusions made at the stylistic level of the text, in the description of the different beings, plants and animals, stars and mountains. Most of the allusions are aetiological myths with a tragic love story. The series of these reminiscences serves to prepare the final erotic-aetiological myth at the narrative level, so the story of Orpheus, Aristaeus and the bees can be regarded as an organic part of the poem (against the tradition of the laudes Galli). The analysis of the hidden erotic myths may help the interpretation of the Vergilian notion of durus amor which, together with the labor improbus, are the principles of human existence.
The following analysis is a reflection on the translations of the colour yellow and the shades of blonde found in a body of French and Spanish literary texts in an attempt to delimit the situations in which literal translations of these terms occur. Our analysis shall examine situations where translators propose distinct types of distancing from these literal translations through an application of their own colour filter. These interpretative strategies either manifest an intensification of realism or, on the contrary, an almost spontaneous solution to codified reading practices.
The creation of comic books has traditionally been the domain of men. It is, however, a comic book story about a young girl written in French by a Polish woman author that seems to be one of the more significant comic book titles describing the Poland of the second half of the twentieth century. Written by Marzena Sowa and illustrated by Sylvain Savoia, Marzi is an autobiographical account of life in the socialist reality of the 1980s recounted from the perspective of a young Polish girl, carefully observing and analyzing the world of adults. Originally created in French in 2004, the comic book in focus has been translated into several languages, including English, Italian, Spanish, German, Chinese, Korean as well as the author’s native language, Polish. The paper concentrates on the notions of translation, foreignization and localization. The notion of translation is crucial to understanding Marzi and may be regarded as a keyword that sheds more light on the very process of creating the book. The strategy of foreignization is observable both in the French and the American editions with regard to the depiction of Polish cultural specificity. Finally, the French, Polish and American editions, which are the focus of the present paper, may be used to illustrate the concept of localization, applied to the sphere of comics translation by Federico Zanettin (2008).
presence of relic myrmekitic feldspar grains, polygonal microtextured quartz-feldspar domains and the euhedral habit of the accessory zircon grains, the protolith of epidote gneiss is an intrusive, granitoid rock type that was metamorphosed along a
