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This paper aims at describing some of the main structural and functional characteristics of completive clauses governed by verba dicendi et sentiendi in Boethius's De consolatione philosophiae. The characteristics of the use of the Accusativus cum Infinitivo (AcI) will be analysed in comparison with the uses of other Latin authors. The data will be described on the basis of two main aspects: constituent order, and the coreferentiality of the subject of the AcI with elements in the main clause. Compared to the predominance of AcI constructions, quod-clauses show a consistent pattern and are limited to well- defined contexts. Some aspects of the use of quin and ut will also be described. Special attention will be given to the problems of syntactic and semantic interpretation of the governing verbs, which can be difficult to define clearly. This study will also set the ground for further research on the influence of Boethius's Latin model on Italo-Romance literary texts in the Middle Ages, both on the syntactic and the stilistic level.

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Close comparison of the text erroneously attributed to Ali Çavuş of Sofia and the Kavanin-i Al-i Osman of Ayn Ali shows that the two are related, having common content and a similar structure. A direct genetic relationship cannot be demonstrated. Rather, Ayn Ali used the other text as a literary model, transforming what was essentially a scribal manual into a literary work in the advice for kings genre.

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Hebrew was the main language of the early modern Karaim culture. Nearly all Polish–Lithuanian Karaim scholars wrote poetry in Hebrew for various occasions celebrating the Karaim cycle of life: for Sabbaths and festivals, for weddings and circumcisions, or as eulogies for a fellow scholar. Their poems cover exegetical, philosophical, and mystical topics from a Karaim point of view and contain historical details about Karaim life in Eastern Europe. Karaim Hebrew poets followed the footsteps of earlier Karaite generations: Byzantine Karaite poetry, emulating the Andalusian standards of poetics and familiarised through shared literary sources, served as their main literary model.

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Paulus Cortesius (Paolo Cortesi) delineated the first time history of the contemporary Latin poetry in Italy. The title of his work is De hominibus doctis dialogus (1490–1491). The literary model is precisely the Brutus by Cicero. The interlocutors are the professor of Roman University, Antonio Augusto Baldo, successor of the famous Pomponio Leto and two young students, Paolo (that is Cortesius as a young man) and Alessandro Farnese (later the pope Paul III). This later one, offended in his national pride, is scandalized because the poet valued the best of his age is an alien, a Hungarian, that is “barbarus transmontanus”. The author of the dialogue in the role of master Antonio magisterially annihilates the attack of his aristocratically-minded student and glorifies the greatness of Janus, this “alien”.

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Following the success of Eugène Sue's serial novel Les Mystères de Paris a pattern emerges in the era's literary market. Sue's works provide a narrative, politico-cultural and economic model with a worldwide impact. These works created a new way of presenting a city, while also developing a type of narrative that sometimes precedes the actual urbanization of an area, thus offering ready-made panels when talking about often unfinished processes. Several Hungarian works following the same literary model were published that used the panels introduced by Sue in relation to a city early in the process of urbanization and promote a distinctly national image of Budapest. The popularity of Sue's works helped the kindred Hungarian novels become successful projects. This piece of research attempts to identify the ways in which these transnational patterns became adapted and domesticated by the earliest Hungarian urban mysteries and helped the emergence of a specifically urban nationalist sentiment.

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The study examines one of the shield-descriptions of Valerius Flaccus’ Argonautica. Its main aim is to demonstrate that Valeris Flaccus altered Canthus’ story in accordance with his literary purposes. The poet depicts the shield of Canthus in the catalogue of the Argonauts mentioning that the hero had inherited this famous shield from his father, Abas, albeit according to the mythology he is not known to have any shield. The paper displays how many other Abases there were in Greek mythology and in Roman literature having a shield and it is argued that Valerius Flaccus was influenced by the coincidence of names and transformed the original story of Canthus (which can be read in Apollonius Rhodius) in order to imitate his literary models: Vergil, Ovid and the Iliad. Furthermore, the author rewrites the story of Canthus so that the Argonaut can be paralleled with Patroclus. Consequently, Canthus must be an important person of the epic which is highlighted by Valerius Flaccus in several ways and his shield has to have a literary function.

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If Liszt’s early work Don Sanche ou le Château d’Amour, that includes danced parts, is not taken into account, he never composed music for dance. In the twentieth century, however, the composer’s music became an interesting material for choreographers and dancers. My paper is focused on a choreographic interpretation of Liszt’s Dante Sonata, made by Frederick Ashton. This choreography was realized by Ashton in 1940 in London, in collaboration with Constant Lambert. Ashton’s Dante Sonata is an abstract and symbolic ballet. He created the association between dance and music on a relationship of correspondence point to point of the two languages and on a cultural and emotive communion with Liszt. My study wants to show what the Ashtonian choreography highlights: Liszt renews the traditional sonata form from its inside; he gives it a new lymph by making it go through a symbolic content; the symbolized literary content is the Dantesque medieval allegory of the Christian ascensional course transformed by Hugo in metaphor of the restless walk of the romantic man. So, Liszt invests the medieval epic literary model of the great themes of the Romantic generation and renews, under its influence, the sonata form.

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A tanulmány Apollónios Rhodios eposzának egy, a korábbi tradícióban sosem említett hőssel kapcsolatos elbeszélését vizsgálja. A férfielső pillantásra az Argonautika azon mellékszereplői közé tartozik, akik csupán lokális eredetmítoszok héros epónymosaiként kerülhetnek az elbeszélés felszínére, annak történeti, földrajzi hitelét erősítve. A Butés-elbeszélés valójában jóval több marginális alapítástörténetnél. Míg a férfineve pasztorális képzeteket ébreszt, alakja elválaszthatatlan Orpheusétól, s ez a kismítosz metapoetikus olvasatának lehetőségét eredményezi. Butés a Szirénekkel való találkozás során válik ideiglenes főszereplővé: a társait védő Orpheus különös hangokkal igyekszik túlharsogni a madárlányok énekét, azonban így sem képes megakadályozni, hogy a zene által rabul ejtett Butés ne vesse magát a vízbe, a Szirének felé igyekezve. A habokban elmerülő férfit Aphrodité menti meg s emeli maga mellé társistenként hegyi szentélyébe. A tanulmány az apollóniosi epizód és az annak elsődleges modelljét jelentő homérosi szirénjelenet kapcsolatának vizsgálata után további lehetséges előképek felkutatására vállalkozik. A Hésiodos óta az esztétikum szférájától való idegenséget megtestesítő pásztoralak zene általi megigézettségének gondolata, illetve a zenélő pásztor szerelmes istennő segítette apoteózisának motívuma lexikális egyezések alapján (egyebek mellett) a Theogonia avatásjelenetét és a homérosi Aphrodité-himnuszt idézheti, míg a pásztorfigura és a Szirének egymás mellé helyezése a Phaidros enthusiasmosszal kapcsolatos egyik helyét. Mindezek alapján Butés apollóniosi kismítosza a költészet és megismerés viszonyával kapcsolatos görög esztétikai gondolkodás néhány alapszövegének közvetett kommentárjaként is értelmezhető.

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irregular systems. 45 7. The Psychological and Literary Model: F. Dhomont, Études pour Kafka , no. 2 Brief an den Vater (2005–2006) (electroacoustic music of 17’02”) Since 1997, Francis Dhomont has worked continuously on the world and personality of Franz

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employs, Arany follows the example of Chamisso’s poetry (i.e., a German literary model), and does not even attempt to follow the poetic form of fragmentary folk ballads or to imitate any form known in Hungarian folklore – that is, he considers the popular

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