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Summary

The thougths about the Muses of Guarino da Verona can not be considered as excentric. The fact, that even two Muses concerning Agriculture represented in the Studiolo cycle, may go back to the enthusiasm of Ferrarese humanists for country life as well as for bucolic literature. Polyhymnia in her rather simple appearence could be a personification of the pastoral Muse. Beyond several details of the series (e.g. robes open on the paunch, the head ornament of Thaleia) supposedly is a dialogue between painters and humanists. The artists might have done their best in giving an antiquizing aspect to their Muses. The Painter of Terpsychore took motifs from a Medeia-sarcophagus, while the model for Urania could be found in representations of Mars and Venus. Panofsky's “principle of disjunction”seems as valuable for these cases, as for the relation between Antiquity and Christian art. The formulation of Polyhymnia was influenced by a drawing made after antiquity, so, according to our actual knowledge, this is the first Renaissance painting representing a classical subject matter in an antique form. Hipothetically some of the drawings attributed to the so called ‘Anonimo dell’ Ambrosiana' and the painting of Urania and Polyhymnia could be attributed to Bono da Ferrara.

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-technical experts as well. There are many EEG metering systems on the market for sport, meditation, and medical applications, in variable price ranges. Our selection was the Muse 2016 EEG instrument, which can detect EEG signals with the same accuracy as a

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Michael Verancius greatly criticized the historical work of Valentinus Polidamus, one of his contemporaries in his satirical elegy in 1536. He did so in a rather unique way. The main aim of the present paper is to outline the classical allusions of this elegy to a great extent (primarily the parallels with Volusius and Choerilus). Moreover, Polyhymnia and Clio appear in a quite unusual description in his elegy. Although the background of his criticism (namely that Polidamus was an untalented historian) might also have been valid, it is not outlined here in details since it would be a separate topic.

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A charis Pindaros költészetének s egyszersmind ars poeticá jának egyik központi fogalma. Jelen vizsgálat célja nem a személyes istennő vagy az elvont erő jelentésének meghatározása, sokkal inkább hatáskörének felderítése. A 14. és a 7. olympiai óda olyan metaforákkal jeleníti meg a Charist, melyek a virágzás (ΘΑΛ-), a szerelem (ΕΡΑ-) és a látás (ΙΔ-) képzetkörét idézik fel. E motívumok végigkísérik a Charisok pindarosi ábrázolását. Dolgozatom az állandó képi szemlélet változó formáit követi végig, kitér a Charisszal rokon Múzsa jellemzésére és bemutatja a tekintet motívumának központi jelentőségét.

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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.

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Acta Veterinaria Hungarica
Authors: A. Dayi, C. S. Bediz, B. Musal, O. Yilmaz, A. Comlekci, M. Celiloglu, and D. Cimrin

Leptin is mainly synthesised in white adipose tissue. Besides its effects on body weight and metabolic homeostasis, leptin also has effects on puberty, sexual maturation and reproduction. In this study the relationship between leptin, IGF-1, oestradiol (E2) and progesterone levels were investigated in serum and follicular fluid from cows. This study included 72 healthy, Brown Swiss cows aged 4-5 years. Samples from the jugular vein and follicular fluids were collected. Phases of the oestrus cycle of cows were classified according to their serum progesterone levels (< 3.18 nmol/l, follicular phase and the others as luteal phase). Follicles were grouped as large (= 8 mm) or small (< 8 mm). Leptin, IGF-1, oestradiol and progesterone levels were measured from serum and follicular fluid. Leptin concentrations were found to be significantly higher in luteal-phase follicular fluid of small follicles (P < 0.05). These were classified as atretic follicles. There was a positive correlation between serum and follicular fluid leptin levels in the luteal phase. Serum leptin was found to have a positive correlation with follicular fluid progesterone level (P = 0.01) in the preovulatory follicles. The present study shows that there is a relationship between the concentration of leptin in follicular fluid and atresia in small follicles.

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Minden Pindaros-óda szembesít az egység mibenlétével, mely a Pindaros-kutatás talán legfontosabb kérdése. Ám minden költemény más és más módon egységes, s ez igaz a hatodik olympiai ódára is, melyet a költő egyik legnagyszerűbb versének szokás tartani. Jelen tanulmányban megmutatom, hogy az O. 6 egységét a költő (Pindaros) és a jós (Hagésias, a győztes és Iamos, a mondabeli ős) metaforikus párhuzama biztosítja, melynek alapja két, a költőre és a jósra egyaránt jellemző mozzanat: az isteni ihlet és kimondás-kifejezés pillanata. Ezek jelennek meg a jós (Iamos) elhivatásának leírásában (58–70), majd a költő saját tevékenységére reflektáló megnyilatkozásában (82–91), mely a vers legvitatottabb soraiban fogalmazódik meg. E magból sugárzanak szét a költő és a jós tevékenységének metaforái a győzelmi óda egészében.

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Calligaro et al. 2008 = Th. Calligaro — P. Perin — F. Vallet — J.-P. Poirot : Nouvelles analyses gemmologiques et géochimiques effectuées au Centre de Recherche et de Restauration des Musées de France (Basilique de Saint-Denis et autres

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Pataki Ferenc 2010-ben a lakásán fogadott, amikor a Kossuth rádió „Tér idő“ című műsora számára kértem interjút. A műsor címe az volt: Ki vagyok én? Műfaja pedig „feature“, vagyis rövid, különböző megszólalásokból összeállított hangszövet. Miután az egész beszélgetésből csak néhány perc került a műsorba, itt a beszélgetést teljes terjedelmében közöljük.

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