The Callimachus Prologue and Apollonius Rhodius

1930 ◽  
Vol 24 (2) ◽  
pp. 109-112
Author(s):  
W. M. Edwards
Keyword(s):  
British Museum ◽  
The Other ◽  
Original Text ◽  
Apollonius Rhodius ◽  
Obvious Consequence ◽  
The One

In making the following suggestions I have assumed the chronological possibility of allusions in the Aetia Prologue on the one hand to the quarrel with Apollonius Rhodius, and on the other to Arsinoe II. (obiit 271–270 B.C.). That such a combination is possible is maintained by Rostagni in Rivista di Filologia, 1928, pp. 1 sqq. The textual supplements offered here, while intended to support the double hypothesis, differ from his in some points; notably in regard to the question of where the allusion to Arsinoe is to be introduced into the text of Callimachus (see below). It need hardly be said that the supposed allusions to the queen and to the rival poet do not necessarily stand or fall together. In the case of the former it might not be altogether incredible (pace R.) that such an allusion should have been made after her death; whilst the most obvious consequence in regard to Apollonius would be that, if a date before 270 B.C. be accepted for the Prologue, his birth would have to be placed as early as possible—say, 295–290 B.C. However this may be, it is here sought to complete, in the above sense, certain passages in the Prologue (P.) with the aid of the British Museum Scholiast (S.). In regard to the latter a fresh study of the original text by the editor (Mr. H. J. M. Milne) has been utilized, to say nothing of his valuable suggestions and criticisms; in the case of P. the facsimile in Ox. Pap. XVII. is depended upon. The silence of S. on some of the supposed points may fairly be adduced in objection to them; but it may be noted that he does not comment on Πυγμαίων (P. 14), and that his exposition, where it can be checked, seems to be somewhat hasty and unbalanced. Further, we do not know what may have preceded the portion of his work which has survived.

Shalott’s Song: a Specific Feature Found in Balmont’s Translation of A. Tennyson’s Poem «The Lady of Shalott»

2020 ◽  
pp. 22-33
Author(s):  
Margarita Shanurina
Keyword(s):  
Neutral Word ◽  
Fairy Tale ◽  
The Other ◽  
Original Text ◽  
Academic Paper ◽  
Other Hand ◽  
The One

This academic paper is devoted to the analysis of a specific feature which could be found in K. Balmont’s translation of A. Tennyson’s poem «The Lady of Shalott». The aim of the work is to study the reasons why Balmont uses the word «волшебница» to describe the heroine in his translation while there is no word with such semantics in the original text. (This word is put in the name of the translated work and it is found in almost every stanza).English analogue of the word «volshebnitsa» (that is, the word «enchantress», which, according to the Oxford English Dictionary, is closest to this word in semantics), while in the original text of the poem this word is not mentioned, the neutral word «lady» is used andonce (in the speech of the mower who hears the heroine singing, but does not see her) there is the word «fairy». This article, on the one hand, summarizes existing studies on the topic; on the other hand, complements them. The study highlights and considers several reasons for the above-mentioned discrepancy between the original text and its translation: emphasizing the connection with a fairy tale, revealing a number of motifs which play an important role in the work of Balmont himself (namely, motifs of music and creativity as magic) and an indication of the main heroine’s charming beauty.

scholarly journals Psalms and Liturgy: Their reception and contextualisation

2003 ◽  
Vol 24 (2) ◽  
pp. 309-332
Author(s):  
G.P. Braulik
Keyword(s):  
Old Testament ◽  
Focus Of Attention ◽  
The Other ◽  
Original Text ◽  
Lord's Prayer ◽  
Historical View ◽  
Other Hand ◽  
Canonical Text ◽  
The One ◽  
Old Testament Studies

In the interpretation of texts in modern Old Testament studies, a double change in perspective, which has important consequences for the liturgical use of the Psalms, is currently taking place. In the first reorientation, the movement is “from the hypothetically reconstructed ‘original’ text to the text written down in bookform and then to the canonical text”; in the second, the attention moves “from the text to the recipient”. On the one hand, the whole Psalter and its connec-tions with the totality of Holy Scripture are thus increasingly becoming the focus of attention. On the other hand, reception aesthetical, reader-oriented exegesis is overcoming the cleft caused by a purely historical view, in favour of a situational perspective. The article delineates this change and applies especially the first approach to the Psalms. The Psalter then appears neither as a mere lectionary nor primarily as a prayer text, but as a text for meditation. Its technique of the juxtaposition of certain Psalms (iuxtapositio) and of the chainage or concatenation of keywords (concatenatio) opens up new and diverse dimensions of meaning.This is illustrated according to Psalm 103. Its connections to its immediate context are first explained, upon which a few lines of canonical intertextuality within the whole Bible are traced. We are thus lead to recognise a certain multi-perspectivity, reaching from the Sinai pericope to the Lord’s prayer.

scholarly journals What’s Modern in Chinese Translation Theory? Lu Xun and the Debates on Literalism and Foreignization in the May Fourth Period

2003 ◽  
Vol 14 (2) ◽  
pp. 195-223 ◽  
Author(s):  
Leo Tak-hung Chan
Keyword(s):  
Foreign Language ◽  
Chinese Language ◽  
Historical Context ◽  
The Other ◽  
Original Text ◽  
Translation Theory ◽  
Lu Xun ◽  
Chinese Translation ◽  
The One ◽  
Classical Language

Abstract This article attempts to assess the contribution of Chinese translators and theorists of the twenties and thirties, in particular the famous writer Lu Xun, whom I consider the first modern translation theorist in China. It is with him that China entered its modern phase in translation. Not only did he advocate retaining the foreignness of the original text, in a way reminiscent of the entire tradition of German Romantic translation theorists from Schleiermacher to von Humboldt to Goethe; he also explored in his own translations the possibilities for enriching the Chinese language through the importation of Europeanized structures and expressions. It is these foreignizing impulses that set Lu Xun apart most clearly from pre-modern Chinese theorists. At the same time, these impulses connect him with leading giants of translation theory like Nabokov and Benjamin (who emphasized the importance of the literal method in translation) on the one hand, and Venuti and Holmes (who highlighted processes of indigenization and exoticization in translation) on the other. Lu Xun’s ideas had a particular place in the wider cultural and historical context. Views similar to his had been advocated by his predecessors at the beginning of the century, whose attempt to Europeanize the classical language did not, unfortunately, find a large following. In his own time, Lu found ardent supporters among friends and colleagues who either (a) suggested thorough Europeanization, or (b) preferred limited Europeanization. Dissenting views, however, were clearly voiced by some of the other leading writers of the day. So there were (a) those who favored the use of a language based on the actual words spoken by the populace and (b) those who queried why one should not learn a foreign language and read the original instead. My article deals at length with the debates among these theorists and seeks to understand them from the perspective of contemporary Western translation theory.

scholarly journals Operowanie językiem w poszukiwaniu sensu oryginału

2015 ◽  
Author(s):  
Lidia Tanuszewska
Keyword(s):  
The Other ◽  
Original Text ◽  
Way Of Thinking ◽  
The One ◽  
The Way

This article is about the translation as a process which changes the way of thinking in the other language, the one in which we translate. In order to make that text understandable for readers, the translator needs to make some changes in the original text, i.e. to manipulate with the language, so that the translation will transfer the same meaning and sense of the original one. Paraphrase is one of the strategies that is presented in this work.

scholarly journals Observaciones sobre la expresión colocacional de la intensidad en Beuve de Hamptone

2019 ◽  
Vol 28 ◽  
pp. 165-178 ◽  
Author(s):  
Xavier Blanco Escoda
Keyword(s):  
Old French ◽  
The Other ◽  
Original Text ◽  
Chanson De Geste ◽  
Other Hand ◽  
Anglo Norman ◽  
The One

El artículo destaca la importancia del análisis de la expresión colocacional de la intensidad en francés antiguo a partir de ejemplos extraídos del cantar de gesta anglonormando Beuve de Hamptone. Por una parte, se muestra la tendencia de las traducciones al francés moderno a introducir masivamente valores colocacionales ausentes del original. Por otra parte, se presentan y comentan numerosos ejemplos de colocaciones adjetivas, adverbiales y verbales en francés antiguo, tanto colocaciones frecuentes y extendidas como colocaciones de carácter idiosincrático. Se pone de manifiesto hasta qué punto la elección de ciertos colocativos permite caracterizar el estilo de un autor. Basing on examples from the anglo-norman chanson de geste Beuve de Hampton, this paper emphasizes the importance of analysing the collocational expression of intensity in Old French. On the one hand, we observe the tendency of Modern French translations to massively introduce intensive collocations that are absent in the original text. On the other hand, we present and comment many examples of adjectival, adverbial and verbal collocations in Old French, as well usual and widespread collocations as idiosyncratic ones. We point out how the choice of certain collocatives allows to characterize an author’s style.

Quelques particularités dans l’expression de la détermination du nom. Comparaison entre cinq langues romanes

2020 ◽  
Vol 65 (4) ◽  
pp. 39-54
Author(s):  
Gorana Bikić-Carić
Keyword(s):  
The Other ◽  
Romance Languages ◽  
Definite Article ◽  
Original Text ◽  
Indefinite Article ◽  
Change Of Perspective ◽  
The One ◽  
Time Description

"Some Features in the Expression of the Noun Determination. Comparison Between Five Romance Languages. In this article we would like to compare the noun determination in five Romance languages (French, Spanish, Portuguese, Italian, Romanian). All the languages examined here share the main uses of articles: known referent, generic use, unique entities, abstract names, inalienable possession for the definite article, or introduction of a new element into the discourse and description for the indefinite article. However, we wanted to show some peculiarities. We used the same text in five languages, (La sombra del viento, Carlos Ruiz Zafón) which is part of the RomCro corpus, composed in the Chair of Romance Linguistics of the Department of Romance Studies, Faculty of Humanities, University of Zagreb, Croatia. The results of the analysis showed a clear difference between French and the other languages. As expected, French uses the indefinite article in plural much more often, as well as the partitive article, which does not exist in Spanish, Portuguese and Romanian. Likewise, the possessive adjective is more common in French than in other languages which use the definite article instead. But what is particularly interesting are the differences which indicate a ""change of perspective"", namely a different kind of article than in the original text. Our conclusion is that the noun can have several characteristics at the same time (description or determination by complement, generic use or absence of specific referent etc.) of which the author (or the translator) chooses the one to highlight. Likewise, we have underlined the role of article zero, which can carry different values (unspecified referent, but also unspecified quantity or even definite article value if the noun is introduced by a preposition), depending on its relationship to other articles in the language.

Cattle egrets and Bustards in Greek Art

1961 ◽  
Vol 81 ◽  
pp. 44-55 ◽  
Author(s):  
Sylvia Benton
Keyword(s):  
Bronze Age ◽  
British Museum ◽  
The Other ◽  
Late Bronze Age ◽  
Marsh Bird ◽  
Cattle Egret ◽  
Greek Art ◽  
Crow Tribe ◽  
The One ◽  
Considerable Depth

There is a bird perched on the neck of a bull on a Late Bronze Age krater from Enkomi in the British Museum (plate I 1). It has long legs and a long neck, and it is much larger than any of the crow tribe, so often seen on cattle. Its long pointed bill is fixed on a point in the bull's neck probably removing a tick or something of the sort. The operation is painful and the bull tosses his head. On the other side of the vase the bird has lost his footing but still keeps the grip of his bill on the neck of the bull (plate I 2). That daggerlike bill is longer than the one on the other side of the vase. We must therefore suppose that the bill in the earlier scene has been inserted into the bull's neck to a considerable depth. No wonder the bull is plunging about to dislodge the operator.A bird with long neck, long legs, and long beak can only be a marsh bird, and as it is hunting for insects on the neck of a bull, it can only be a Cattle Egret (plate I 4.), though its body bears some resemblance to the bodies of birds which are probably meant for geese or swans; its beak is more formidable. Presumably this insect-hunting bird is not a deity revealing him or herself; but perhaps Cypriots are more secular than Mycenaeans.

Gorgias, Alkidamas, and the Cripps and Palatine Manuscripts

1961 ◽  
Vol 11 (1-2) ◽  
pp. 113-124 ◽  
Author(s):  
Douglas MacDowell
Keyword(s):  
British Museum ◽  
The Other ◽  
The One

Our texts of the two complete extant works of Gorgias (Helen and Palamedes) and of the two attributed, rightly or wrongly, to Alkidamas (Odysseus and On Sophists) are derived entirely from two manuscripts. The one generally known as A is the Cripps manuscript (Burney 95), now in the British Museum, which is a principal authority also for Antiphon, Andokides, Isaios, Lykourgos, and Deinarchos; it contains Helen, Palamedes, and Odysseus, but not On Sophists. The other, known as X, is the Palatine manuscript (Heidelberg 88), which is the principal manuscript of Lysias; it contains Helen Odysseus, and On Sophists, but not Palamedes.

scholarly journals IV.—On the Structure of the Roof of the Skull and of the Mandible of Peloneustes, with some remarks on the Plesiosaurian Mandible generally

1911 ◽  
Vol 8 (4) ◽  
pp. 160-164 ◽  
Author(s):  
C. W. Andrews
Keyword(s):  
British Museum ◽  
The Other ◽  
Skull Roof ◽  
Marine Reptiles ◽  
The One

In the course of the preparation of the second part of the Catalogue of the Marine Reptiles of the Oxford Clay in the Collection at the British Museum, it has been necessary to examine in detail the structure of the skull and mandible of the Pliosaurs, especially of Peloneustes philarchus, several excellent specimens of which are included in the Leeds Collection. In the course of this examination several peculiarities have been observed, which on the one hand tend to reconcile the conflicting views as to the structure of the skull roof that have been put forward, and on the other serve to correct the interpretation of the elements of the mandible given in the first part of the Catalogue.

Il Convegno AICA del 1984. La Presidenza Hăulică e la questione dei Marmi del Partenone

2020 ◽  
Vol 65 (1) ◽  
pp. 157-173
Author(s):  
Alexandros Diamantis
Keyword(s):  
Contemporary Art ◽  
International Association ◽  
British Museum ◽  
The Other ◽  
Xxth Century ◽  
The Face ◽  
Complex Relationships ◽  
The One ◽  
Greek World ◽  
Art Critics

"The 1984 Conference of the International Association of Art Critics. The Presidency of Dan Hăulică and the Issue of the Parthenon Sculptures. In 1984, the Conference of the International Association of Art Critics (AICA), chaired by the Romanian Dan Hăulică (1932-2014), was organized for the first time in Greece; the event offered an opportunity for historians and art critics of various nationalities to meet. The theme of the conference, „Contemporary art and the Greek world. The XXth century in the face of the civilizations that have followed one another in the Greek space”, on the one hand honored the host country and on the other, placing the accent on the relationship between XXth century art and the Western artistic tradition, was part of the international discussion on the end of the avant-gardes. The complex relationships between the ancient and the contemporary were discussed in terms of influences, continuity and discontinuity. Particular attention was paid to the concept of myth and the mythical dimension of contemporary art. On the other hand, the generic definition of „Greek world"", intentionally chosen by the Greek section of the AICA, re-proposed the national narrative of an essentially unitary historical-artistic development. The Conference also had a dimension of international political significance connected to the fact that the previous year the AICA, an organization affiliated with UNESCO, had approved a motion for the return to Greece of the Parthenon marbles kept at the British Museum. In Athens, the confirmation of solidarity with the Greek cause was also a matter of electoral campaign for the renewal of the Presidency of the AICA. Keywords: AICA Congress, art discourse, contemporary art, Parthenon marbles, classical heritage, myth "

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