that protected sailors.
The forms of devotion to these deities, whose blessing guaranteed salvation from the dangers on the sea, can be found in Samothrace in some important buildings and monuments, among
In this article, a new explanation for the Egyptian word ἰwdnb in “Shipwrecked Sailor 141/162” is given. The word will be split into ἰw and dnb, respectively. It will be demonstrated that the second half may contain a metathesis of nbḏ which can be identified with some kind of resin.
Gyula Krúdy (1878-1933) produced the main bulk of his fictional work in the period 1897-1920, when Modernist writing in Hungary was initially dominated by the short story as the medium of experiment and innovation. The basic form of his prodigious output was, similarly to a number of other important prose authors of the period, the short story. His highly influential work has an elusive quality: it is unclassifiable, and general critical labels such as Symbolism, Impressionism and Surrealism have been of partial and dubious help in discussions of his writing. Approached from a technical point of view, the underlying narrative strategy of Krúdy's work can be identified as serial accumulation, with its attendant openness of form: the short-story sequence, the story-tagged-on-the-previous-story organisation of his novels, the historically pre-novelistic frame-tale-like coordination of various narrative forms. This is particularly evident in the case of Szindbád, Krúdy's crowning achievement in fiction, which came into being as an ever expanding series of short stories, novels and “dreams”, held together by their protagonist, the symbolically reimagined figure of Sindbad the Sailor, the mythic wanderer of The Arabian Nights. Infused with the lyricism of conjugal Eros and Thanatos, the stories develop, and give variations on, the central character as a composite symbol, the manifold meanings of which range from authorial self-dramatisation to a philosophical vision of Man as metaphysical superfluity.
In 386, shortly after his conversion, Augustine gave up his post as professor of rhetoric at Milan to devote himself, together with a group of relatives, friends and students, to the otium philosophandi in Cassiciacum. There, together with his familia, he deals with questions of classical philosophy. The discussions that Augustine led at this time formed the basis for the Dialogues of Cassiciacum Contra Academicos, De beata vita, and De ordine, which had just taken place thereafter.
In the introduction of De beata vita, which is dedicated to Theodorus, Augustine compares the human life with a stormy sea. The salvation of man is the port of philosophy, from where one reaches the mainland of the beata vita. The metaphor is very detailed. A central spot in the entire picture is dominated by the inmanissimus mons, which is located in front of the harbor and presents a great danger to sailors.
There is no clear interpretation of this passage in the secondary literature. The aim of the present text is to propose in parallel reading of two passages from Confessiones with De beata vita to explain the image of the huge mountain as a metaphor for Neoplatonism.
FATEALLCHEM project (Fate and Toxicity of Allelochemicals in Relation to Environment and Consumer).
Winter wheat: Arkadia, Bamberka, Banderola, Jantarka, Julius, Sailor, KWS Ozon, Muszelka, Ostroga, Rokosz
a: Songs for Sailors and Lovers . In Bierl , A. – Lardinois , A. (eds): The Newest Sappho: P. Sapph. Obbink and P. GC inv. 105, frs. 1–4 . Leiden–Boston, pp. 55 – 109 .
Lidov , J. 2016 b: Notes on the First Stanza of Fragment 17 . In
Authors:Patricia A. Johnston and Attilo Mastrocinque
-inscribed foil was found in Rome in the Esquilino quarter in 1874. This foil has been the subject of recent studies and exhibitions, although concerned only with its thematic content.
Emiliano Cruccas: Blessings for the Sailors