Peter Green: Katul in njegov čas Green, Peter; Anžlovar, Ana; Bobovnik, Nena ...
Clotho (Ljubljana, Online),
09/2023, Letnik:
5, Številka:
1
Journal Article
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O Katulu vemo zelo malo zanesljivega in celo večino tega je treba razbrati iz njegovega lastnega literarnega dela. To je vedno tvegan pristop, ki mu kritika danes večinoma nasprotuje (četudi je ...kritika vedno spremenljiva in znaki teh sprememb so že v zraku). Toda po drugi strani vemo kar precej o zadnjem stoletju rimske republike, o času torej, v katerem je Katul preživel svoje kratko, a intenzivno življenje, in o številnih javnih osebnostih, tako iz sveta književnosti kot politike, ki jih je štel med svoje prijatelje ali sovražnike. Tako kot Byron, ki je bil Katulu v nekaterih pogledih podoben, se je gibal v krogih visoke družbe, imel je radikalna stališča, ne da bi se aktivno politično udejstvoval, ter je pisal poezijo, ki daje vtis, da je nastala kot odziv na družbeno dogajanje, literarne tokove ali zasebne škandale takratne aristokracije.
Članek obravnava Plavtovo komedijo Rudens; izhaja iz prologa, ki v komedijo z izpostavljanjem izrazito rimskih pojmov pietas in fides vnaša resnoben didaktično-moralizirajoč ton; posveča se analizi ...omenjenih pojmov, pri tem pa se dotika vprašanj, ki zadevajo komično konvencijo in komedijo kot dramsko zvrst nasploh.
Na zemlji najvišji vladar je dandanes Denar. Denar še vladarji častijo, pred njim kakor hlapci klečijo. Denarju ponižno je vdan podkupljivi duhovniški stan. Denar, namenjen opatiji, je gospodar v ...njeni kancliji.
FRANCISCAE MEAE LAUDES (Les Fleurs du Mal LX) Vers composes pour une modiste erudite et devote HVALNICA MOJE FRANCOISE (Rože Zla LX) Verzi, zloženi za neko izobraženo in pobožno modistko
Lani je pri založbi Modrijan izšla težko pričakovana Zgodovina latinske književnosti. Od začetkov do padca rimskega cesarstva, ki jo je skupaj s sodelavci napisal italijanski latinist Gian Biagio ...Conte.
The article aims to identify the philosophical digressions in Philippo Beroaldo’s encyclopaedic commentary, and to understand them in view of the author’s general approach to Apuleius’ Golden Ass. As ...Beroaldo deliberately abstains from writing a philosophical commentary, it is no surprise that he gives merely a historical (and yet personally coloured) survey of the tale of Cupid and Psyche and its tradition of various moralistic, religious, and philosophical interpretations. For him, Apuleius’ text is principally a moral allegory. On the other hand, the subject of Book 11 (the so-called Book of Isis), centred around Lucius’ spiritual as well as physical transformation, leads him to topics which he necessarily approaches as an erudite of his era, heavily influenced by the Christian Neoplatonism. His commentary on some passages of truly mystical character evinces an ambiguity attested at the very beginning, where Beroaldo, apart from the generally accepted moralistic interpretation, briefly mentions another way of reading the text: reading it as veiled Pythagorean and Platonic doctrines of the regeneration and transmigration of the soul. Indeed, Beroaldo’s interest in Pythagorean philosophy and its classical proponents is also evident in some of his other works, and the Commentary lacks no hints of these secret doctrines, which spring up quite unexpectedly sometimes. Even more surprising is Beroaldo’s reserve, once he broaches this subject, protected by what he terms fides silentii. He cherishes this expression to the point which makes us wonder whether his commentary merely reflects the encyclopaedic rigour of a teacher, eager to present a text from all points of view, or displays the emulous thought of a kindred spirit (a point made in some modern studies), restrained from saying more. Indeed, Beroaldo’s interpretation of the goddess Isis figure as an ancient manifestation of the one God corroborates the latter assumption. Also remarkable is the fact that every mystical interpretation is quickly checked by a more accessible moralistic explanation, as if Beroaldo preferred to read the secret message, which was not to be – and was not – divulged by Apuleius, through ethical spectacles, and thus followed as closely as possible the example of ‘his Lucius’.
Ovidij je za Prešerna pomemben literarni zgled in paradigma nesrečnega pesnika. Domneva nekaterih sodobnih interpretov, da gre pri Ovidijevem izgnanstvu v Tomis za avtobiografsko fikcijo, izhaja iz ...avtorjevega lastnga prizadevanja, da bi svojemu izgnanstvu dal paradigmatski značaj. Že Angelo Poliziano je »literarni mit« o Ovidijevem izgnanstvu prenesel na svojo lastno izkušnjo, šestmesečni prostovoljni umik iz Firenc (1479–80), in vladarja po Ovidijevem zgledu posredno krivil za svoje umetniško nazadovanje. Zamisel Prešernovega nemškega cikla je podobna: brati ga je mogoče obenem kot poslanico napol ponemčenemu meščanstvu in kot avtoironično, metaliterarno ponazoritev jezikovne alienacije v domačem izgnanstvu.
Odlomek prinaša prevod prvih sedmih poglavij Laktancijevega spisa Smrti preganjalcev (De mortibus persecutorum), ki po prologu predstavi prvih pet preganjalcev krščanstva in kazni za njihovo početje. ...Sklene se z uvodnim poglavjem, posvečenim Dioklecijanu.
Ne bo pretirano, če zapišem, da se nobene knjige že dolgo nisem tako razveselil kot takrat, ko sem lanske jeseni v izložbi zagledal Simonitijeve izbrane razprave, ki so izšle pri Slovenski matici.
The paper analyses a selection of Propertius’ elegies in terms of their sense of ethnic identity. Starting with the two concluding elegies of the Monobiblos, which represent a break in the structure ...of the first book of elegies, the author presents the supposed associations of Propertius, familial and other, with the Etruscan people. This discussion is followed by an analysis of the Vertumnus elegy from Book 4: the myth of the Etruscan god of change is a paradigm for Propertius’ shifting allegiance to his original Umbrian homeland on the one hand, and – from a broader perspective – to the Roman Empire on the other.
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