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Kommagene Krallığı’nın dört önemli yerleşiminden biri olan ve bu önemini Roma İmparatorluğu Dönemi’nde de sürdüren Zeugma antik kenti, Gaziantep ili Nizip ilçesinin 10 km. doğusunda Birecik Barajı yakınlarında bulunmaktadır. Tarihi boyunca ayrıcalıklı konumu sayesinde Mezopotamya ve Anadolu arasında gerçekleşen ticaret ağında önemli bir geçit noktasıdır. Bu geçit yollarının Büyük İskender’in Asya seferi öncesinde hatta İÖ. 2. Binlerde dahi kullanıldığı bilinmektedir. Bununla beraber Büyük İskender’in seferi ve sonrasında kurulan Helenistik krallıklarla birlikte önceden küçük olan yerleşim, Roma İmparatorluğu Dönemi’nde Partlara karşı tampon bölge ve askeri üs konumundadır. Askeri öneminin yanı sıra ticari faaliyetler sayesinde de hareketli bir geçiş noktası, Geç Helenistik Dönem’den Roma İmparatorluk Dönemi’ne değin, özellikle İS.1. ve 2. yüzyıllarda doğu ile batı arasında tam anlamıyla bir köprü ve ticaretin kalbinin attığı önemli bir merkezdir. En parlak dönemlerini yaşamış olduğu Roma İmparatorluk Dönemi’ne ait günümüze ulaşan birçok eser, kentin zenginlik ve ihtişamının fiziksel yansımaları olarak karşımıza çıkmaktadır. Bu makalede, Zeugma antik kenti Poseidon Villası’nda 1999-2000 kazılarında bulunmuş olan ve Gaziantep Zeugma Mozaik Müzesi’nde sergilenen , İS. 2. yüzyıl tarihli Mars heykelinin, genel ikonografisi için ünik kabul edilen, sol elinde tutmuş olduğu nesneden yola çıkarak, kimliğine ilişkin bazı değerlendirmeler yer alacaktır. Zeugma antik kentinde konuşlandırılmış lejyonerlerin özellikle de Legio IV Scyhtica’nın kült faaliyetleri ve ele geçtiği Poseidon Villası buluntuları göz önüne alınarak, heykelin savaş tanrısı Mars’ın yanı sıra başka kültlerin etkilemiş olduğu karışık bir ikonografiye sahip olup olmadığı tartışılacaktır. Ares/Mars ikonografisinde alışılagelmiş bir tip olmamasına rağmen Zeugma örneğinde heykelin sol elinde tuttuğu kıvrımlı dalların, Mars’ın Roma’da savaşın yanı sıra baharın gelişini ve bereketi sembolize eden kimliğine vurgu yaptığı düşünülmektedir. Heykelin tasvirinin Mars’ın yanı sıra başka kültlerle olan ilişkisini ortaya çıkarmak adına, Roma Dönemi’ne tarihlenen bazı Mars tipleriyle karşılaştırılması yapılacak ve 2.-3. yüzyıllarda Legio IV Scythica’nın konuşlandırıldığı Zeugma kenti ve lejyonun kült organizasyonları değerlendirilecektir.

El zeugma es una de las figuras más características del Guzmán de Alfarache, y su empleo implica un constante reto para el lector. El estudio de este recurso da cuenta de ciertas preferencias de Mateo Alemán, interesado en deleitar a sus lectores y evitar el tedio que podría derivar de una excesiva repetición o simetría. Si bien en ocasiones la omisión de un término recuperable en el discurso busca simplemente compensar la dilatación del período, sin que forma y sentido varíen (zeugma simple), existe otra vertiente, el zeugma complejo, donde lo omitido presenta modificaciones. Es sobre todo esta última la que evidencia también una búsqueda de la agudeza por parte de Alemán, que despliega su ingenio y confía en el «discreto lector», cuya participación en el juego retórico es imprescindible para comprender la obra. De este modo, en el presente artículo se pretende exponer las conclusiones extraídas del análisis del zeugma en el Guzmán de Alfarache, una obra que conjuga la variedad y el decoro, la amplificatio y la brevitas Zeugma is one of the most representative and challenging figures of speech in Mateo Alemán’s Guzmán de Alfarache. At times Alemán employs this kind of omission for the sole purpose of contrasting the habitual amplitude of the syntax, without making any changes in the omitted term. However, there is another type of zeugma, the complex one, where the missing term presents morphological or semantic variations. The study of this rhetorical mechanism also shows some of Alemán’s stylistic preferences, mainly due to the aim of entertaining the reader and also to the interest in avoiding the tedium that could be caused by the constant repetition or symmetry. This type also evidences the author’s wit, his expressiveness, and his faith in the intelligence of the readers. With all this in mind, the aim of this paper is to present the conclusions drawn from the analysis of the zeugma in the Guzmán de Alfarache, a book which combines variatio and decorum, amplificatio and brevitas Financiado con la Ayuda para la Formación de Profesorado Universitario (FPU16/04735) del Ministerio de Educación, Cultura y Deporte SI

Dans Oliver Twist, nombre d’associations lexicales sont marquées du sceau de l’hétérogénéité, d’un point de vue sémantique. Ce phénomène est manifeste à différents niveaux linguistiques, notamment au niveau syntagmatique, avec les associations métaphoriques et hypallagiques, et au niveau phrastique, avec les zeugmes sémantiques. Ces combinaisons lexicales hétérogènes sont à l’origine d’effets de sens animistes ou réifiants, typiques du style dickensien. Le processus d’homogénéisation, considéré par Antoine Berman comme une des principales forces anti-traductives, est à l’œuvre dans les traductions françaises de ces combinaisons lexicales proposées par Émile de La Bédollière et Alfred Gérardin, deux traducteurs du xixe siècle. Cette étude, d’une part, analyse les différentes opérations traductives utilisées par les deux traducteurs pour homogénéiser la texture du texte de départ, et, d’autre part, cerne la logique qui préside à ce phénomène d’homogénéisation, le degré de créativité des occurrences en question semblant être une variable essentielle dans les choix traductifs embrassés. In Oliver Twist, many lexical associations are semantically heterogeneous. This phenomenon is visible at several linguistic levels, especially at the syntagmatic level, with metaphorical associations as well as with transferred collocations, and at the sentence level, with semantic zeugmas. These heterogeneous lexical associations are at the source of animistic and reifying effects typical of Dickensian prose. The process of homogenization, considered by Antoine Berman as one of the main forces threatening the translation process, is at work in the French translations of these lexical associations by Émile de La Bédollière and Alfred Gérardin, two 19th century translators. Therefore, on the one hand, this paper aims at analyzing the various translational operations used by the two translators in order to homogenize the texture of the source text, and on the other hand, it tries to find the logic which presides over this process of homogenization, the degree of creativity of the occurrences in question being seemingly an essential parameter in the translational choices embraced by the translators.

Abadie-Reynal Catherine, Desreumaux Alain, Hesse Albert, Leriche Pierre, Laroche Marie-Cécile. Mission archéologique de Zeugma. Rapport sur la campagne de prospection 1995. In: Anatolia Antiqua, Tome 4, 1996. pp. 311-324.

The article provides an interpretation of Middle Ages, a poem from Stanisław Barańczak’s debut publication Facial Corrections (1968). Focussing on the way that numerous examples of zeugma and syllepsis are used, the author argues that this poem, which was probably inspired by the first Polish publication of the Waning of the Middle Ages by J. Huizinga, was created through the poet’s reflections on the structure of messianic time (kairos). As such it can be seen as both a polemic with materialism and a criticism of Christianity. In this way Middle Ages proves to be the first of post-secular Barańczak’s poems which herald the wealth of spiritual explorations in his later works.

Three pieces of mosaics depicting the labors of Heracles are exhibited in Istanbul Archeological Museum. These are the scenes of Heracles slaying the Nemean Lion, capturing the Erymanthean Boar and fetching the golden apples of the Hesperides. They are here on one and the same scene, but the actual site of the pieces of the nine other labors of Heracles is unknown. The mosaic mentioned above was captured and the traffickers of antiquities were arrested in Istanbul. In 1879 the German orientalist K.E. Sachau payed a visit to the village of Belkis which is situated about 10 km. north-west of Birecik while he went from Aleppo to Urfa. He witnessed how a floor mosaic. The hunting of the Erymanthean Boar of the labors of Heracles was uncovered during illegal excavations, and he wrote to his diary of seeing the depictions. Depictions of Heracles are also seen on the mosaics of Antioch. But the depiction of the mosaic of Heracles in Zeugma is unknown, except for Sachau´s observation and mentioning of the Zeugma mosaics. The depic- tions of Heracles are common in sculptures and seal engravings (glyptik) of Zeugma. The dexiosis relief (stele) showing the King of Antiochus I shaking hands with Heracles and the relief of resting Heracles were found at the rescue excavations in Zeugma. In addition, there are many depictions of Heracles on the seal impressions found in Zeugma. Max von Oppenheim pointed out that there had been found in-situ mosaic in Birecik. It was the only one in-situ mosaic ever found in Birecik city. Other mosaics that are on the tresholds and the ground of the windows in the old house of Birecik were bought there from Zeugma according to the information given by the residents. The mosaic in Istanbul Archaeological Museum is similar to the mosaic that was seen by Sachau in Belkis Village. It is also similar in style and period to the Zeugma mosaics. Owing to illegal excavations carried out in Zeugma since 1873, many mosaics were scattered to many museums and private collections. The pieces of mosaics that are depictions the labors of Heracles in Istanbul Archaeological Museum were probably stolen from Zeugma. The mentioned pieces of mosaic are only among a few of the mosaic which are Zeugma has been waiting the return path

Danae House was unearthed by my responsibility, on head of Gaziantep Museum Directorate in 2003-4 excavation. The house was named Danae owing to Danae was figured on the mosaics. Danae-Diktys mosaics were found in shallow pool (impluvium) of inner court. On this mosaics, the chest containing Danae and Perseus washed ashore on the island of Seriphos is described. Danae gets out from the box with her baby Perseus who was embraced by her, over agains pirate Diktys extends his hand to baby Perseus. One of the fisherman holds cover of the chest, the other looks at inside it. Similar scene like DanaeDiktys were find few on the other mosaics. The scene were described on the wall and vase painting. On these grounds, the Danae mosaics of Zeugma is rare. Geometrics desing mosaics are seen on the ground of perystyle, living room, resting room and latrine. The motifs of geometric mosaics are intersecting circles forming quatrefoils, row of tanged outlined with serrated fillets, shaded three-strand guilloche, meander and row of tangent four-pointed stars as saltires, with in crosslets of 5 poised tesserae. These geometric motifs are also seen on the ground mosaics of the other houses of Zeugma. Owing to location of Danae House is higher than Birecik Dam lake, its mosaics are left on-site in original rooms which they were found.

Texte intégral : http://www.persee.fr/doc/anata_1018-1946_2000_num_8_1_951; International audience