A study of the story of Cupid and Psyche within the context of the Metamorphoses as a whole reveals a recurrent pattern of themes, motifs, and images, which indicates that the story symbolises the experiences of Lucius. The Judaeo-Christian Greek meaning of psyche, oneself, implies that Psyche is a symbol of Lucius. This is borne out by the similarity of their experiences, and by the fact that they both have the same character traits of simplicitas and curiositas. Cupid's warnings to Psyche concerning the control which Fortuna has over her life further establish the connection between Psyche and Lucius, whose life is controlled by blind Fate. Military imagery, and images of light and dark, which occur in connection with Cupid and Psyche, also describe the experiences of Lucius. Venus symbolises Isis, as is indicated by Isis' identification of herself as Venus, in addition to many other deities, at the end of the Metamorphoses. Once again imagery, this time of the sea, makes this relationship clear, while military imagery implies a parallel between the relationship of Psyche and Cupid, and that of Lucius and Fotis. Jupiter intervenes in Psyche's misfortunes, just as Isis saves Lucius from his hardships. Juno and Ceres are also identified with Isis at the end of the Metamorphoses, thus linking the story of Cupid and Psyche with the life of Lucius.

Inaug.-Diss.--Westfälische Wilhelms-Universität zu Münster. / Bibliography: p. 278-280.

This paper examines the role of the ability to speak in Ovid's construction of identity within the Metamorphoses . As various scholars have recognized, metamorphosis in Ovid is closely connected with the issue of identity. An important aspect of identity in Metamorphoses is the linguistic ability of its characters. Ovid's manipulation of his characters' linguistic ability and, in particular, of their loss of speech adds meaning to what it is to be metamorphosed in Ovid's chef d'oeurve . Throughout the work, Ovid consistently portrays the metamorphosized human characters as changed due to their lack of linguistic ability. Since the ability was seen as an aspect strictly reserved for humans, the loss of such ability led to the dehumanization, or metamorphosis, of the character. In the stories of Lycaon, Acteon, Philomela, Echo, Io, et al., Ovid takes each characters ability to speak from them as they mutate into their changed shape. The mens of each is intact; however, they are unable to speak and, thus, are unable to communicate with humanity. This lack of connection to humanity results in the loss of the ability to express identity or, in fact, to have identity. To explore the role of speech loss in construction of identity, this paper analyzes Ovid's depiction of humans metamorphosed through the lens of modern socio-linguistic theory. The theory of performative utterance first introduced by J.L. Austin and then refined by many other scholars, most notably John Searle, provides an interestingly fresh prism through which to examine Ovid's construction of identity. In addition, if one includes the literary-philosophical ideas of the 20th century scholar Walter Benjamin into the mix, the picture is refined further. To these scholars, if one could not speak, one could not be. Words are not a simple means by which one can communicate. Instead, they form the ability to do within a society, thereby describing one's ability to become a part of humanity. By stripping the metamorphosed of their ability to be and, consequently, the ability to do something human, Ovid removes their human identity. Moreover, by looking at such narrative technique through the kaleidoscope of Benjamin, Austin, and Searle, this paper hopes to open doors to the discussion of how Ovid saw his own identity. As a poet, the power of speech was paramount to him and because of such speech, Ovid could be spoken of amongst humanity (ore legar populi), a concept later picked up by Martial (3.95,7 and 8.3,7). Could this power have led Ovid to see a heightened identity for himself as well, a melior pars that might possibly give him precedence over the rest of mankind, or possibly over Augustus himself? Or, in the words of 18th century German poet Heinrich Heine, "Don't belittle the poets, they can flash and thunder, they are more fierce than the bolt of Jove, which, after all, they created for him." / text

Le temps est à la fois une donnée objective, extérieure à l’homme, et une émanation de sa perception subjective. Dans son rapport au temps, l’homme est donc sans cesse pris dans une dialectique entre temps réel, qu’il subit, et temps imaginaire, qu’il crée. Le théâtre, œuvre d’imagination vouée à s’inscrire dans le temps réel de la représentation, est un terrain privilégié de l’observation de cette dialectique. Celle-ci se trouve d’autant plus aiguisée dans le cas d’une œuvre dramatique qui met au premier plan la psyché des personnages, et notamment leur perception subjective du temps. Or, cette question semble au cœur de l’oeuvre dramatique d’Arthur Schnitzler, Paul Claudel et Marguerite Duras. Leurs personnages manifestent de manière significative un désir d’échapper à l’irréversibilité de l’écoulement du temps, et la dramaturgie laisse voir une volonté de jouer avec lui, de se libérer de sa linéarité. L’idée que nous chercherons à défendre dans cette thèse est que le traitement du temps, dans les pièces de ces trois auteurs, est sous-tendu par le désir d’échapper à son écoulement. Sept parties composeront ce parcours. Nous partirons de la représentation linéaire pour étudier ensuite comment le temps, passé par le filtre de l’expérience subjective, se métamorphose en des formes nouvelles : « accordéon » du temps, temps répété, temps éternisé, temps recommencé, avant de nous demander si, pour ces auteurs, l’affranchissement ultime vis-à-vis de l’écoulement irréversible du temps ne se situerait pas dans la représentation théâtrale elle-même. / Time is both an objective idea, external to man and an emanation of its subjective perception. In his relation to time, man is consequently endlessly involved in a dialectic between the real time, that he is submitted to, and the imaginary time, that he creates. Drama - a work of imagination dedicated to be inscribed in the actual time of representation - is the privileged ground for the observation of this dialectic. The latter will be even more intense in the case of a dramatic work setting in the foreground the psyche of the characters and more particularly their subjective perception of time. Now, this question seems to lie at the heart of the dramatic works of Arthur Schnitzler, Paul Claudel and Marguerite Duras. The characters of their books show in a significant way a desire to escape the irreversible manner time is passing, and dramatic art lets us feel a will to play with it and to free itself from its linearity. The idea that I will try to demonstrated in this thesis is that the treatment of time, in the plays of these three writers, is underlain by the desire to escape the passage of time. Seven parts will compose this study. I will first focus on the linear representation of time, before studying how it takes a new shape once filtred by subjective experience : elastic time, repeated time, eternal time, and time started a new. I will eventually wonder if, for these authors, the ultimate emancipation towards the irreversible passage of time could lie in the dramatic representation itself.

<p>This dissertation is a careful study of characterization in the Cupid and Psyche episode (IV.28 - VI.24) in Apuleius’ <em>Metamorphoses</em>. In general, although the <em>Metamorphoses</em> has been the subject of a good deal of scholarly interest as of late, there has previously been minimal focused examination of characterization in the Cupid and Psyche section. This dissertation therefore represents an important contribution to current scholarship and uses a multi-faceted approach which includes investigation of the characters’ relationships to one another, roles, function, speech, intertextual connections, and questions of genre and authorial technique.</p> <p>After a brief discussion of preliminaries such as the scope of the study, methodology, and the isolation of the Cupid and Psyche narrative from the rest of the novel, Chapter One examines the minor characters of the episode. The minor characters are defined and then placed into five groups for analysis: the invisible servants, the personifications of the abstract concepts, the floral and faunal characters, the animate object, and the deities. Chapter Two addresses the role of Psyche’s family in the narrative, covering her parents’ small but important contribution and her sisters in their larger role as Psyche’s secondary adversaries. Chapters Three, Four, and Five investigate the characterization of Venus, Cupid, and Psyche respectively. The Conclusion summarizes the larger picture of Apuleius and his approach to characterization and reviews some of his favorite techniques of characterization, as well as his approach to the characterization of females.</p> / Doctor of Philosophy (PhD)

Semantinis tinklas – tai duomenų tinklas, leidžiantis apjungti informaciją esančią įvairiuose šaltiniuose ir pavaizduoti visą surinktą informaciją kaip vientisą turinį. Semantiniame tinkle duomenys susieti ir prieinami per bendrąją tinko architektūrą, panaudojant URI adresus. Didžioji dalis duomenų yra neapjungti ir prienami atskiroms taikomosioms programoms. Apjungus šiuos įvairiuose šaltiniuose laikomus duomenis būtų sukurtas semantinis duomenų tinklas. Duomenims panaudoti, aprašyti bei susieti kuriami įvairūs karkasai, leidžiantys pakartotinai dalintis duomenimis visose taikymo srityse, įmonėse bei bendrijose. Struktūrizuota semantinė informacija naudojama automatiškai arba rankiniu būdu ir apdorojama kompiuterių. Semantinio tinklo metodai ir technologijos leidžia kompiuteriams suprasti pasauliniame tinkle (angl.World Wide Web) laikomos informacijos reikšmę arba kitaip semantiką. Semantinio tinklo technologijos panaudojamos: 1) duomenų integracijai, duomenų laikomų skirtingose vietose ir saugomų skirtingais formatais susiejimui; 2) resursų aptikimui ir klasifikacijai, sukuriant geresnį informacijos paieškos variklį; 3) tinklapių, svetainių ar skaitmeninių bibliotekų katalogavimui aprašant turinį, turinio ryšius; 4) sumaniųjų programinės įrangos agentų žinių mainams palengvinti; 5) turinio reitingavimui; 6) aprašant intelektualinės nuosavybės teises (tinklapiuose); Semantiniotinklų taikymas bei technologijos technologijos yra dar labai naujos, neištirtos, neišbandytos... [toliau žr. visą tekstą] / Semantic Network - is a data network of the information to combined from various sources and displayed as onesolid content. Data, in the Semantic networks is accessed using URIs, via a common network architecture. Semantic networks and technologies are still very new, unexplored, not tested inpractice and lacking of reference material. It isnecesery to analyzehow the technology is advanced and what technology and tools are used for semantic web application development. Objectives of this work: 1) To analyze how HTML data can be published; 2) To analyze the development of semantic web technologies; 3) To create an application automatically scanning the data from the HTML files; 4) To create an application that generates the OWL ontology of the relational database; 5) Apply semantic publishing for data; 6) To analize experimentaly HTML data colleting application and OWL generator.

The following with analyze Ovid’s Metamorphoses, a collection of myths, as it relates to mythology in ancient Rome. Through the centuries, the religious beliefs of the Romans have been distorted. By using the Metamorphoses, the intersection between religion and myth was explored to determine how mythology related to religion. To answer this question, I will look at Rome’s religious practices and traditions, how they differed from other religions and the role religion played in Roman culture, as well as the role society played in influencing Ovid’s narrative. During this exploration, it was revealed that there was no single truth in Roman religion, as citizens were able to believe and practice a number of traditions, even those that contradicted one another. Furthermore, the Metamorphoses illustrated three integral aspects of Roman religious beliefs: that the gods existed, required devotion, and actively intervened in mortal affairs.

Implications surrounding body ownership prove to be an enduring struggle from their prevalence in ancient literary sources through more modern, contemporary works. I analyze the notions of body ownership and its lack thereof set forth in Ovid’s Metamorphoses and the Homeric “Hymn to Demeter” regarding the myth of Persephone. Then, I consider larger meanings through analysis of the following contemporary works, approached in terms of the narrators: Rita Dove’s Mother Love, Louise Glück’s Averno, A.E. Stallings’s “Hades Welcomes His Bride” and “Persephone Writes a Letter to Her Mother,” and D.M. Thomas’s “Pomegranate.” The complexities within the myth itself amplify the complications in the contemporary interpretations of the myth. There is a range of differing levels of accepting sentiments in the contemporary works about the idea that no one ever has complete ownership or control over his own body. Comparing the different lenses through with the contemporary authors (and ancient authors!) chose to incorporate the myth of Persephone into their works reveals overarching themes, enlightening the reader about the nuances of the arguably most famous abduction in history.

This dissertation aims to study the variety of sounds described in Ovid’s Metamorphoses and to identify an aesthetic of noise in the poem, a soundscape which contributes to the work’s thematic undertones. The two entities which shape an understanding of the poem’s conception of noise are Chaos, the conglomerate of mobile, conflicting elements with which the poem begins, and the personified Fama, whose domus is seen to contain a chaotic cosmos of words rather than elements. Within the loose frame provided by Chaos and Fama, the varied categories of noise in the Metamorphoses’ world, from nature sounds to speech, are seen to share qualities of changeability, mobility, and conflict, qualities which align them with the overall themes of flux and metamorphosis in the poem. I discuss three categories of Ovidian sound: in the first chapter, cosmological and elemental sound; in the second chapter, nature noises with an emphasis on the vocality of reeds and the role of echoes; and in the third chapter I treat human and divine speech and narrative, and the role of rumor. By the end of the poem, Ovid leaves us with a chaos of words as well as of forms, which bears important implications for his treatment of contemporary Augustanism as well as his belief in his own poetic fame.

This paper aims to explore the connections and parallels between Longus' Daphnis and Chloe and Ovid's Metamorphoses. The conclusions reached should provide fertile ground for further studies in the intertextual play between novels and Latin poetry. To reach these conclusions, there will be a multi-pronged approach at analyzing the questions and implications raised by the potential connections. First Longus' novel will be situated within a context of Greek literature under the Roman Empire that consciously utilized Vergilian poetry. Having done that, I will turn to the similar methods that each author uses to play with genre and the visual worlds in his work, a process that shows that Longus was using Ovid as a definite model/kindred spirit for his novel's approach to these topics. Following that, there will be an extended examination of specific episodes in Daphnis and Chloe through which Longus reveals his knowledge of Ovid's Metamorphoses. Finally, this paper will attempt to situate the arguments and conclusions that are made in the context of the current debates over the readership of the novel to present a strong case for bilingualism in the ancient world. / text