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    Wyświetlanie 1-7 z 7
    Tytuł:
    Pontifex Maximus. Mit i poezja w Commedii Dantego
    Autorzy:
    Klemczak, Stefan
    Powiązania:
    https://bibliotekanauki.pl/articles/641123.pdf
    Data publikacji:
    2010
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    DANTE ALIGHIERI
    DIVINE COMEDY
    MYTHS
    Opis:
    This article is devoted to ways of exploring the mythical strains in Dante's Divine Comedy. Previous research has managed to extrapolate the classical myths and their medieval variants from Dante's work. However, the theory of myth developed by Hans Blumenberg opens a broader perspective for interpretation, revealing not only the myths' anthropological and historical background, but also demonstrating the way they function within a literary work. The 'world image' presented in the Divine Comedy can be explored in three stages of interpretation. At the most basic level, the article refers to the 'catalogue' of classical and Christian myths contained in Dante's poem. Further analysis of mythical subject-matter allows us to distinguish periodical variants of myths from Antiquity to our time. Finally, 'the working of the myth' is considered at the most general level, with the help of 'absolute metaphors', epitomizing the key images dominating the worldview at every historical period. Being devoted to the central myth of Christianity, Dante believed to have connected 'earth and heaven' with the bridge of his art. The new approach to the subject of myth in Dante's poem, using anthropologically-based concepts, allows us to better understand the construction and functions of Dante's poetic 'journey' in European culture.
    Źródło:
    Studia Religiologica; 2010, 43; 135-156
    0137-2432
    2084-4077
    Pojawia się w:
    Studia Religiologica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The Medieval Partonopeu of Blois and Orientalism
    Autorzy:
    Leśniewska, Karolina
    Powiązania:
    https://bibliotekanauki.pl/articles/638173.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    Dante, Divine Comedy, Inferno, Ulysses, Dido, Horace
    Opis:
    The Virgilian oratio suasoria addressed to Ulysses in Dante’s Inferno is here interpreted like a high-style speech in Greek, which ironically uses poetical Latin expressions typical of the character of Dido in love. Ulysses’ figure is than analyzed referring to the comical model of the second Satire by Horace, a clear (and never studied so far) Dantean source. This last shows the sovereign of Ithaca as the deceiver of a group of old people with clouded intellects, with the intention of stealing their patrimony. Ulysses’ deceit is a sin for Dante, but this Greek hero is more responsible because of his irreverent ape-like laughter in front of the mountain of Purgatory as a concrete and symbolic manifestation of infinity. Going beyond the boundaries of human rationality can not be a fault for Dante and his Christian mind, because it is always necessary for him to transcend our limited state, longing for divinization. The real responsibility of Ulysses is therefore his movement towards Mystery with-out humbleness. This last is indeed a complete denial of the self that this Greek spirit does not know, totally lacking the necessary listening disposition.
    Źródło:
    Romanica Cracoviensia; 2013, 13, 4
    2084-3917
    Pojawia się w:
    Romanica Cracoviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The article presents attempt of a lecture of a series of similes selected from the Divine Comedy from the functional perspective. It means that we search the illustrative function of the series with respect to the cognitive passage of the protagonist from
    Autorzy:
    Bartkowiak-Lerch, Magdalena
    Powiązania:
    https://bibliotekanauki.pl/articles/638205.pdf
    Data publikacji:
    2014
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    movement conceptualization, the Divine Comedy, Dante Alighieri
    Opis:
    The article presents attempt of a lecture of a series of similes selected from the Divine Comedy from the functional perspective. It means that we search the illustrative function of the series with respect to the cognitive passage of the protagonist from the mediaeval condition of alienatio through that of peregrinatio towards ordo. The condition change is observable in movement conceptualization in the three dantesque kingdoms. The basis for the observation is offered by similes which seem to form a pattern of meaning. After having drawn some conclusions about this function of the similes, we carry out analysis of two Polish translations of the Divine Comedy in order to identify the same characteristics, detected in the original, in those version of the Poem.
    Źródło:
    Romanica Cracoviensia; 2014, 14, 4
    2084-3917
    Pojawia się w:
    Romanica Cracoviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Dante, l’acqua e l’analisi della coscienza: cosmologia psicosimbolica nella Divina Commedia
    Autorzy:
    Balducci, Marino Alberto
    Powiązania:
    https://bibliotekanauki.pl/articles/638263.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    Dante, Divine Comedy, cosmology, water, symbolization, psychoanalysis
    Opis:
    Dante and the Function of Water for an Investigation of the Self. Psychosymbolic Cosmology in the Divine Comedy The famous Epistle to Cangrande written by Dante encourages us to identify the Divine Comedy as an emblematic representation of a psychotherapeutic itinerary. The principal aim of his work is in fact creating a shocking poetic impression for freeing everyone from anxiety and pain, bringing us back to the origin of that eternal joy, which was lost through the Edenic sin, by creating the jail of egoism and the consequential abandon of a global and satisfactory perception of life. Associating itself with the feminine side of the soul and the mystery of the generation of life, the water symbolism in Dante’s poem acquires various meanings and is mainly connected with the malignant or positive rivers, which directly or indirectly indicate the right orientation for going back to the splendid sea of joy: the sea of divine intellect. This last is heaven, and corresponds to a psychic state where we can live together with the vivid memories of all the best we have experienced, learned and discovered during our mortal existence. Hell is a symbol of anguish and despair; here, a psychic emblem of a potential positive transformation is constituted by a little, apparently unimportant brook, which is studied in depth for the first time in this article, revealing the fundamental importance of this emblem, capable of guaranteeing a possible defeat of evil or, more specifically, the transformation of its destructive energy into a positive magic power, which can lead us to the stars. The whole journey of the Divine Comedy appears now more clearly as a symbolic example of ante litteram psychoanalysis.
    Źródło:
    Romanica Cracoviensia; 2012, 12, 2
    2084-3917
    Pojawia się w:
    Romanica Cracoviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    L’oltretomba virgiliano e dantesco a confronto: qualche osservazione sul dialogo intertestuale nel Purgatorio
    Autorzy:
    Maślanka-Soro, Maria
    Powiązania:
    https://bibliotekanauki.pl/articles/638307.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    Dante, Virgil, Purgatory, Aeneid, earthly paradise, Elysium, intertextual approach
    Opis:
    The purpose of this paper is to present an analysis of certain episodes and motifs of Dante’s Purgatory which were partly inspired by the idea of the Otherworld and the category of space in the Book VI of Virgil’s Aeneid. In particular we examine the episode which takes place in the Valley of the Rulers (Pg. VII) and the concept of Dante’s Earthly Paradise to confront them with the idea of Virgilian Elysium. The intertextual dialogue of the Italian poet with the author of the Aeneid is sometimes polemical and based on aemulatio rather than on imitatio.
    Źródło:
    Romanica Cracoviensia; 2015, 15, 4
    2084-3917
    Pojawia się w:
    Romanica Cracoviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Owidiusz u Dantego na tle średniowiecznej tradycji literackiej
    Autorzy:
    Maślanka-Soro, Maria
    Powiązania:
    https://bibliotekanauki.pl/articles/638751.pdf
    Data publikacji:
    2011
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    Dante, Ovid, Ovidian literary tradition, medieval Romanic literature, intertextuality
    Opis:
    The aim of this paper is to present the position and role of the poetry of Ovid, primarily the Metamorphoses, the product of a great poetic talent (ingenium) and an equally great poetic art (ars), in the work of Dante. The author’s point of departure in an analytical and interpretative approach is a synthetic overview of the Ovidian literary tradition in the medieval Romanic culture. The original and creative allusions Dante makes to Ovid in The Divine Comedy, which is the main focus of this paper’s intertextual analysis, stand out more clearly against this background. A distinct evolution may be observed in the way Dante assimilated the work of Ovid. In his early work, the Rime and Vita Nuova, Dante treated Ovid as an authority and referred to him to corroborate his own ideas, or tended to imitate the Ovidian style in his erotic lyrics. In the spirit of his times Dante resorted to the allegorical potential of the Metamorphoses in his prose treatises such as the Convivio. But it was not until the Divina Commedia that he embarked on an intertextual dialogue with his mentor, occasionally adopting a polemical stance and endeavouring to stress the superiority of his own ideas. The paper employs the motif of metamorphosis to illustrate the aspect of aemulatio which superseded Dante’s earlier imitatio approach to Ovid.
    Źródło:
    Studia Litteraria Universitatis Iagellonicae Cracoviensis; 2011, 6, 1
    2084-3933
    Pojawia się w:
    Studia Litteraria Universitatis Iagellonicae Cracoviensis
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    “Se fede merta nostra maggior musa” : Virgilio e la mitologia virgiliana nella Commedia allo specchio del cristianesimo dantesco
    Autorzy:
    Maślanka-Soro, Maria
    Powiązania:
    https://bibliotekanauki.pl/articles/638177.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    Dante, Virgil, Divine Comedy, Aeneid, mythology, intertextuality, conception of art
    Opis:
    The Aeneid is the most important intertext for the opus magnum of Dante; and Virgil, sometimes metonymically identified with his work, plays a relevant, or indeed crucial part as one of the characters in it. The main purpose of this article is, on the one hand, an analysis and interpretation of certain, only rarely investigated aspects of the relation between Virgil and Dante the pilgrim, in particular those which deal with the defeat of the former as an authority and guide for Dante on the road to spiritual perfection. They result mainly from Virgil’s excessive rationalism. In the critical moments of their journey through the otherworld Dante the author shows the frailty of Virgil’s Christian faith, attained only after his death and not illuminated by divine Grace; he also discloses the deficiencies in Virgil’s understanding of good and evil. On the other hand the author of the article analyses the intertextual “dialogue” that the Comedy conducts with the Aeneid on the basis of the Dantean conception of art in general, and of poetry in particular, taking selected examples into consideration. An essential component of this dialogue is Dante’s reinterpretation of Virgil’s masterpiece, which assumes the form of an aemulatio and tends to reveal the Christian potentiality in the Aeneid, of which Virgil the poet was, of course, utterly unaware.
    Źródło:
    Romanica Cracoviensia; 2013, 13, 4
    2084-3917
    Pojawia się w:
    Romanica Cracoviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-7 z 7

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