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    Wyświetlanie 1-8 z 8
    Tytuł:
    „Est locus, aestifero” (Carm. I, 18) jako przykład topiki locus amoenus w poezji Wenancjusza Fortunata
    “Est locus, aestifero” (Carm. I, 18) as an Example of the Topic locus amoenus in the Poetry of Venantius Fortunatus
    Autorzy:
    Gacia, Tadeusz
    Powiązania:
    https://bibliotekanauki.pl/articles/1892261.pdf
    Data publikacji:
    2013
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Wenancjusz Fortunat
    topos locus amoenus
    poezja
    Venantius Fortunatus
    topos of locus amoenus
    poetry
    Opis:
    In this article the author presents a poem “Est locus, aestifero” which appeared in the first book of Carmina against the background of the topic locus amoenus in the poetry of Venantius Fortunatus. The poem has 18 lines and is written in elegiac meter. It is a description of the village (country estate) Bissonum, near Bordeaux. The ecphrasis, in which elements of the topic we are interested in are woven into, combines with a very clear motif of laudation. This is a characteristic feature of the poetry of Venantius Fortunatus. The Polish translation of the poem is an integral part of the essay.
    Źródło:
    Roczniki Humanistyczne; 2013, 61, 3; 21-30
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Arcadia, The Golden Age, and The locus amoenus idyllic poetic landscapes of early Rome and their later repercusion, „Acta Antiqua” 53:2013
    Autorzy:
    Piwowarczyk, Bartosz
    Powiązania:
    https://bibliotekanauki.pl/articles/436037.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie
    Tematy:
    antyk
    Arkadia
    Złoty Wiek
    locus amoenus.
    Źródło:
    Res Gestae. Czasopismo Historyczne; 2016, 3; 305-313
    2450-4475
    Pojawia się w:
    Res Gestae. Czasopismo Historyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    “Est locus, aestifero” (Carm. 1.18) as an Example of the Locus Amoenus Topos in the Poetry of Venantius Fortunatus
    Autorzy:
    Gacia, Tadeusz
    Powiązania:
    https://bibliotekanauki.pl/articles/1798766.pdf
    Data publikacji:
    2019-10-29
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Venantius Fortunatus; topos of locus amoenus; poetry
    Opis:
    The Polish version of the article was published in Roczniki Humanistyczne vol. 61, issue 3 (2013). In this article the author presents the poem “Est locus, aestifero,” which appeared in the first book of Carmina, against the background of the topic of locus amoenus in the poetry of Venantius Fortunatus. The poem has 18 lines and is written in elegiac meter. It is a description of the village (country estate) of Bissonum, near Bordeaux. The ekphrasis, into which are woven the elements of the topic we are interested in, is combined with a very clear motif of laudation. This is a characteristic feature of Venantius Fortunatus’ poetry. The English translation of the poem is an integral part of the essay.
    Źródło:
    Roczniki Humanistyczne; 2019, 67, 3 Selected Papers in English; 63-72
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Szczęśliwe niegdy ruskie [...] kraje” − Józefa Bartłomieja Zimorowica wizja Arkadii spopielonej
    “Formerly happy [...] Ruthenian countries” − Józef Bartłomiej Zimorowic’s vision of incinerated Arcady
    Autorzy:
    Rot-Buga, Ewa
    Powiązania:
    https://bibliotekanauki.pl/articles/2013671.pdf
    Data publikacji:
    2014-06-02
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    J. B. Zimorowic
    sielanka
    Arkadia
    locus amoenus
    locus horridus
    pastoral
    Opis:
    The author of the article describes the ways the Arcadicvision of the world as well as its contradiction i.e. the dystopia were constructed in J.B. Zimorowic’s New Rutheniam bucolics. Both of these are described within literature tradition and in their historical context as well. It is shown how Zimorowic, in his dialogue with Vergil, Ovid and Polish writers, creates the vision of Ruthenia as an Arcadic and also pleasant place (locus amoenus).He further creates a vision of locus horridus – the burnt Arcady. The Ruthenian Arcady contains the vision of happiness sand the golden age in Ruthenia, the Arcadic landscape and the interfusion of the realistic world with the world of myths. Ruthenian Arcady of Zimorowic is destroyed by the war (1648), epidemic and the loss of the loved ones (his wife and brother) − the themes of war, death and vanishing. New Ruthenian Bucolics contain contradictory visions, namely, the poetic Arcady of family and Lviv and the Arcady of loss. This dystopia becomes a poetic comment to bloody events of the century and the personal grief of the author. The text shows how the author exploits the locus amoenus theme and how he changes it into the theme of locus horridus.
    Źródło:
    Prace Filologiczne. Literaturoznawstwo; 2014, 4(7); 307-332
    2084-6045
    2658-2503
    Pojawia się w:
    Prace Filologiczne. Literaturoznawstwo
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Est locus… The Grotteschi of Giovanni Battista Piranesi and the Ancient Topos of Locus Horridus
    Autorzy:
    Pypłacz, Joanna
    Powiązania:
    https://bibliotekanauki.pl/articles/571013.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet Jagielloński. Biblioteka Jagiellońska
    Tematy:
    Piranesi
    locus horridus
    locus amoenus
    Grotteschi
    pareidolia
    iluzja optyczna
    kontrast
    optical illusion
    contrast
    Opis:
    The present article discusses Piranesi’s use of the ancient topos of locus horridus on the example of his four Grotteschi. The analysis of particular ingredients of Piranesi’s loci horridi has shown that, in order to understand them, the onlooker must be not only familiar with the Greek and Roman mythology and literature, but also, must have the patience to detect even those details which, despite being too tiny or obscure to be noticed at the first glance, are crucial to the meaning of the whole picture. In his sophisticated game with the onlooker, Piranesi employs optical illusion and pareidolia. The article also reveals that the aesthetics of the Grotteschi consists, to a large extent, in bringing together motifs that originally belong to the opposite realms: that of a locus horridus and that of a locus amoenus. As a result of such a fusion, the locus horridus becomes even more frightening and hostile, whereas the traditionally ‘idyllic’ elements acquire a sinister hue.
    Źródło:
    Biuletyn Biblioteki Jagiellońskiej; 2015, 65; 181-197
    0006-3940
    2450-0410
    Pojawia się w:
    Biuletyn Biblioteki Jagiellońskiej
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Locus Amoenus: A Lexicon of Contrasts in Adam und Evelyn
    Autorzy:
    Canestrella, Sabrina
    Powiązania:
    https://bibliotekanauki.pl/articles/2014462.pdf
    Data publikacji:
    2021
    Wydawca:
    Komisja Nauk Filologicznych Polskiej Akademii Nauk, Oddział we Wrocławiu
    Tematy:
    locus amoenus characterization
    ambiguity
    lexicon
    German Democratic Republic
    novel
    society
    Ingo Schulze
    Opis:
    In literary history the locus amoenus has often had the function of purifying and revitalizing the soul of its dwellers by way of contact with idyllic nature. Its prototype is the Garden of Eden, to which the title of Ingo Schulze’s novel Adam und Evelyn (2008) refers. Nevertheless, Schulze moves away from this canonical setting by creating a polyphonic universe that reflects the society and underlines how ambivalent the concept of locus amoenus has become for the citizens of the GDR by the end of the 20th century. On the one hand, the idea of idyllic nature was still alive for many citizens of East Germany; on the other, for many citizens that same idea had vanished and the borders of locus amoenus merged with those of the Federal Republic’s cities. This paper aims to pinpoint the different representations of locus amoenus underlining the cultural distance between the word choices of the main characters. In fact, thanks to the use of such an accurate lexicon, the writer creates a semantic and linguistic net of contrasts, expectations and premonitions. The new elaboration of this topos goes hand in hand with the attempt to highlight the inner structure of the novel, an interpretive model that the reader can only see after several readings. The dialogic and polyphonic character of the novel imposes a reading that continually retraces its steps in search of occurrences, memories and omens that reveal the relationship between the protagonists and the surrounding environment.
    Źródło:
    Academic Journal of Modern Philology; 2021, 12; 25-34
    2299-7164
    2353-3218
    Pojawia się w:
    Academic Journal of Modern Philology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Topos "locus amoenus" w łacińskiej poezji chrześcijańskiego antyku
    Topos "locus amoenus" in Latin Poetry of Christian Antiquity
    Autorzy:
    Gacia, Tadeusz
    Powiązania:
    https://bibliotekanauki.pl/articles/613616.pdf
    Data publikacji:
    2008
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II
    Tematy:
    locus amoenus
    topos
    poezja łacińska
    antyk chrześcijański
    poezja chrześcijańska
    Prudencjusz
    Seduliusz
    Awit z Vienne
    Drakoncjusz
    Wenancjusz Fortunat
    Latin poetry
    Christian Antiquity
    Christian poetry
    Prudentius
    Sedulius
    Avitus of Vienne
    Dracontius
    Venantius Fortunatus
    Opis:
    This paper deals with the topos of locus amoenus in Latin poetry of Christian antiquity. Descriptions of idealized landscape can be found in whole literary tradition from Homer on. In Latin epic poetry Virgil used this device to describe Elysium, which Aeneas enters in the Aeneid. In Virgil’s eclogues locus amoenus is a place of refuge for shepherds from calamities of fate and an alien world. For the farmer in his Georgics it is a reward for honest agricultural work. For Horace it was an escape from the noise of the city. For Christian poets, Prudentius in Cathemerinon, Sedulius in Carmen paschale, Avitus of Vienne, Dracontius, Venantius Fortunatus and other, locus amoenus becomes the biblical paradise in the eschatological sense, or morę generally, salvation. Use of the topos of locus amoenus shows the cultural continuity of antiquity. In Christian poetry this theme is filled with a new content, but the process of thinking and artistic creation remains they share with classical authors.
    Źródło:
    Vox Patrum; 2008, 52, 1; 187-198
    0860-9411
    2719-3586
    Pojawia się w:
    Vox Patrum
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Szczęśliwe ogrody dzieciństwa Literackie obrazy przestrzeni parkowej w powieści Piotruś Pan w Ogrodach Kensingtońskich Jamesa Matthew Barriego
    Happy Gardens of Childhood Literary Portrayals of Garden Space in James Matthew Barrie’s Novel Peter Pan in Kensington Gardens
    Autorzy:
    Wieczorkiewicz, Aleksandra
    Powiązania:
    https://bibliotekanauki.pl/articles/534564.pdf
    Data publikacji:
    2018
    Wydawca:
    Wydawnictwo Uniwersytetu Śląskiego
    Tematy:
    park
    Peter Pan
    James Matthew Barrie
    Kensington Gardens
    locus
    amoenus
    Opis:
    It is impossible to imagine London without its royal parks. One of the most beautiful among them is Kensington Gardens, forever connected with the figure of a boy who didn’t want to grow up: Peter Pan. This article provides an interpretation of James Matthew Barrie’s novel Peter Pan in Kensington Gardens (1906), centred mainly around literary portrayals of garden space, which becomes an embodiment of the paradise of childhood: Arcadia, a pleasant place, locus amoenus, allowing one to exist beyond evanescence, growing up and sadness. Kensington Gardens are London’s green island, primeval Neverland, where the fairy-tale and the magic are rooted: during a day it creates a playing space for “human children,” whereas at night it goes under the rule of Queen Mab and mysterious fairies. The outline of various interpretation paths which can be followed in Kensington Gardens are accompanied by the reproductions and analyses of Arthur Rackham’s illustrations, which in an outstanding way capture the whimsical genius of the author of Peter Pan.
    Źródło:
    Śląskie Studia Polonistyczne; 2018, 11, 1; 89-108
    2084-0772
    2353-0928
    Pojawia się w:
    Śląskie Studia Polonistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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