A Pindaros-kép változása az antikvitásban és az újkorban
| dc.contributor.author | Adorjáni, Zsolt | |
| dc.date.accessioned | 2020-09-11T08:38:27Z | |
| dc.date.available | 2020-09-11T08:38:27Z | |
| dc.date.issued | 2015-01-01 | |
| dc.description.abstract | In this essay I investigate some changes in Pindar’s Nachleben. I start with the immediate aftermath of his poetry right after its (first) performance and pursue with the process of how it became written poetry securing its way into the Byzantine manuscript tradition. Regarding its popularity in the 16–17th century I highlight the fact that Pindar remained novem princeps lyricorum for a long time and thus served as a lodestar and cynosure for generations of poets to come until the Enlightment brought a wind of change ending the era in which Pindar was a source of inspiration. Yet due attention is paid to the German poet Hölderlin who in his imitation of Pindar differs from the trends of his time. Finally I cast some light on the interesting shift of interest which made Pindar a lively subject of scholarly pusuits whereas his power of shaping modern European lyric was at an end. | en |
| dc.description.abstract | In this essay I investigate some changes in Pindar’s Nachleben. I start with the immediate aftermath of his poetry right after its (first) performance and pursue with the process of how it became written poetry securing its way into the Byzantine manuscript tradition. Regarding its popularity in the 16–17th century I highlight the fact that Pindar remained novem princeps lyricorum for a long time and thus served as a lodestar and cynosure for generations of poets to come until the Enlightment brought a wind of change ending the era in which Pindar was a source of inspiration. Yet due attention is paid to the German poet Hölderlin who in his imitation of Pindar differs from the trends of his time. Finally I cast some light on the interesting shift of interest which made Pindar a lively subject of scholarly pusuits whereas his power of shaping modern European lyric was at an end. | hu |
| dc.format | application/pdf | |
| dc.identifier.citation | Studia Litteraria, Évf. 54 szám 1-2 (2015): Élő antikvitás , 9–17. | |
| dc.identifier.doi | https://doi.org/10.37415/studia/2015/54/4068 | |
| dc.identifier.eissn | 2063-1049 | |
| dc.identifier.issn | 0562-2867 | |
| dc.identifier.issue | 1-2 | |
| dc.identifier.jatitle | Stud.litt. | |
| dc.identifier.jtitle | Studia Litteraria | |
| dc.identifier.uri | https://hdl.handle.net/2437/295890 | en |
| dc.identifier.volume | 54 | |
| dc.language | hu | |
| dc.relation | https://ojs.lib.unideb.hu/studia/article/view/4068 | |
| dc.rights.access | Open Access | |
| dc.rights.owner | Studia Litteraria | |
| dc.title | A Pindaros-kép változása az antikvitásban és az újkorban | hu |
| dc.type | folyóiratcikk | hu |
| dc.type | article | en |
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