Suchergebnisse

Escritas entre 1143 y 1146 bajo el patrocinio de Berta de Sulzbach, la que pronto sería la Emperatriz Irene, esposa de Manuel I Comneno, las Alegorías de la Ilíada son un resumen, una paráfrasis y especialmente una explicación alegórica, en más de 6.600 versos políticos, de los elementos sobrenaturales paganos del poema de Homero. Las Alegorías de Tzetzes han recibido poca atención, y solamente en los últimos años los críticos han fijado su atención en ellas. A otro nivel, el poema carece de una edición crítica actualizada, ya que no se edita desde mediados del siglo XIX (Matranga 1850; Boissonade 1851). Hasta el momento, he localizado un total de 21 códices jamás colacionados y que merecen serlo, de los 41 que lista la web de Pinakes: seis recensiones completas y otras 15 parciales, en dos casos solamente entre los scholia a la Ilíada de Homero. Crucial parece ser el hecho de que los dos testimonios manuscritos más antiguos, el Barocci 131, ff. 42-62v (D) y el Vindob. phil. gr. 305, ff. 1-145v (E), se cuenten entre esos códices no considerados. El propósito de este artículo es presentar las razones por las que una nueva edición crítica es necesaria, analizando algunos de los códices jamás utilizados para editar el poema, a la vez que busca formular algunas conclusiones previas sobre ellos, especialmente la posibilidad de que el propio Tzetzes hubiese preparado dos versiones de su obra. ; Written in between 1143 and 1146 under the commission of Bertha von Sulzbach, soon to be the Empress Eirene, wife of Manuel I Komenos, the Allegories of the Iliad are an over 6.600 political-verse summary, paraphrase, and mostly allegorical explanation of the pagan supernatural elements of Homer's work. Tzetzes' Allegories have received little attention, and only in the past years did scholars focused on them. Furthermore, the poem still lacks a up-to-date edition, as it has not been edited since the mid-nineteenth century (Matranga 1850; Boissonade 1851). So-far, I came to a total of 21 valuable uncollated codices, out of the 41 listed by the Pinakes website: six full recensions and 15 partial recensions, in two cases among the scholia to Homer's Iliad. Meaningful is the fact that the two ancient manuscripts, the Barocci 131, ff. 42-62v (D) and Vindob. phil. gr. 305, ff. 1-145v (E) are among those codices never taken in consideration. The aim of this paper is to present the reasons for which a new edition is needed, by looking at the poem's several unconsidered manuscript sources and trying to elaborate some previous conclusions on them, namely by exploring the possibility of Tzetzes' preparation of two versions of his work.

Besonders abgedruckt aus Seebode's Krit. bibliothek für das schul- und unterrichtswesen. ; Mode of access: Internet.

Abstract
In his Allegoriae Iliadis, John Tzetzes makes frequent use of contemporary astrological teachings: he references planetary aspects, transits, and the respective positions of luminaries, and several important passages of the Iliad are treated as openly astrological in nature. In Tzetzes's poem, both life and death are decided by changing positions of stars, Alexander (Paris) is favored by Aphrodite (the planet Venus), and Hector is protected by Zeus (the planet Jupiter). The idea of royal birth (or imperial horoscope) plays an important part in Tzetzes's exploration of the myth of Heracles, and the tropical nature of the sign of Libra, due to the sun's entry into it at the autumnal equinox, is reflected in the (non-)efficiency of the Greek ramparts. This article considers these references to astrological lore against the wider background of the surviving Fachliteratur and thus seeks to provide insight into Tzetzes's attitude toward astrology, and, simultaneously, into his own knowledge of the lore.

John Apokaukos (ca. 1155–1233), the metropolitan of Naupaktos, was a church and political figure of the early thirteenth century and an outstanding Byzantine writer. So far the collection of Apokaukos' letters has been studied mainly as a historical source. This paper has made a philological analysis of his epistles with the question raised how the author's self is portrayed. This research has shown that Apokaukos' letters formed an individual image of the author extending beyond epistolary clichés. This image is not without internal contradictions: on the one hand, Apokaukos portrays himself as a decrepit old man, enduring punishment for his sins, and on the other, he appears proud of his achievements and erudition, ready to stand up for his rights or defend the interests of his eparchy. Moreover, when the author speaks of his weakness and insignificance, he is not always serious, for the self-abasement sometimes turns into a caricature: for example, the author emphasizes his gluttony using grotesque comparisons. The author's image is not static: Apokaukos often portrays himself as a doubter, hesitating over two opinions and changing his position under the influence of circumstances. This paper has analysed the author's image in Apokaukos' letters in the context of Byzantine epistolography in the Komnenian renaissance. Some common tendencies have been determined in the epistles of John Apokaukos, Michael Psellos, John Tzetzes, and Theodore Prodromos. ; Митрополит Навпактский Иоанн Апокавк (ок.1155–1233) – церковный и политический деятель начала XIII в., выдающийся византийский писатель. Эпистолярное собрание Апокавка, включающее 156 писем, до сих пор исследовалось в основном как исторический источник. В настоящей статье проводится филологический анализ писем – ставится вопрос о том, как в них изображается авторское «я». Исследование показывает, что в письмах Апокавка складывается индивидуальный образ автора, выступающий за рамки эпистолярных клише. Этот образ не лишен внутренних противоречий: с одной стороны, Апокавк изображает себя ветхим, больным и страдающим за свои грехи, а с другой – предстает гордым своими достижениями, ученостью, готовым вступиться за свои права или защищать интересы митрополии. При этом, когда автор говорит о своей слабости и ничтожности, он не всегда серьезен – самоуничижение порой превращается в карикатуру: например, автор подчеркивает свое чревоугодие, прибегая к гротескным сравнениям. Образ автора не статичен: Апокавк зачастую изображает себя сомневающимся, колеблющимся между двумя мнениями, меняющим свою позицию под влиянием обстоятельств. Образ автора в письмах Апокавка рассматривается в контексте византийской эпистолографии Комниновского ренессанса. Отмечается ряд общих тенденций в письмах Иоанна Апокавка, Михаила Пселла, Иоанна Цеца и Феодора Продрома.

"Besonders abgedruckt aus Seebode's Krit. Bibliothek für das Schul- und Unterrichtwesen." ; Mode of access: Internet.