Pub Date : 2023-01-01DOI: 10.21638/spbu20.2023.108
Gonzalo Jerez Sánchez
The Byzantine Empire had a long tradition of educational practices, including schedography. It became popular in the 10th century and continued to be cultivated until the 19th century, with a peak in the 13th century. In the late 19th century, scholars began to take an interest in the relevant texts. In the mid-20th century, there were attempts to study these texts as a curious kind of paraliterary production. Currently, in the 21st century, there have been editions of different schedographical collections. Schedographical texts are a very specific kind of written documents and do not fit well with the usual editorial practices. They were written to be read aloud, intended to teach, not to entertain, and generally, they do not have the aesthetic value of a literary text. Finally, these texts appear in collections of very different origins. In many cases we do not know their original context, which makes them difficult to be interpreted. In this article, 23 schedographical texts from manuscript Vat. Pal. Gr. 92 are published. This manuscript consists of 239 ff. and it was copied in the last decades of the 13th century in southern Italy. The manuscript contains more than 425 schedae. In contrast to other paratexts used in schools, the manuscript includes glosses with forms of popular Greek, such as, e. g., the use of σπίτι for “house”. A complete edition of the manuscript will certainly reveal more expressions similar to this one. 29 remaining unpublished texts will be published in the second part. The humorous phrase that heads this article, ὦ μωρῆς παιδίον, is the schedographical resolution of the phrase ὀμμ’ ὀρεῖς (glossed as ἐγείρεις) παιδίον, included in one of the schedae published here for the first time.
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Pub Date : 2023-01-01DOI: 10.21638/spbu20.2023.105
Grigory Vorobyev
The article discusses the origins of four Neo-Latin animal names, denoting a beetle, a bird, a fish and a mollusk, coined by the Greek scholar Theodore Gaza in the third quarter of the fifteenth century: two neologisms of form, or proper neologisms, gal(l)eruca and gallinago, and two neologisms of sense, cernua ‘inclined forwards, head foremost’ and patella ‘plate, pan’. These words, still valid in today’s zoological nomenclature, were first introduced in Gaza’s Latin version of Aristotle’s Historia animalium, where they stood, respectively, for μηλολόνθη, σκολόπαξ/ἀσκαλώπας, ὀρφώς/ὀρφός and λεπάς. Apparently, they owe their existence to Gaza’s acquaintance with Italian dialectal vocabulary, as can be deduced from two sixteenthcentury sources: Agostino Nifo’s commentary to Aristotle’s zoological writings and Ippolito Salviani’s encyclopedic work on aquatic animals. Gaza’s galleruca must have originated from the Lombard galeruca ‘rose chafer’ (the identification of μηλολόνθη with the latter probably due to the hapax legomenon χρυσομηλολόνθιον, Ar. Vesp. 1341), gallinago from the Emilian gallinazza ‘woodcock’ (since the only known characteristic of σκολόπαξ/ἀσκαλώπας is that it is similar to a hen, Arist. Hist. an. 617b24), cernua from the Calabrian cerna/cernia (identified with ὀρφώς/ὀρφός either due to Gaza’s use of a bilingual glossary or due to his own experience in the Calabrian bilingual milieu) and patella from the Calabrian or Roman patella ‘pan; limpet’ (perhaps identified with λεπάς because Gaza kept in mind the name of a vessel, λεπαστή/λεπάστη, considered deriving from λεπάς by Eustathius). All the said dialects correspond to the Italian regions where Gaza spent parts of his life.
本文讨论了希腊学者西奥多·加萨在15世纪第三25年创造的四个新拉丁语动物名称的起源，分别表示甲虫、鸟、鱼和软体动物:两个形式新词，或适当新词，gal(l)eruca和gallinago，以及两个意义新词，cernua“向前倾斜，头朝前”和patella“盘子，锅”。这些词在今天的动物学命名法中仍然有效，它们最初是在加沙的拉丁语版亚里士多德的《动物史》中引入的，在那里它们分别代表μηλολ ο νθη， σκολ ο παξ/ ν σκαλώπας， ν ρφώς/ ν ρφ ο ς和λεπ ς。显然，它们的存在要归功于加沙对意大利方言词汇的熟悉，这可以从16世纪的两个来源推断出来:Agostino Nifo对亚里士多德动物学著作的评论和Ippolito Salviani关于水生动物的百科全书式著作。加沙的galleruca一定起源于伦巴第galeruca ' rose chafer ' (μηλολ ον θιον与后者的识别可能是由于hapax legomenon χρ ομηλο νθιον， Ar. Vesp. 1341)， gallinago来自Emilian gallinazza ' woodcock '(因为σκολ ο παξ/ ν σκαλώπας的唯一已知特征是它类似于一只鸡，aria)。嘘。一个。617b24)、来自卡拉布里亚的cerna/cernia的cernua(由于加沙使用双语词汇或由于他自己在卡拉布里亚双语环境中的经验，因此被称为ο ρφώς/ ρφός)和来自卡拉布里亚或罗马膝盖骨的髌骨;limpet '(可能与λεπα α ς一致，因为Gaza记住了一艘船的名字，λεπαστή/λεπ αστ η，被尤斯塔提乌斯认为源自λεπα ς)。所有这些方言都与加沙生活的意大利地区相对应。
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Pub Date : 2023-01-01DOI: 10.21638/spbu20.2023.104
T. Sapota
Macrobius Ambrosius Theodosius, in his Saturnalia, draws upon the Platonic archetype in making overt allusions to the Symposium and yet follows Athenaeus, whose work he seems to know thoroughly, albeit does not acknowledge its influence openly. Besides the Greek paradigms, Macrobius used Roman models, i. e., Cicero’s dialogues, to infuse his literary banquet with Roman flavour. The author of Saturnalia was severely criticised, especially by representatives of the Quellenforschung movement in the second half of the 19th century, for allegedly being a poor plagiarist. His compilatory method is described in this article, and two other plausible Macrobius’ sources are proposed: Juvenal’s Satires and Seneca the Younger’s On Tranquility of the Mind. In Roman History Ammianus Marcellinus depicted the people inhabiting Rome of his times as degenerate parasites hostile to any form of intellectual activity who fritter away time on vulgar entertainment and obsessively overfeed themselves. Many scenes of so-called sober merriment shared by the prominent Roman personages of the IV c. AD were, in all probability, introduced to Saturnalia to counterbalance Ammianus Marcellinus’ harsh criticism of Roman morals. Macrobius’s familiarity with both Juvenal and Seneca manifests itself in the list of similes, yet, as the author of the present article proposes, there are passages in the oeuvre of both writers that may have instilled the vision of frugality typical of Romans in Macrobius’s mind, so that he may have used images borrowed from both earlier writers to Saturnalia.
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Pub Date : 2023-01-01DOI: 10.21638/11701/spbu21.2023.105
E. Tereshko, Rinske Sophia Vellinga
In this study, we examine the strategies translators have at their disposal to render the meaning of Dutch modal particles in the Russian language. Modal particles are difficult to translate because the meaning of these words is abstract, highly context-dependent and sometimes open to multiple interpretations. Based on parallel Dutch-Russian texts we show which strategies translators use to express the functions of the Dutch modal particle maar ‘but’ in Russian. The modal particle maar is very often omitted in translations, because it has no equivalent in Russian and the image of reality given by the sentence does not become different in a translation when a modal particle is not translated. We find that maar is most often omitted in the function of mitigating the imperative. Translators compensate for the lack of an appropriate modal particle by using verbs with a narrower meaning in Russian which allows them to more accurately describe the drawn context. We also find that in some cases, translators make use of lexical and grammatical transformation such as using prefixes in Russian to soften the imperative, rather than omitting maar completely. In Russian, there are many possibilities to convey modal meaning in lexico-grammatical ways, for example using particles, verbs with a narrower meaning and prefixes that soften the imperative; modal verbs as such can take on the function of expressing modality, and also the verb tense can be used to convey modality.
本文探讨了翻译人员在俄语中翻译荷兰语情态助词时所采用的策略。情态助词很难翻译，因为这些词的意思是抽象的，高度依赖于上下文，有时可以有多种解释。基于荷兰语和俄语的平行文本，我们展示了译者在俄语中使用哪些策略来表达荷兰语情态助词maar ' but '的功能。情态语气词maar在翻译中经常被省略，因为它在俄语中没有对应的词，而且当不翻译情态语气词时，句子所给予的现实形象在翻译中并不会发生变化。我们发现maar在减轻祈使语气的功能中经常被省略。翻译人员通过使用俄语中意义较窄的动词来弥补缺少适当的情态助词的不足，这使他们能够更准确地描述所描绘的上下文。我们还发现，在某些情况下，译者会利用词汇和语法上的转换，比如在俄语中使用前缀来软化祈使句，而不是完全省略maar。在俄语中，用词汇语法的方式表达情态意义有很多可能性，例如使用小品词、意义较窄的动词和软化祈使句的前缀;情态动词可以承担表达情态的功能，动词时态也可以用来表达情态。
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Pub Date : 2023-01-01DOI: 10.21638/spbu20.2023.112
E. Zheltova
This article offers a linguistic commentary on the verse Verg. Aen. 9. 427 me, me, adsum qui feci, in me conuertite ferrum, in which the personal pronoun in the accusative needs interpretation. Since the time of Servius and Donatus, the opinions of commentators have been divided. Servius and his followers believe that the pronoun in the accusative is a direct complement that depends on an implied (omitted) verb like interficite, occidite, or petite, and consider this place as a rhetorical figure of aposiopesis. Donatus, on the other hand, argues that the accusative me, me is independent, while discontinuous intonation with which the whole verse must be uttered emphasizes the extreme degree of despair of Nisus, who cannot prevent the death of his beloved friend Euryalus. A review of the commentaries on the Aeneid shows that there are slightly more supporters of Donatus’ hypothesis than that of Servius’, but all of their reasoning is intuitive and does not explain why it is the syntactically independent accusative that gives the agitated sounding to Nisus’ last words. The author of the article applies the pragmatic approach to the interpretation of this place, analyzing similar examples of “non-syntactic” use of the accusative and considering both traditional and modern views on this phenomenon. As a result, the author comes to the conclusion that the verse under consideration corresponds to what in modern linguistics is called “cleft construction”. Such constructions exist in different languages and serve to express the focus of contrast. At the end of the study, the author attempts to answer the question of why Latin employs the accusative as a tool to express intense emotions.
本文对Verg诗作了语言学上的评注。为9。me, me, adsum qui feci, in me conertite ferrum，其中宾格代词需要解释。自塞尔维乌斯和多纳图斯时代以来，评论家们的观点就一直存在分歧。塞尔维乌斯和他的追随者认为，宾格中的代词是直接的补语，依赖于隐含的(省略的)动词，如interficite, occidite或petite，并认为这个地方是一种修辞修辞。另一方面，多纳图斯认为，宾格me, me是独立的，而整首诗必须用的间断语调强调了尼苏斯的极度绝望，他无法阻止他心爱的朋友欧律亚罗斯的死亡。对《埃涅伊德》注释的回顾表明，支持多纳图斯假说的人略多于支持塞尔维乌斯假说的人，但他们的所有推理都是凭直觉的，并没有解释为什么是句法上独立的宾格让尼索斯的最后一句话听起来激动。本文运用语用学的方法对这一地方进行解释，分析了类似的“非句法”宾格用法的例子，并对这一现象的传统观点和现代观点进行了比较。因此，作者得出结论，所考虑的诗句符合现代语言学中所谓的“裂缝结构”。这种结构存在于不同的语言中，用来表达对比的焦点。在研究的最后，作者试图回答为什么拉丁语使用宾格作为表达强烈情感的工具的问题。
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Pub Date : 2023-01-01DOI: 10.21638/spbu20.2023.109
Michael M. Pozdnev
Establishing the sources of “Borodino” is a task with many unknowns, hardly feasible even for modern philology. Nevertheless, we do know about several components of the masterpiece: the 1829 school sketch “Le champ de Borodino” and the “Field of Borodino” composed a year or two later to some extent allow us to determine between which alternatives Lermontov was choosing. For example, the French prose text paints the night before the battle in both camps, while the author of the juvenile poem focuses on the Russian. Historicity obviously conflicts here with lyrism. Overcoming the conflict, that is, acting as a historian of the battle while remaining in the costume of its hero, works better if one represents action assumed in a given plot situation. Besides memoirs, among which the notes of F. N. Glinka and N. N. Lubenkov reveal obvious overlaps with Lermontov’s texts, the poet turns to literary models. Among the latter is the Iliad in Gnedich’s translation, which came out in 1829 and was lively discussed by literary scholars and scholars, in particular by Lermontov’s teacher A. F. Merzlyakov. Complementing the parallel with Il. 11, 523, we add to the list of sources the contrasting description of the Trojan and Achaean camps, seen through the eyes of Agamemnon (10, 11–16), especially since the author of “Le champ de Borodino” describes the behaviour of the French in almost the same terms as Homer describes the Trojans.
确定《波罗底诺》的来源是一项充满未知因素的任务，即使对现代文献学来说也很难实现。然而，我们确实知道这幅杰作的几个组成部分:1829年的学校素描“Le champ de Borodino”和一两年后创作的“Borodino Field”在某种程度上使我们能够确定莱蒙托夫选择了哪一个选项。例如，法国散文文本描绘了两个阵营战斗前的夜晚，而少年诗歌的作者则专注于俄罗斯。在这里，历史性显然与抒情性相冲突。克服冲突，也就是说，作为战斗的历史学家，同时保持英雄的服装，如果一个人代表在给定的情节情况下假设的行动，效果会更好。除了回忆录(其中f.n.格林卡和n.n.卢本科夫的笔记与莱蒙托夫的文本有明显的重叠)之外，诗人还转向文学模式。后者包括格内迪奇译本的《伊利亚特》，它于1829年出版，被文学学者和学者热烈讨论，尤其是莱蒙托夫的老师A. F.梅尔兹利亚科夫。作为对伊珥书11,523的补充，我们在资料来源列表中增加了阿伽门农(10,11 - 16)眼中对特洛伊和亚该亚营地的对比描述，特别是因为“Le champ de Borodino”的作者描述了法国人的行为，几乎与荷马描述特洛伊人的方式相同。
{"title":"“But quiet was our bivouac open…”: A few words about the sources of Lermontov’s inspiration","authors":"Michael M. Pozdnev","doi":"10.21638/spbu20.2023.109","DOIUrl":"https://doi.org/10.21638/spbu20.2023.109","url":null,"abstract":"Establishing the sources of “Borodino” is a task with many unknowns, hardly feasible even for modern philology. Nevertheless, we do know about several components of the masterpiece: the 1829 school sketch “Le champ de Borodino” and the “Field of Borodino” composed a year or two later to some extent allow us to determine between which alternatives Lermontov was choosing. For example, the French prose text paints the night before the battle in both camps, while the author of the juvenile poem focuses on the Russian. Historicity obviously conflicts here with lyrism. Overcoming the conflict, that is, acting as a historian of the battle while remaining in the costume of its hero, works better if one represents action assumed in a given plot situation. Besides memoirs, among which the notes of F. N. Glinka and N. N. Lubenkov reveal obvious overlaps with Lermontov’s texts, the poet turns to literary models. Among the latter is the Iliad in Gnedich’s translation, which came out in 1829 and was lively discussed by literary scholars and scholars, in particular by Lermontov’s teacher A. F. Merzlyakov. Complementing the parallel with Il. 11, 523, we add to the list of sources the contrasting description of the Trojan and Achaean camps, seen through the eyes of Agamemnon (10, 11–16), especially since the author of “Le champ de Borodino” describes the behaviour of the French in almost the same terms as Homer describes the Trojans.","PeriodicalId":40525,"journal":{"name":"Philologia Classica","volume":"21 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88121153","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.21638/spbu20.2023.101
Alexander Nikolaev
This paper examines the form διεπρήστευσε, obelized in the editions of Herodotus. There have been two ways of interpreting the form: some scholars have taken it to refer to an act of speech, while others have sought here a verb of motion. Both groups of scholars proposed a variety of conjectures, some of them addenda lexicis and none of them commanding immediate acceptance. After a review of various solutions that have been proposed to-date, this paper argues in favor of retaining the reading of the paradosis and analyzing (-)πρηστεύω as a verb of quick motion. The verb is argued to be an Ionic colloquialism (or even Herodotus’ own Augenblicksbildung), derived from the root of πίμπρημι in its original meaning ‘to blow’ (of which ‘to burn’ is a secondary development) via an agent noun πρηστήρ / *πρήστης, cf. μνηστεύω ‘woo’ : μνηστήρ ‘suitor’ or δυναστεύω ‘hold power’ : δυνάστης ‘person with power’. The proposed translation ‘blasted, dashed’ is supported by typological parallels for the semantic development ‘to blow’ → ‘to move (impetuously)’, such as Old English bl.́stan ‘to blow; to move impetuously’ or Russian dut’ ‘to blow; to dash, to rush’. Interestingly, Hittite (parip) parāi-, the cognate of Gk. πίμπρημι, may show the same semantic
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Pub Date : 2023-01-01DOI: 10.21638/spbu20.2023.111
A. M. Skvortsov
The history of classical philology in the USSR during the Great Patriotic War is not yet adequately covered in science. Despite domestic and material difficulties, breakdown of communication and lack of access to literature, the pursuit of science and the training of young people continued. This article reveals how the staff of the LSU Department of Classical Philology, which was evacuated to Saratov, adapted to wartime conditions in terms of scholarly organization and research (1942–1944) based on fragmentary archival data and personal sources. With a staff of five, headed by I. M. Tronsky, the department was able to teach Latin and Ancient Literature at the Faculty of History and Philology, as well as to train a small number of “classical” students using pre-revolutionary manuals that had survived in Saratov. The research work of the department’s scholars ran counter to the general theme of the department: “Literature and War”. The titles of the papers by I. M. Tronsky, J. M. Borovsky and G. A. Stratanovsky testify to the desire to continue, as far as the book fund allowed, the themes initiated before the war, or to develop the subjects of the reception of the ancient heritage. In the beginning of 1944, under the supervision of I. M. Tronski, T. N. Chikalina presented a traditional dissertation on the syntax of the “Laws of the Twelve Tables”. The wish not to interrupt the genuinely scientific philological research and to be in the course of world science is also proved by the theme chosen for the department in 1944 — “Lucretius” — to commemorate the 2000th anniversary of the poet’s death.
卫国战争时期苏联古典文献学的历史在科学上还没有得到充分的研究。尽管有家庭和物质上的困难，通讯中断，缺乏文献，但对科学的追求和对青年的培训仍在继续。本文揭示了疏散到萨拉托夫的路易斯安那州立大学古典语言学系的工作人员如何根据零碎的档案数据和个人资料，在学术组织和研究方面适应战时条件(1942年至1944年)。这个系有五名教职员工，由特罗姆斯基(I. M. Tronsky)领导，能够在历史和语言学学院教授拉丁语和古代文学，同时还能使用萨拉托夫遗留下来的革命前手册培训少数“古典”学生。该系学者的研究工作与该系的总主题“文学与战争”背道而驰。特罗姆斯基、博罗夫斯基和斯特拉塔诺夫斯基的论文的标题证明，在图书基金允许的范围内，他们希望继续研究战前发起的主题，或者发展接受古代遗产的主题。1944年初，在特隆斯基的指导下，t·n·奇卡利纳发表了一篇关于“十二表律”语法的传统论文。1944年，为了纪念卢克莱修逝世2000周年，该系选择了一个主题——“卢克莱修”，这也证明了他们希望不打断真正科学的语言学研究，并参与到世界科学的进程中来。
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Pub Date : 2023-01-01DOI: 10.21638/11701/spbu21.2023.102
V. Benko, E. Gurova, M. Khokhlova, E. Krasnova
The notion that a language worldview is shaped by a system of key concepts as well as ideas and motifs linking them, which are expressed in the meaning of individual lexemes and phrases, has informed a number of studies of culturally specific words and even entire semantic fields. Comparison of different language worldviews has revealed many differences, which at first sight seem insignificant but may hinder successful communication. The concept of hygge occupies a special place in the Danish language worldview and has become somewhat of a Danish hallmark. Our study uses corpus data to analyse six co-occurrence patterns of words representing the concept hygge, which allows us to explicate the implicit meaning components of the lexemes in question and to identify the most frequent patterns. The material used was the Danish Gigaword Corpus (DAGW), which includes texts collected from the Internet. The corpus covers the Danish language in all its diversity: a variety of genres and types of texts are represented in the corpus (law, social media, subtitles, debates, conversation notes, encyclopaedia articles, fiction, news, etc.). The high frequency of the words representing the concept hygge in the corpus texts once again confirms the importance of this concept for Danish culture. The combinational properties of all the models studied show a striking uniformity: all collocations are characterized by positive connotations and can be categorized into a small set of thematic groups (place, time, atmosphere, hobbies, spending time together and communicating). The above co-occurrence analysis allows us to identify the following set of characteristics of the concept hygge: a feeling of peace, tranquillity and security, enjoyment and good mood that comes from being engaged in active pursuits, presence of close, familiar people, a familiar, wellknown place, a shared time together.
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Pub Date : 2023-01-01DOI: 10.21638/11701/spbu21.2023.103
D. Nikulicheva
The article focuses on the system of deictic pronouns in Danish. It is argued that in addition to binary oppositions expressing the objective (nearest vs distant) location of objects in the physical space relative to the speaker, like this vs that — denne vs den, a three-term opposition develops in modern Danish. This allows to specify the subjective interaction between the three participants in the communicative act: the speaker (1st person), the listener (2nd person) and the objects of the surrounding world (3rd person). The system of secondary demonstrative pronouns — deictic binomials — is investigated. “Deictic binomial” is used as a term for an analytical combination of a simple deictic pronoun and a spatial adverb. Four possible combinations of such binomials are considered. The Danish Corpus (KorpusDK) analysis made it possible to assert that combinations of proximal deixis indicators — such as denne her ‘this here’ — are subjective markers of 1st person signaling that the deictic object enters into the speaker’s personal space. Combinations of indicators of distal and proximal deixis (such as den her ‘that here’) are “cohortatives” — subjective markers of the 2nd person, signaling the common perception of shared attitude to the deictic object by the speaker and its addressee. Combinations of analytical indicators of distal deixis (such as den der ‘that there’) — shift the negatively evaluated object outside the personal space of the speaker and the space of communication, which corresponds to the communicative function of the 3rd person. The search in the Danish Corpus for the fourth type of combinations, that is, combinations of proximal and distal deixis (such as denne der ‘this there’) gives practically no results. This confirms the conclusion that the paradigm for expressing the speakers subjective attitude to the object of deixis in modern Danish is represented by three categories that correspond to three “spatial areas” — the speaker’s personal space (1st person), the common communication space shared with the addressee (2nd person), an external space into which the speaker subjectively removes the disapproved or alienated objects of deixis (3rd person).
本文主要研究丹麦语指示代词系统。有人认为，除了表达物体在物理空间中相对于说话者的客观位置(最近与遥远)的二元对立之外，如this与that - denne与den，现代丹麦语中还发展了一种三词对立。这允许在交际行为中指定三个参与者之间的主观互动:说话者(第一人称)，听者(第二人称)和周围世界的对象(第三人称)。对指示代词系统——指示二项式进行了研究。指示二项式是指简单指示代词和空间副词的解析组合。考虑了这类二项式的四种可能组合。丹麦语料库(KorpusDK)的分析表明，近端指示物的组合——比如denne她的“this here”——是第一人称的主观标记，表明指示物进入了说话者的个人空间。远端指示语和近端指示语的组合(如“that here”)是“辅助语”——第二人称的主观标记，表明说话人和收件人对指示物的共同态度的共同感知。结合远端指示语的分析指示(如den der ' that there ')——将负面评价的对象移出说话者的个人空间和交流空间，这与第三人称的交际功能相对应。在丹麦语料库中搜索第四种类型的组合，即近端和远端指示语的组合(例如denne der ' this there ')几乎没有结果。这证实了一个结论，即现代丹麦语中表达说话人对指示物主观态度的范式由三个类别代表，这些类别对应于三个“空间区域”——说话人的个人空间(第一人称)、与接收者共享的公共交流空间(第二人称)、说话人主观地将不被认可或异化的指示物移到其中的外部空间(第三人称)。
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