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Metamorfózy sociálního státu v Československu v letech 1956–1989

100%
Tomeš I.
Soudobé dějiny (Contemporary History)
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2013
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issue 1-2
65-88
EN
This article follows on chronologically from the preceding article published in the current issue of Soudobé dějiny, and seeks to identify and explain the main lines in the development of social policy in Czechoslovakia from 1956 to the end of the Communist regime in late 1989. It combines historical analytical narration and eye-witness recollections – for the author was continuously involved, at international institutes and in Czechoslovakia from the late 1950s onwards, in the theory and practical implementation of social policy (although in the period of re-established hard-line Communism, called ‘normalization’, beginning in 1969, he was unable to be publicly involved). Since he worked in academia, mostly in the second half of the 1960s, and actively participated in efforts to achieve a fundamental reform of the Czechoslovak social model, he can provide valuable insight into the intellectual ferment of the times. In this article he provides a clear overview of the important social-policy measures that were developed and implemented between two tendencies, in which the welfare state became an instrument of the populist politics of the Communist Party and the Government, while faced with the pressures of economic reality.
2
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Retelling Orpheus: Orpheus in the Renaissance

100%
Beattie L. I. H.
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2014
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vol. 2
|
issue 1
1-8
EN
This paper examines the importance of the Orpheus myth during the English Renaissance. The Orpheus myth was one of the most common mythic intertexts of the period due to the fact that we could see the very story of Orpheus as being imbedded within the idea of the Renaissance itself. The main ambition of the Renaissance humanist was to bring the literature of the ancients back to life via the means of education. In other words, they attempted to bring the dead back to life and Orpheus serves as an embodiment of this ambition due to his ability to bring inanimate objects to life and in his journey to the underworld to rescue Eurydice. We find many different aspects of the Orpheus myth dealt with in Renaissance writing, for example Orpheus as poet, Orpheus as lover and the death of Orpheus being some of the key focal points. This paper, however, will focus specifically on the role of Orpheus as Poet as, due to the Renaissance love for art, rhetoric and eloquence, this seems to be the most popular dimension of the Orpheus myth at that time. We will see how Renaissance writers reinterpret the story of Orpheus, as originally told by Ovid and Virgil, in the “Metamorphoses” and the “Georgics” respectively, to show Orpheus as not only as being an archetypal poet but in fact the very first poet whose art is not only responsible for the civilisation of man, but also for the creation of a “Golden Age” in Renaissance England.
3
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Retelling Orpheus: Orpheus in the Renaissance

100%
Beattie L. I. H., Berlin F. U., Having graduated from the University of St Andrews with an MA Hons degree in English and Latin L. B. w. s. c. a. M. s. d. i. E. S. a. t. F. U. B. w. h. r. i. l. i. t. f. o. R. l.
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2014
|
vol. 2
|
issue 1
EN
This paper examines the importance of the Orpheus myth during the English Renaissance. The Orpheus myth was one of the most common mythic intertexts of the period due to the fact that we could see the very story of Orpheus as being imbedded within the idea of the Renaissance itself. The main ambition of the Renaissance humanist was to bring the literature of the ancients back to life via the means of education. In other words, they attempted to bring the dead back to life and Orpheus serves as an embodiment of this ambition due to his ability to bring inanimate objects to life and in his journey to the underworld to rescue Eurydice. We find many different aspects of the Orpheus myth dealt with in Renaissance writing, for example Orpheus as poet, Orpheus as lover and the death of Orpheus being some of the key focal points. This paper, however, will focus specifically on the role of Orpheus as Poet as, due to the Renaissance love for art, rhetoric and eloquence, this seems to be the most popular dimension of the Orpheus myth at that time. We will see how Renaissance writers reinterpret the story of Orpheus, as originally told by Ovid and Virgil, in the Metamorphoses and the Georgics respectively, to show Orpheus as not only as being an archetypal poet but in fact the very first poet whose art is not only responsible for the civilisation of man, but also for the creation of a “Golden Age” in Renaissance England.
4
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Quem dii diligunt, non semper adolescens moritur – Sybilla z Kume i jej wizerunek poprzez wieki (Quem dii diligunt, non semper adolescens moritur – the Cumaean Sybil and Her Images Through the Centuries).

88%
Miazek-Męczyńska M.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2014
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vol. 24
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issue 2
179-191
PL
The text is focused on the ancient literary images of the Cumaean Sibil, one of the most known and mysterious figures of the Roman mythology. Described by Vergil and Ovid in their monumental epic poems, mentioned also by other Roman writers (like Aulus Gellius, Petronius, Silius Italicus) Sibil from Cumae became a symbol of longevity of Rome and of the Roman culture and a guarantee of its successful existence. According to the mythological tradition, Sybil’s appearance was changing during her thousand-year-long life from a resplendent beauty, who was desired by Apollo, to a flabby old woman, dreaming about her own death. In this context the Roman prophetess could be interpreted as a personification of the passing human nature, ruled by the cycle of the returning eras (the Gold Era, the Silver Era, the Bronze Era and the Iron Era). The tragedy of Sybil, who was mortal, but could not die, trapped in her weak human body, firstly inspired Roman poets. Later their poems became an inspiration for many painters (for example Salvator Rosa, Guercino, Domenichino, Jan Breughel the Elder, William Turner) who recreated the Cumaean prophetess, giving her a new silent life in the art galleries all over Europe. Their masterpieces correspond with the ancient tradition underlining her agelessness.
5
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Remarks on Ovid and the Golden Age of Augustus

76%
Łukaszewicz A.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2019
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vol. 29
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issue 2
37-56
PL
Publius Ovidius Naso was an outstanding poet of the Augustan age who after a period of successful activity was suddenly sent to exile without a formal judicial procedure. Ovid wrote frivolous poems but inserted into his works also the obligatory praises of Augustus. The standard explanation of his relegation to Tomis is the licentious content of his Ars Amatoria, which were believed to offend the moral principles of Augustus. However, the Ars had been published several years before the exile. The poet himself in his Pontic writings mentions an unspecified error and a carmen, pointing also to the Ars, without, however, a clear explanation of the reason for his fall. The writer of the present contribution assumes that the actual reason for the relegation of the poet without a trial were the verses of his Metamorphoses and especially the passage about the wicked stepmothers preparing poison. That could offend Livia who, according to gossip, used poison to get rid of unwanted family members. Ovid was exiled, but the matter was too delicate for a public justification of the banishment. When writing ex Ponto the poet could not explicitly refer to the actual cause of his exile.
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Tum canit hesperidum miratam mala puellam: The Hesperides and Hesperia in Virgil and Ovid

75%
Fratantuono L.
Eirene. Studia Graeca et Latina
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2015
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vol. 51
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issue 1-2
27-44
EN
The image of Hesperia and the Hesperides, western lands endowed with mythological mystery and geographical wonder, is of great significance to the Virgilian epic depiction of the westward journey of Aeneas and his Trojans, as well as to Ovid in his own epic reflection on the world and the place of Rome therein. Close consideration of the passages in both the Aeneid and the Metamorphoses that reference Hesperia and the Hesperides will reveal a careful Ovidian reading of his Virgilian source material, as well as a commentary on the nature of the fall of Troy.
7
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De genere dicendi deliberativo a latronibvs Apuleianis vsvrpato (Met. VI, VII )

75%
Pezzuolo P.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2016
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vol. 26
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issue 1
123-137
EN
In books VI and VII of Apuleius’ Metamorphoses we find the robbers delivering some orations, which imitatethe genus deliberativum: they display sollemnity and refined elegance to such an extent, that the reader, beingaware that they proceed from the most heinous rogue’s lips, cannot but smile by himself.Composing this part of his tale, Apuleius also falls back on and re-treats some elements of the greek novel, inparticular the representation of the band of robbers like a sort of perverted state.In this article I will first show the resemblances that Apuleius’ rogue-tales share with the same places of theGreek novels’ writers, then I will continue to examine the speeches found in books VI and VII.I will demonstrate with how much elaboration Apuleius has amplified and augmented these tales, which theGreek novelists have merely outlined, for the sake of playing on extant literature, and I will clarify to whatextent we can understand this playing on literature as a parody.
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Baśń o Erosie i Psyche Apulejusza z Madaury. Duchowe aspekty baśni

51%
Pawłowski K.
Vox Patrum
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2016
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vol. 65
533-546
EN
This work will discuss the eponymous tale of „Cupid and Psyche”, originally written as a part of Lucius Apuleius Madaurensis’ „Metamorphoses”. The tale’s main thread, the motif of Psyche making an effort to reclaim Cupid’s lost affec­tion, is depicted through the means of mysteriosophic context of Apuleius’ phi­losophy, as well as his theory on love. The work will draw upon the characteristic motifs of the ancient sacred mysteries, thus suggesting that the story of Psyche’s trials and tribulations is somewhat an allegory of the spiritual development of man, who searches for love to find the meaning of his life and the fulfillment of his spiritual yearning for the eternal and the divine.
9
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Botanical Imperialism and Metamorphic Biodiversity: Livia and Ovid

45%
Myers K. S.
Sztuka i Dokumentacja
|
2022
|
issue 26
69-72
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