The historical timeframe of the present monograph ('Five Centuries of Writing Poetry in a Military Uniform and Against it 1515-1918')begins at around 1500, the period in which most of the Slovenian ...ethnic territory was taken over by the Habsburgs and ends with the defeat of Austro-Hungary during the First World War between 1914–1918. This stretch of time is particularly marked by the first printed lines of the Slovenian rebel poem written during the pan-Slovenian peasant uprising of 1515, which is even older than Trubar's Abecedary and Catechism (1550), and the poem depicting the tragic Judenburg mutiny of 1917 for which the leader of the revolt, Anton Hafner, paid with his life.
Leta 2012 je pri založbi Institutum studiorum humanitatis (ISH) izšel še zadnji od treh zvezkov, v katerih sta objavljeni po dve Aristofanovi (politični) komediji: zvezek Demagoška komedija z ...dramama Vitezi (Ἱππεῖς) in Ptiči (Ὄρνιθες). Prevajalka in piska spremnih besedil Maja Sunčič je, kot po navadi, spremnemu znanstvenemu aparatu odmerila vsaj tako pomembno mesto kot prevodu samemu.
Kons IKARUS, TIGER in fašizem Janez Vrečko
Keria: Studia Latina et Graeca,
12/2010, Volume:
12, Issue:
2-3
Journal Article
Peer reviewed
Open access
Kosovelov postgravitacijski kons Ikarus in drugi konsi z ikarsko tematiko in načrtovana pesniška zbirkaIkarov senso ne le časovno, prostorsko, ampak tudi politično obarvani in dokazujejo pesnikovo ...intenzivno vmeščenost v osrčje konstruktivističnega avantgardizma, potrjujejo pa tudi, da je Kosovel v evropskem prostoru uspešno uveljavil literarni konstruktivizem. Z ikarsko tematiko sta dva izjemna ustvarjalca, Tatlin z Letatlinom in Kosovel z »Ikarovim snom«, sanjala »sanje, stare kot človeštvo«, da bi se z njihovo pomočjo osvobodila dveh strahotnih režimov tedanjega časa, fašizma in stalinizma. Kosovelu so bili pritem uporu zgled prav homunkuli, ki so se počlovečili tako, da so se dokopali do čustev in strasti in s tem presegli načrte svojega stvaritelja, fašistične diktature, ki jih je želela brez duše in čustev, v celoti podrejene mehaničnemu suženjskemu delu.
The monograph Iz kaosa kozmos (From Chaos to Cosmos) and the first two books from the Poezija konteksta (Poetry of Context) series explore the poetry created during the period of the Slovenian ...resistance movement and the related revolution during the Second World War (1941-1945). The third and fourth book analyze the poetry created by Slovenians who in the Second World War were forcefully drafted into the German army~Slovenians who lived in the period of the Italian occupation of the Slovenian territory under the 1920 Treaty of Rapallo~and those who were mobilized into the Italian army during WWII.
The paper considers the perception of metals such as gold, silver, bronze and iron in Hesiod’s Theogony and Works and Days, composed around late 8th or early 7th century BC. An analysis reveals that ...gold appears exclusively as an attribute of the gods. Only gods wear objects of gold and their works are golden, too; indeed, they are described as golden themselves. Arguably this metal not only serves as a metaphor for the quality of the immortal and unreachable gods, i.e. Aphrodite, Dionysus, Hera, Zeus and Apollo, but also appears in the ‘distant territories of the divine cosmos’ – golden is Triton’s palace, golden are the apples guarded by a horrible snake on the edge of the earth. Hesiod’s golden race, the first mortal race, excellent in all aspects, free of troubles and hard work, is, significantly, also closest to the gods. The silver race, created after the golden one, is inferior to the first just as silver is less precious than gold. Hardly ever mentioned in Hesiod’s poems, this metal is omitted from descriptions of jewellery or weapons. What is described as silver are river whirlpools, the colossal pillars of the underworld, and the feet of the nymph Thetis. A possible interpretation is that all these objects are untamed and unreachable, similar to gold but not divine anymore. After the silver race, the gods create the bronze race. This is a race of violent giants, fierce and strong, who are born from the ash tree. Bronze is therefore even farther from the divine: it is human. Moreover, it is the first alloy, and the manufacture of bronze objects demands much more knowledge and skill in comparison with gold and silver. Hesiod uses bronze as a synonym for all that is hard and strong in both poems – bronze is the material of the anvil, of the high walls, door, and doorstep which hold back the Titans in Tartarus, and of the arms carried by Memnon and Heracles. The only race not associated with metals is the race of heroes, exempted in this respect from the progressive devaluation. The fifth and last race is the iron race, to which the poet himself belongs. It is described as beset by the sorrow, hard work and cares sent by the gods. Made of iron are mostly tools and weapons; iron is the soul of Death, hard and heartless. With iron, the worst of all metals, the cycle of devaluation is complete. However, archaeological investigations present a somewhat different picture. In the early Iron Age, i.e. contemporary with the two Hesiodic poems, iron ultimately prevails in the territory of today’s Europe. Yet it is not used only to produce weapons and tools – this period reveals a rapid increase in iron jewellery as well. The abundance of the latter shows that iron was not only new but even fashionable, despite being unsuitable for the making of jewellery. In fact, it may have been prized more than gold itself in this period. Why, then, does the poet characterise the iron race as the worst, despite all the advantages brought by this metal? Simply because iron is the material supplying tools and weapons, which are used in labour and warfare respectively. In the golden age, by contrast, men lived in peace, leisure, and opulence like the immortal gods. Innovation and technological progress, such as the knowledge of iron and its techniques, are not perceived to contribute to tranquillity and prosperity; rather, they are associated with harrowing work and war.
In his historical poems, Cavafy not only records historical facts but creates his own historical poetry, thus detaching himself from the historian - scholiast. His poetry yields three major models of ...presenting historical figures, ranging from protagonists who are purely fictional, such as the Hegemon from West Libya, to practically anonymous or little known figures, such as Kaisarion, and to important historical personages, such as Antonius. In all three types of poem, history is the background rather than the main theme. While the reader may be tricked by the (seemingly) historical references into believing that the poems are historical, they in fact refer to fictional characters. The poet applies history in order to highlight a certain theme or detail from the past which characterizes the historical period better than a well-known fact or major agent. These half-shaped figures are far more suggestive, allowing both poet and reader greater creativity in attributing to them a meaning within the historical frame. Well-known and famous protagonists (e.g. Antonius) are portrayed at the time of their fall, or at moments which reveal their weakness or strength of character. Even when their actions are known from history to have been pernicious and fatal to their agents, Cavafy does not determine their behaviour or reactions, leaving it to the reader instead to draw his own conclusions. Rather than to a certain period of the past, his heroes belong to all time the atmosphere in which they act is a transient historical situation which allows any kind of development and interpretation. Influenced by symbolism, as is obvious from his prose essays and notes, Cavafy chooses the historical themes which permit an atmosphere of uncertainty, always requiring a knowledge of the historical facts and the ability to perceive the past within dramatic and poetic dimensions.
The first section of the article introduces the Alcestis Barcinonensis, comparing it with the Alcestis of Euripides and with another Latin version of the myth, the anonymous Vergilian cento Alcesta ...preserved in the Anthologia Latina (Codex Salmasianus). In spite of numerous parallels with the last two works, theAlcestis Barcinonensis possesses exceptional value because of its unique features. Some of them are compositional (Heracles, Thanatus and the chorus do not appear at all; on the other hand, the figures of the poet himself and Clymene are introduced, etc.), whereas others are typical of late antiquity (e. g. the seismic activity of the Earth, the phoenix, the transformation of the Greek notion of σωφροσύνη intopietas). Euripides’ Alcestis is shown to be an important point of departure for the Latin author’s association of Alcestis’ death with the theme of mystery cults (Demeter-Ceres, Bacchus, Orpheus). But while the Alcestis Barcinonensis is closer to Euripides’ play than it appears at first sight, the poem strikingly diverges from the Alcesta of the Anthologia Latina. Indeed, the author of the article demonstrates that there are no obvious resemblances between the two Latin versions of the myth. The second section of the article presents the author’s pioneer translation of the Alcestis Barcinonensis into Slovenian, accompanied by a short commentary.
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Provider: - Institution: Koroška osrednja knjižnica dr. Franca Sušnika - Data provided by Europeana Collections- - All metadata published by Europeana are available free of restriction under the ...Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
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