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Wyświetlanie 1-3 z 3
Tytuł:
Ogród Wallenroda i tajemnica Wajdeloty
Wallenrod’s Garden and the Mystery of Wajdelota
Autorzy:
Fiećko, Jerzy
Powiązania:
https://bibliotekanauki.pl/articles/2012181.pdf
Data publikacji:
2011
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
ogród
motyw
Mickiewicz
Konrad Wallenrod
garden
motif
Opis:
In his article Wallenrod’s Garden and the Mystery of Wajdelota the author analyses the role of the motif of garden in Adam Mickiewicz’s epic poem Konrad Wallenrod. The conventionality of the use of the term ‘garden’ is emphasized by pointing to the fact that there were some changes introduced to the order of the valley near the Neman River, which were conducive to his amorous meetings with his Ladylove. The manner in which the picture of ‘the garden’ is outlined in the poem is confronted by the author with the classical and romantic gardening styles. It is stressed that the poet distances himself from the two schools, which results from, among other things, the emphasis on the beauty of the valley, a garden created by Nature herself. The motif of the garden played an important role in Konrad’s last conversation with Aldona, when the main hero of the poem tried in vain to persuade his wife to escape to Lithuania. He tempted her with a mirage of regained happiness, appealed to their mutual memories, in which this old and still existing garden, a witness of their love, occupied the central place. While analyzing the strategy of insistence used by Wallenrod in this situation, the author of the article referred to the conception of memory proposed by a German researcher, Jan Assmann. In the last part of the essay the character of the relationship between Wallenrod and Halban is considered along with the attempt to unravel the mystery hidden in the words “my son!”, which the old Lithuanian bard, the patron of Konrad’s spy mission, used in their last conversation.
Źródło:
Prace Filologiczne. Literaturoznawstwo; 2011, 1(4); 219-232
2084-6045
2658-2503
Pojawia się w:
Prace Filologiczne. Literaturoznawstwo
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Metamorfozy Niemna w twórczości Adama Mickiewicza
The metamorphoses of the Niemen River in Adam Mickiewicz’s works
Autorzy:
Szargot, Maciej
Powiązania:
https://bibliotekanauki.pl/articles/2012566.pdf
Data publikacji:
2015-06-01
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
romantyzm
poezja
motyw
symbol
Adam Mickiewicz
Romanticism
poetry
motif
Opis:
The motif of the Niemen River has existed in Mickiewicz’s writings since the very beginning. It has a surprisingly large number of meanings: it happens to be a way, time, a frontier and home, a hellish river, waters of rebirth and death, a bridegroom.The symbols recur, their meanings get deeper and obtain various shades.
Źródło:
Prace Filologiczne. Literaturoznawstwo; 2015, 5(8); 521-532
2084-6045
2658-2503
Pojawia się w:
Prace Filologiczne. Literaturoznawstwo
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Dwie lub trzy Kasandry i co o nich wiem. Kilka uwag
Two or three Cassandras and what I know about them. Some observations
Autorzy:
Wesołowska, Elżbieta
Powiązania:
https://bibliotekanauki.pl/articles/2013686.pdf
Data publikacji:
2014-06-02
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
Homer
Ajschylos
Eurypides
Seneka
wieszczenie
wykluczenie
niedowierzanie
motyw zemsty
Aeschylos
Euripides
Seneca
foretelling
isolation
disbelief
motif of revenge
Opis:
Cassandra is a peculiar female character in ancient mythology and literature. She appears as early as Homer’s epic, and then incidentally in Aeneid. A would-be lover of Apollo, seer, doomed to disbelief, concubine of Agamemnon, and killed with him on their arrival to Mycenae, she is tragic and it is the tragedy, where she is presented most fully, i.e. in plays by Aeschylus, Euripidesand Seneca. However, her personality traits are so poorly determined that it leaves room for the authors’ actions organising her profile anew. Andso, in Aeschyluss he is a prophetess of her impending death, but she does not try to defend herself. In Seneca, she relates what is covered from spectators’ eyes. She happens to be the symbol of reconciliation, but in Euripides’ Helen she personifies the element of revenge. She is Apollo’s medium, and at the same time she apparently discredits his prophetic power since she was able to cheat him on some occasions. Her attitude towards Agamemnon is vague, because she bemoans his death the same way Helen, whom she hates, mourns Hector’s death. Only the Greek Troades provides an opinion on the beauty of the prophetess. Afterall, Helenand Cassandra’s fatesare mysteriously intertwined. We have the right to suppose that Clytaemestra’s calling Cassandraa female swan is not accidental, although it formally seems to refer to her stage “muteness”.
Źródło:
Prace Filologiczne. Literaturoznawstwo; 2014, 4(7); 35-46
2084-6045
2658-2503
Pojawia się w:
Prace Filologiczne. Literaturoznawstwo
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-3 z 3

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