13 research outputs found
Coreferentiality in Absolute Constructions in Late Latin
No full textThe aim of the paper is to examine the types of coreferentiality that exist between implicit and explicit elements of absolute constructions and the constituents of the clauses in which these constructions are embedded. The question is analysed from a diachronic perspective. I argue that the problem of coreferentiality should be taken into consideration in discussions on the emergence of the accusative or nominative absolute, and in discussions about such phenomena as nominativus pendens
Relative Absoluteness: The Case of Participial Clauses in Latin
No full textThe aim of this article is to reopen the investigation of the ablative absolute in Latin and to
analyse this construction and its use from one angle, namely, the coreferentiality rules. The
examples for analysis have been taken from the Gallic Wars. As has been noticed before, in
several works, the use of the absolute construction in texts written by classical authors, such
as Caesar or Cicero, allows us to formulate a rule concerning its coreferentiality. As far as the
syntactical coreferentiality is concerned, the classical rule requires an absolute construction
to be — unsurprisingly — absolute, i. e., non-coreferential. This rule seems to be increasingly
ignored by later authors. However, a deeper analysis taking into account not only syntactical
but also semantical coreferentiality shows that the absoluteness of the construction is not so
absolute after all, even in classical Latin. The examples of such use of the ablativus absolutus
may be seen as forerunners of the change that occurred between classical and late Latin. The
author proposes a hypothesis that an independent but similar development of the use of absolute
constructions in different languages may suggest that there is a kind of interlinguistic
tendency to substitute nominal phrases for subordinate clauses, especially in spoken language
STRONA INTERNETOWA DLA BADACZY ŚREDNIOWIECZNYCH KAZAŃ
No full textArtykuł, poświęcony stronie internetowej dla badaczy średniowiecznych kazań
STRONA INTERNETOWA DLA BADACZY ŚREDNIOWIECZNYCH KAZAŃ
No full textArtykuł, poświęcony stronie internetowej dla badaczy średniowiecznych kazań
46. Changements phonétiques et syntaxiques: traces des formes propres au latin vulgaire dans la chronique de Benoît de Saint André
No full text
O średniowiecznym kompilatorstwie i transmisji tekstu na przykładzie Kroniki Benedykta, mnicha z klasztoru św. Andrzeja
No full textSEKS I PRZEMOC MAŁŻEŃSTWO W TRAGEDIACH EURYPIDESA
No full textSex and violence. Marriage in Euripides’ tragedies In ancient Athens, marriage was an event which from today’s perspective is linked with the notion of violence, even if the then living people would not have defined it in this way. From their perspective, it was obvious that the woman who was getting married was not the subject of the marital contract. Euripides tragedies, far from being a manifesto in the defence of women’s fate (it would be a complete anachronism to ascribe such motivations to the dramatist) show very frequently, however, women as victims of male disloyalty. Such heroines as Iphigenia, Alcestis or Medea appear to be more faithful to the marital contract than their husbands. To a modern reader, they may constitute a source of knowledge on the ancient Athenian institution of marriage. At the same time we have to keep in mind that caution should be exercised: tragedy is not an historiographic work, but primarily a literary fiction, set in reality, but also going beyond it. What can be, to some extent, an historical source is simultaneously – and maybe even more – an artistic creation. It allows us not only to learn about the reality of the epoch, but also admire the art with which the artist undertakes vital social issues
SEKS I PRZEMOC MAŁŻEŃSTWO W TRAGEDIACH EURYPIDESA
No full textSex and violence. Marriage in Euripides’ tragedies
In ancient Athens, marriage was an event which from today’s perspective is linked with the notion of violence, even if the then living people would not have defined it in this way. From their perspective, it was obvious that the woman who was getting married was not the subject of the marital contract. Euripides tragedies, far from being a manifesto in the defence of women’s fate (it would be a complete anachronism to ascribe such motivations to the dramatist) show very frequently, however, women as victims of male disloyalty. Such heroines as Iphigenia, Alcestis or Medea appear to be more faithful to the marital contract than their husbands. To a modern reader, they may constitute a source of knowledge on the ancient Athenian institution of marriage. At the same time we have to keep in mind that caution should be exercised: tragedy is not an historiographic work, but primarily a literary fiction, set in reality, but also going beyond it. What can be, to some extent, an historical source is simultaneously – and maybe even more – an artistic creation. It allows us not only to learn about the reality of the epoch, but also admire the art with which the artist undertakes vital social issues
The Miserable End of an Impious Life: History of a Legend
No full textInvestigatur origo fabularum, in talibus operibus ut pote Legenda aurea aut Boccaccii libri De casibus virorum illustrium asservatarum, quae narrant de Iuliani Apostatae morte et de eius cadaveris fatis
