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This paper deals with the comparative analysis of Slavic similes that characterize sound sleep as a part of the linguistic image of the Slavic world. Through the analysis of the figurative structure of similes, the authors demonstrate a great variety of models describing sound sleep in Slavic similes as well as the distinctive and similar ways of expressing the main meanings of similes in different languages. They also demonstrate the semantic differentiation of similes created by the model used in the comparison. Finally, the authors describe several national or cultural specific features of similes in various Slavic languages.

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This paper deals with the presentation of Serbian and Croatian biblical similes in dictionaries and their usage by native speakers. The author also draws material from Macedonian and Montenegrin. Some of the examples are presented with etymological commentaries.

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The paper studies the presentation of Belarusian and Ukrainian biblical similes in dictionaries as well as their use by native speakers. Some of the examples are supplied with etymological commentaries.

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Cato und die Bienen •

Zur Rezeption der vergilischen Georgica in Einigen Gleichnissen Lucans

Acta Antiqua Academiae Scientiarum Hungaricae
Author: Markus Kersten

The paper focuses on the bee-simile (9. 283–293) and its application to Cato. Via a detailed analysis of the motif, the passage, and the context as well as the inter- and intratextual aspects of Lucan’s Bildsprache (especially with respect to Vergil’s Georgics) the author discusses how the Lucanean Cato can be understood and how he may be assessed with regard to an interpretation of the narrative as a whole. The elaborate simile not only gives a frightening insight into the figure’s character, but also, by evoking the similes previously used for Pompey, it inevitably draws the characters into relation with each other. The famous, but perhaps simplistic idea that Cato, the perfect stoic and republican, is the real ‘hero’of the poem, is challenged.

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The author discusses similes of southern Slavs (Bulgarians and peoples of the former Yugoslavia, i.e. Bosnians, Serbs, Croats, and Montenegrins) with a semantically similar component such as an anthroponym of Oriental origin. The author deals with both outdated similes and those that are actively used nowadays.

Orientalisms usually include words belonging to different groups of Turkic as well as Iranian and Arab-Semitic languages. Historical events and language contacts contributed to the borrowing of thematically diverse Orientalisms by South Slavic languages. The result of the five-century domination of the Ottoman Empire in the Balkan Peninsula is borrowing from the Old Ottoman (Old Turkish) language, which became both the source language and (often) the intermediate language through which Arabisms and Persisms entered the South Slavic recipient languages. Therefore, in Bulgaria, the term Turkish-Arabic-Persian words is used to refer to this vocabulary. In addition to the Arab-Persian elements, the old Ottoman language is rich in borrowings from other languages (e.g. Greek). The term Turkish usually refers to the vocabulary of the old Ottoman rather than the modern Turkish language. Due to the vastness of anthroponyms of Oriental origin as a special genetic layer of South Slavic vocabulary, the author analyzes the expressions that denote a person in such aspects as intelligence, gender, and occupation.

Oriental vocabulary penetrated into the languages of Southern Slavs mainly through oral spoken language. The degree of penetration of Turkish words into the languages of the peoples of Southern Slavia is different. The outcome of borrowings also varies: they either remained in the recipient languages as exoticism, or have been completely assimilated in them. During semantic adaptation in the language that accepts Oriental vocabulary, there is sometimes an expansion or contraction of the meaning of a word. Many of the Turkish words that make up the comparison became historicisms and entered the passive vocabulary and in the modern language they are not used because of the disappearance of the realities they denote (for example, words associated with the system of administration in the Ottoman era). Another reason for transition into the passive vocabulary in the Balkans is the process of replacing the original words.

The paper defines the functional, semantic, and stylistic status of Eastern vocabulary in different social and cultural layers (standard languages and dialects) of South Slavic similes. Due to historical reasons, the greatest number of borrowings from the Turkish language as a part of similes is observed in Bosnia and Herzegovina as well as in Shtokavian dialects of Croatia. In addition to this, the author gives cultural, historical, and etymological comments to similes, analyzing the meaning of units and components that are parts of similes.

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This paper deals with the presentation of Slovak biblical similes in dictionaries and their usage by native speakers. Some of the examples are complemented with etymological commentaries.

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The paper deals with imagery that constitute the base of phraseological similes with the semantics of ‘very similar’ on the basis of material from different languages.

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, and not free from a certain fascination of horror. 12 Its horror is emphasized by a simile: Quem siqua attingit, non illam posse putemus Aegroti culum lingere carnificis (11–12). Wouldn’t one think that any woman who touched him Could lick the

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The article analyzes a simile of the Panegyric on the emperor Avitus by the Late Antique poet Sidonius Apollinaris (430–486 CE). The Vandals who sacked Rome in 455 become terrible wolves. Sidonius has to exaggerate the drama of the event experienced by Rome in order to exalt the salvific role played by the emperor Avitus. Sidonius echoes a lot of Vergil’s pastoral landscapes and other epic similes or phrases by Statius, Silius, Valerius Flaccus, Lucan. This simile is a good example of the poetry of Sidonius and of the literary conceptions of the Late Antique Literature.

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The article takes into account the first couplet of fr. 1 Br. by the Greek parodic poet Hegemon of Thasos. Through linguistic considerations and an analysis of several loci similes, the article will demonstrate that the couplet probably belongs to the first part of the fragment which itself was presumably the beginning of a longer composition.

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