Gotowa bibliografia na temat „Oracular Tales”

The article is focuses on the analysis of various meanings of the image of the eagle in the Sakha culture. It addresses of the presence of the “zoomorphic code” in traditional Yakut culture. The significance of the ornithological pantheon, including the Siberian Crane, swan, and other zoomorphic characters of the Yakut world picture, is determines. The main focus in the article is on the spectrum of meanings of the image of the eagle, including the perception of this bird as: one of the supreme deities, the king-bird; the warrior spirit of the Upper World, named Hunchbacked Hotoy (Eagle) Aiyy; principles legitimizing power; like a bird giving a stone of happiness; a fairy bird Bar Jagyl; a solar symbol associated not only with the sun but also with the cyclical change of seasons; as the ancestor and patron of the Yakut shamans; as the two-headed mythical bird Yoksyu; as a messenger of the spirit of war; patrimonial, sexual and individual totem; a heraldic image; as a personification of victory; amulets; the bird that gave people fi re; an oracular bird; as a form of embodiment of the soul of the deceased, going to heaven, etc. Fixed connotations of the eagle’s image are coupled with numerous examples from epic texts, legends, tales and songs. Modern interpretations of the image of the eagle, genetically related to the traditional sphere of the Yakut culture are dealt separately

In an oracular tablet from Dodona dating to the mid-fourth century bc, a slave named Kittos inquires whether his master, Dionysios, will set him free. A roughly contemporary entry in the Athenian phialai inscriptions records Dionysios isotelēs manumitting Kittos the metalworker. This paper suggests that the individuals in both documents may be identical. Along the way, it also takes a position on a number of questions surrounding the phialai inscriptions. These inscriptions are not really inventories, I propose, nor can they be explained in terms of lawsuits unrelated to manumission. (The presence of families and children in the inscriptions is especially important in demonstrating this point.) Instead, they represent acts of manumission effectuated through dikē apostasiou prosecutions, an Athenian practice which, I believe, dates back to the 350s. It was not until the 330s, under the financial administration of Lycurgus, that the city imposed mandatory phialai dedications upon all manumissions in court, with the phialē serving as a manumission fee paid to the treasurers of Athena.

Dream vision is an important and well _ known medieval narrative genre in poetry . The basic framework is that the confused narrator falls asleep and dreams , then his dream will be the main story. The dream often takes the form of allegory , enigmatic , and it needs a kind of interpretation on the part of the reader .After the troubled narrator is awakened , he determines to write his dream in a poem . 1 Dream vision poetry has an impressive and extensive image, which has been widely commented upon . Falling asleep, dreaming , dream vision , prophetic visitations and oracular guidance are familiar motifs from a number of widely known literary sources , like for example in the Bible , Greek and Latin classics , continuing in to the late antiquity and in to the medieval period . 2 Dream visions have important elements in common , firstly, all dream visions are written in the first person . The narrator becomes the dreamer and tells the story as his own experience . Sometimes , the dreamer becomes the protagonist of the dream fiction , and other times , he is only an observer as in Chaucer 's Book of the Duchess .3

The nature, history and transformation of the American sentence in XX century American fiction is the focus of the current essay which examines the shift from the oracular to ordinary style. This is the contrast between Henry James and Ernest Hemingway, or Thomas Wolfe and Cormac McCarthy. It is a shift in tone and syntax from an elaborate rhetoric and rhythm to a pointed, direct style that wastes no words. It suggests an impatient style reflecting an age of intensity, speed, and thrust. The leisurely and intricate style of late XIX and early XX century American writers loses its energy, although individual authors experiment and, within the body of their work, shift from an initial, ornate method to one that is immediate and precise. A new, fragmented cogency takes over, although this is not a prescriptive formula. There is a stylistic pendulum at work alternating between, say, the elaborate writing of David Foster Wallace or Don DeLillo and that of Raymond Carver or Jennifer Egan. The dynamics of this shift is the center of this discussion. Examples of XX century writers include Gertrude Stein, William Faulkner, J.D. Salinger, Thomas Pynchon, Cormac McCarthy and Jennifer Egan. Overlooked, the sentence remains the core of literary expression but it is a problematic form associated with such cultural changes as the telegraph, World War II and crime writing, as much as the literary imagination. Its permutations may, in fact, represent the “moral history” of America, its shifts in style reflecting the conflict between traditionalism and innovation, conservatism and experimentation.

Abstract Different translations of Plutarch's De Pythiae oraculis 404B reflect an interpretative difficulty not yet adequately thematized by exegetes. Plutarch's dialogues on the Delphic oracle describe two perspectives on mantic inspiration: possession prophecy, where the god takes over the prophetess as a passive apparatus, and stimulation prophecy, where the god incites the prophecy, but the prophetess delivers the oracle through her own faculties. Plutarch understands the Pythia at Delphi to exhibit stimulation prophecy, not possession. One of his metaphors for inspiration comes from the theatre: the god ‘puts the oracle into the Pythia's mouth, like an actor speaking through the mask’ (De Pyth. or. 404B [Russell]). Some translators take the metaphor as describing possession prophecy (Goodwin), while others take it as stimulation prophecy (Babbitt)—in other words, it may describe the view Plutarch affirms or the view he rejects. This article assesses the two alternatives, concluding that the theatre metaphor describes possession prophecy.

Cette recherche est née de l'intention d'ajouter une pierre à la réflexion sur la manière dont les Romains se représentaient eux-mêmes à travers la narration de leur passé. Le choix s'est porté sur l'étude des oracles delphiques dans l'histoire de Rome, lesquels, s'insérant dans des récits souvent significatifs pour la collectivité, constituent des exemples utiles de reformulation du passé à la lumière de besoins historiques et culturels spécifiques. Dans cette perspective, ces récits se configurent comme un produit de cette « mémoire collective » théorisée par Maurice Halbwachs (1950) et reprise par Jan Assmann (1997), selon laquelle les sociétés définissent et transmettent une image partagée d'elles-mêmes par la réécriture de leur passé.Loin de vouloir interroger les oracles en fonction de leur crédibilité historique, l'étude des oracles suit un critère chronologique afin de mettre en évidence comment ce type de récits constitue le produit d'une stratification progressive d'éléments narratifs. Cette stratification se révèle extrêmement élaborée pour les événements les plus anciens et tend à se simplifier à mesure que l'on se rapproche de l'époque des auteurs qui en témoignent les récits. Comme nous avons l'occasion de le constater fréquemment au cours de cette recherche, c'est surtout à cause de l'abondance de significations que ce type de récits se présentent comme versatiles et ouverts à la reformulation, offrant souvent plusieurs variantes pour chaque événement.La recherche préalable à cette étude a permis de rassembler dix-huit oracles, qui sont analysés ici en cinq chapitres :1. Le premier chapitre présente des préliminaires historiques et méthodologiques, visant à offrir un point de départ utile pour orienter l'analyse des oracles qui occupera les quatre sections suivantes.2. Le deuxième chapitre présente trois récits oraculaires de caractère étiologique : dans le premier épisode, l'oracle de Delphes intervient dans les événements de Romulus en conseillant au premier roi de Rome l'institution de l'asylum ; dans le deuxième, Apollon légitime l'institution de la République par Brutus, et dans le troisième, il suggère la dédicace d'un autel à Cronos pour mettre fin à une épidémie.3. Le troisième chapitre analyse la présence des oracles delphiques entre le IVe et les premières décennies du IIIe siècle av. J.-C., moment où Rome est engagée dans son expansion en Italie, contre les Étrusques et les Samnites.4. Dans le quatrième chapitre, sont abordés les épisodes relatifs aux IIIe et IIe siècles av. J.-C., période où Rome étend son contrôle en Italie et sur la Méditerranée, s'imposant face aux puissances punique, macédonienne et séleucide. Ce chapitre contient la plupart des oracles delphiques à notre disposition. Cette abondance des récits est cohérente avec les sources épigraphiques et archéologiques qui nous témoignent l'intensification des interactions entre Rome et Delphes en ce moment.5. Dans la cinquième section, sont abordés certains épisodes dans lesquels l'oracle s'adresse à des personnalités romaines individuelles (Cicéron, Appius Claudius et Néron), soulignant comment, à partir du Ier siècle av. J.-C., les consultations oraculaires de caractère strictement privé apparaissent dans l'histoire de Rome.Dans les dernières pages de cette étude, une annexe a été insérée contenant un tableau récapitulatif des dix-huit oracles analysés, fournissant une hypothèse de datation, une liste des sources antiques qui les rapportent (en paraphrase ou en vers), ainsi qu'une brève description du contenu de chaque épisode et de ses variantes. L'annexe est également accompagnée d'un corpus contenant les principaux textes de référence avec une traduction en langue italienne
This research emerged from the intention to contribute to the reflection on how the Romans represented themselves through the narration of their past. The study focuses on the Delphic oracles in Roman history, which are embedded in narratives often significant for the community and serve as valuable examples of the reformulation of the past, following specific historical and cultural needs. From this perspective, these narratives can be understood as a product of the “collective memory” theorized by Maurice Halbwachs (1950) and later developed by Jan Assmann (1997). According to this framework, societies define and transmit a shared image of themselves through the rewriting of their past.Rather than questioning the oracles in terms of their historical credibility, this study follows a chronological approach to highlight how this type of narrative reflects a progressive stratification of narrative elements. This stratification is highly intricate for the earliest events and tends to simplify as the narratives approach the period of the authors who recount them. As frequently observed throughout this research, due to the abundance of meanings these narratives prove to be versatile and open to reformulation, often offering multiple variants for each event.The preliminary research for this study enabled the collection of eighteen oracles, which are analyzed across five chapters:1. The first chapter provides historical and methodological preliminaries, aimed at offering a useful foundation to guide the analysis of the oracles presented in the subsequent four sections.2. The second chapter examines three etiological oracular narratives: in the first episode, the Delphic oracle advises Romulus to establish the asylum; in the second, Apollo legitimizes the founding of the Republic by Brutus; and in the third, the god suggests the dedication of an altar to Cronus to end an epidemic.3. The third chapter analyzes the presence of Delphic oracles between the fourth century BCE and the early decades of the third century BCE, a period when Rome was expanding in Italy, particularly in conflicts with the Etruscans and Samnites.4. The fourth chapter addresses episodes from the third and second centuries BCE, a period in which Rome extended its control over Italy and the Mediterranean, asserting dominance over Carthaginian, Macedonian, and Seleucid powers. This chapter contains the majority of the Delphic oracles available to us. The abundance of these narratives aligns with epigraphic and archaeological evidence that testifies to the intensification of interactions between Rome and Delphi during this period.5. The fifth section discusses certain episodes in which the oracle addresses individual Roman figures (Cicero, Appius Claudius, and Nero), highlighting how, from the first century BCE onward, strictly private oracular consultations begin to appear in Roman history.In the final pages of this study, an appendix is included containing a summary table of the eighteen oracles analyzed. The table provides hypothesized dates, a list of ancient sources that recount the oracles (in paraphrase or verse), and a brief description of the content of each episode and its variants. The appendix is further supplemented by a corpus featuring the primary reference texts, along with translations in Italian

Chapter 4 offers a series of interpretive takes on T. S. Eliot’s 1930s electrically recorded voice experiments in reading his poem The Waste Land aloud. It traces Eliot’s attempt to invent a way to read modernist poetry. Explaining the production context of the 1933 recordings, the chapter situates Eliot’s audible reading experiments within contemporary debates surrounding the English verse-speaking movement, and Eliot’s work for the BBC. Finally, it provides a close-listening analysis of Eliot’s reading experiments with duration and amplitude, as well as a series of nonsemantic phrasing and intonation techniques, and especially the use of monotone in reading. Eliot’s method of reading is interpreted as a performance of the abstract conception of “voice” that functions as an organizing principle in New Critical discourse. Eliot’s recorded readings are heard to sound an organizing method of incantation that evokes the possibility of an overarching oracular or otherworldly voice.

This last chapter shifts focus from the representation of local governance to the representation of national law and politics in another Shakespeare play. While the reform of justice in Measure for Measure results from the Provost and Duke’s labour-intensive and improvisational interventions in the lives of subjects and in the legal process, justice in The Winter’s Tale is restored through the more careful observance of the boundaries between legal and political power. Chapter 5 examines the character of the ‘oracle of the law’ within legal and literary writings contemporaneous with The Winter’s Tale. The legal-political connotations of ‘oracle’ facilitate a new reading of play, in which Apollo’s supernatural oracle evokes human judicial figures. While Apollo’s oracle makes only a brief appearance in the trial scene, nevertheless its influence pulses throughout the play via its representatives, Camillo and Paulina, whose strategies and counsel ultimately ensure that the oracular prophecy is fulfilled. Through these human oracles, as well, the play is infused with the explosive tensions between the sovereign and the judiciary in early seventeenth-century England, through which the King’s prerogative and the jurisdictions of courts came into question.