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    Wyświetlanie 1-11 z 11
    Tytuł:
    Z Tibullusowej palety gatunkowej . Modlitwa i hymn jako wykła dniki programu poetyckiego elegika
    Analysis of hymns and prayers in the love elegies of Tibullus
    Autorzy:
    Arndt, Aleksandra
    Powiązania:
    https://bibliotekanauki.pl/articles/1046772.pdf
    Data publikacji:
    2014-01-01
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Tibullus
    love elegy
    prayer
    religious hymn
    Opis:
    The author’s aim is to analyse religious hymns and litterary prayers contained in love elegies by Tibullus. These genres are used in order to emphasise his sincere relation with poet’s native villages and to underline his intense attachment to Messala.
    Źródło:
    Symbolae Philologorum Posnaniensium Graecae et Latinae; 2014, 24, 1; 85-93
    0302-7384
    Pojawia się w:
    Symbolae Philologorum Posnaniensium Graecae et Latinae
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    From Tibullus’s Palette of Literary Genres. Prayer and Religious Hymn as Exponents of the Poetic Program of the Elegiac Poet
    Autorzy:
    Arndt, Aleksandra
    Powiązania:
    https://bibliotekanauki.pl/articles/1046015.pdf
    Data publikacji:
    2017-12-15
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Tibullus
    love elegy
    prayer
    religious hymn
    Opis:
    The article presents the analysis of hymns and prayers in the love elegies of Tibullus.
    Źródło:
    Symbolae Philologorum Posnaniensium Graecae et Latinae; 2017, 27, 3; 237-247
    0302-7384
    Pojawia się w:
    Symbolae Philologorum Posnaniensium Graecae et Latinae
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Locus horribilis pod zamkniętymi drzwiami. Trzy paralaktyczna Janusa Secundusa (el. I 5, II 5, III 1) wobec tradycji klasycznej
    Locus horribilis behind the closed door. Three paraclausithyra by Johannes Secundus (el. I 5, II 5, III 1) in the light of classical traditio
    Autorzy:
    Urban-Godziek, Grażyna
    Powiązania:
    https://bibliotekanauki.pl/articles/2013687.pdf
    Data publikacji:
    2014-06-02
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    paraklausithyron
    elegia miłosna
    Johannes Secundus
    poezja nowołacińska
    eschatologia elegijna
    love elegy
    Neo-Latin poetry
    elegiac eschatology
    Opis:
    The article presents an elegiac motif of paraclausithyron (a song sung behind the closed door) in the poetical output of a Dutch Latinist, Johannes Secundus (1511−1536). The night vigil behind the closed door experienced by a rejected poet-lover who tries in vain to gain his beloved’s favour and access to her alcove is compared by the Roman elegiacs(Prop. II 17, Tib. I3) to the infernal torments of the mythical heroes: Tantalus, Ixion, Sisyphus and Tytios. Being very close to their goal, yet unable to get the object of their desire, they suffer a great anxiety. This kind of metaphor, taken probably from Lucretius, finds its continuation evenlater (Paulus Silentiarius), and is developed in the Renaissance poetry. Two scandalous paraclausithyra (el.II 5andIII 1) by Secundus –not yet analysed in the light of this convention − seem to be the settlement with ancient masters, who were proudly announcing that each girl could be conquered with their poems (Prop. III 2; Ovid.Am. II 1). At the same time, it is an ironic reinterpretation of Secundus’s own triumphalism, and of his previous belief in the power of his own poetry − the poetry which is actually more important than its subject matter − love. However, behind the closed door and in confrontation with the rival’s money, the song loses its supernatural power and the hurt feeling brings hellish torments to the poet. In the elegiac paraclausithyra the threshold of an inaccessible house defines the lover’s locus horribilis. Stayingin such an inferno brings the desire of revenge and the will to expose the guilty ones to eternal torment. This initiates an eschatological perspective (inscribed in the represented elegiac world), where true lovers receive the Elysian award, while their traitors and rivals − eternal punishment (Tib. I 3; Prop. IV 7, and others Renaissance elegiacs).
    Źródło:
    Prace Filologiczne. Literaturoznawstwo; 2014, 4(7); 17-33
    2084-6045
    2658-2503
    Pojawia się w:
    Prace Filologiczne. Literaturoznawstwo
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Audax i ignavus – Marek Antoniusz w Wojnie domowej Lukana (V 476–497)
    Audax and ignavus – Marc Antony in Lucan’s Civil War (V 476–497)
    Autorzy:
    Plago, Mariusz
    Powiązania:
    https://bibliotekanauki.pl/articles/52926489.pdf
    Data publikacji:
    2021-09-02
    Wydawca:
    Oficyna Wydawnicza ATUT – Wrocławskie Wydawnictwo Oświatowe
    Tematy:
    Lukan
    Cezar
    Antoniusz
    ignavus
    audax
    rzymska elegia miłosna
    Owidiusz
    Heroidy
    Hero
    Leander
    Lucan
    Caesar
    Antony
    Roman love-elegy
    Ovid
    Heroides
    Opis:
    Lucan uses two negative adjectives to describe Marc Antony in Book V, in the scene where Caesar calls his officer to come with the troops from Brundysium (496–497; l. 478: audax, in the narrator’s discourse; l. 487: ignavus, in Caesar’s speech). On the one hand, these adjectives evoke the mutineers from ll. V 237 ff. of the poem, on the other hand, they refer the audience to Roman love elegy, and especially to Ovid’s Heroides 18 and 19 (like many other elements in the scene). The intertextual play with love poetry seems to confirm Antony’s laziness, cowardice and disloyalty, but when we take a closer look, it denies Caesar’s and the narrator’s accusations.
    Źródło:
    Orbis Linguarum; 2021, 55; 113-129
    1426-7241
    2657-4845
    Pojawia się w:
    Orbis Linguarum
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Sive aliquid pharetris Augustus parcet eois. Wschodnia polityka Rzymu w poezji Propercjusza
    Sive aliquid pharetris Augustus parcet eois. Roman Eastern Policy in the Poetry of Propertius
    Autorzy:
    Babnis, Tomasz
    Powiązania:
    https://bibliotekanauki.pl/articles/1806889.pdf
    Data publikacji:
    2019-10-23
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Propercjusz; Partowie; relacje rzymsko-partyjskie; epoka augustowska; rzymska elegia miłosna
    Propertius; Parthians; Romano-Parthian relations; Augustan Age; Roman Love Elegy
    Opis:
    Propercjusz, jeden z najważniejszych poetów epoki augustowskiej, sięgał nieraz w swoich utworach do tematyki politycznej. Jednym z wątków poruszanych przez niego w II, III i IV księdze elegii są stosunki rzymsko-partyjskie. Propaganda augustowska wykorzystywała temat zemsty za klęskę pod Carrhae w roku 53 przed Chr. i zapowiadała podbój monarchii Arsakidów. Poeci tej epoki również nawiązywali do rzymskiej polityki wobec Partów. W artykule pokazano, jak na przestrzeni lat zmieniało się podejście Propercjusza do tematyki partyjskiej i jak na obraz Partów wpływała aktualna sytuacja polityczna.
    Propertius, one of the most important poets of the Augustan Age, referred sometimes to Roman politics. One of the issues he covered in 2nd, 3rd and 4th book of his elegies was Romano-Parthian relations. The Augustan propaganda exploited the topic of revenge for the defeat of Carrhae in 53 BC and forecasted the conquest of the Arsacid monarchy. The poets of this age also referred to the Roman policy towards Parthia. In paper it was shown how in the course of time Propertius’ attitude to Parthian topics changed and how the image of Parthians was influenced by the current political situation.
    Źródło:
    Roczniki Humanistyczne; 2018, 66, 3; 7-27
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    De Philippo Callimacho elegiaco capitula duo
    Autorzy:
    Domański, Juliusz
    Powiązania:
    https://bibliotekanauki.pl/articles/1887538.pdf
    Data publikacji:
    2014
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Filip Kallimach (Filippo Buonaccorsi)
    łacińska elegia miłosna
    osoba kochanki w łacińskiej elegii miłosnej
    nowołacińska poezja humanistyczna
    renesansowe naśladownictwo starożytnej poezji łacińskiej
    Philippus Callimachus (Filippo Buonaccorsi)
    Latin love elegy
    mistress’ person in Latin love elegy
    Neolatin humanist poetry
    the Renaissance imitation of ancient Latin poetry
    Opis:
    Są to dwa rozdziały wyłączone z wydanej przed pięćdziesięciu prawie laty mojej rozprawy doktorskiej, traktującej o Filipie Buonaccorsim zwanym Kallimachem (1438–1496), osiadłym wPolsce humaniście włoskim i poecie nowołacińskim, jako o naśladowcy elegików rzymskich. W pierwszym, O języku miłosnym Kallimacha, analizuję semantykę wybranych okazów jego wzorowanego na elegikach rzymskich słownictwa erotycznego, w drugim O nakreślonym przez Kalliamacha wizerunku Fannii zajmuję się osobą jego polskiej kochanki, próbując na podstawie pospołu skąpych o niej danych w utworach Kallimacha i topiki elegii rzymskiej hipotetycznie ustalić m.in., czy i w jakim sensie mogła jako bohaterka jego utworów poetyckich być także ich użytkowniczką.
    It is two chapters detached from my doctoral thesis—published nearly fifty years ago—on Philip Buonaccorsi called Callimachus Experiens (1438–1496) as an imitator of Roman elegy writers. Callimachus was an Italian humanist and Neolatin poet who settled in Poland. In the first chapter, On Callimachus’ Love Lnguage, I analyse the semantics of some selected examples of his erotic vocabulary which was modelled upon ancient Roman elegies. In the second, On Fannia’s Effigy Sketched by Callimachus, I deal with his Polish mistress’ person. Not very much is told about her in Callimachus’ works. Nevertheless, I try to find out hypothetically—referring to the topics of the Roman elegy—if and how Fannia, a heroine of Callimachus’ poems, could be also a reader of them.
    Źródło:
    Roczniki Humanistyczne; 2014, 62, 3; 113-142
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Plus ratio quam vis. Od mimochodem rzuconej sentencji do dewizy uniwersyteckiej
    Autorzy:
    Wasyl, Anna Maria
    Powiązania:
    https://bibliotekanauki.pl/articles/636311.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    Maximianus, plus ratio quam vis, university mottos, sententiae, Jagiellonian University, Kraków Academy, Karol Estreicher Jr., Roman love elegy, Cornelius Gallus, literary culture in the age of Th eoderic the Great
    Opis:
    Plus ratio quam vis, or, the career of a sentence Although the Jagiellonian University was established as early as in 1364, its widelyrecognized motto was chosen and inscribed on the portico leading from the Assembly Hall to Copernicus Hall much later, only in the mid-twentieth century. In 1952, Professor Karol Estreicher Jr., the head of the University Museum, came across a sentence which he considered “worth being the Jagiellonian University’s motto” (the inscription was eventually carved on the portico in 1964). Apparently, all that Estreicher knew was that the phrase plus ratio quam vis was “a part of a Latin proverb.” He had no idea whatsoever of its author or the original context in which it had been used. Frequently (still too frequently, in truth) the phrase is quoted as coined by Cornelius Gallus, usually labeled, after Ovid, the first of the elegiac poets of Rome. The mistake is justifiable, at least to some extent, as the actual author of the poetic work in which the hemistich appears was for quite a long time mistaken for Cornelius Gallus. After Pomponius Gauricus’s edition of Cornelii Galli Fragmenta (Venice, 1501 die. XII. Ianuarii, which actually means 1502, as the date is indicated more veneto), the elegiac oeuvre by Maximianus, an author active in sixth-century Italy, was, so to speak, redefined as Gallus’s. Until the late eighteenth century the false attribution continued to be repeated by many other editors, who in fact very willingly published collections of the Roman love poets, Catullus, Tibullus, Propertius, and ‘Gallus’ (= Maximianus). It is to some point ironic that in the modern era Maximianus was so easily deprived of the ‘copyright’ to his own poetry, considering that earlier, in the Middle Ages, he was an author (relatively) well-known (under his real name) and even read in and recommended for schools. This aspect brings us back to our main topic here, i.e. the choice of Maximianus’s phrase as the motto of the Jagiellonian University, one of the oldest universities in the world. Karol Estreicher himself was presumably not aware of this but Maximianus was indeed studied in the Kraków Academy in mid-fifteenth century (as two manuscripts, BJ 1954 and 2141, preserved in the Jagiellonian Library, clearly indicate). He was studied for his vivid descriptions of old age (for which he was  celebrated among many medieval commentators and theorists of teaching, who apparently were not at all embarrassed by the fact that their students, when reading Maximianus, might have also read a laus Mentulae) and for his sententiositas. What is more, the Jagiellonian Library possesses a considerable collection of incunabula and old prints containing Maximianus’s (or ‘Gallus’s’) work. So paradoxically, Karol Estreicher could not have chosen better. The motto of UJ is related to its history, in the sense that it is taken from an author whose work was on the reading list in the Academy in the later Middle Ages, it is concise, intelligent, significant, and ‘decent,’ even though it was originally expressed by a poet who was not less efficient when coining memorable sententiae than when singing the praises of Mentula, the embodiment of human corporeality.
    Źródło:
    Terminus; 2013, 15, 1(26)
    2084-3844
    Pojawia się w:
    Terminus
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Cyntia żywa i Cyntia umarła. Literacka gra z odbiorcą w elegii 4.7 Propercjusza
    Cynthia – Living and Dead. A literary game with the audience in Propertius’ Elegy 4.7
    Autorzy:
    Pypłacz, Joanna
    Powiązania:
    https://bibliotekanauki.pl/articles/1046619.pdf
    Data publikacji:
    2016-10-27
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Propertius
    Cynthia
    elegy
    death
    love
    horror.
    Opis:
    In this article I analyse the theme of love and death as explored by Propertius in his Elegy 4.7. I also attemptto show that the problem of incongruence between this poem and the neighbouring Elegy 4.8 can be resolvedby means of an aesthetically oriented reading of both poems.
    Źródło:
    Symbolae Philologorum Posnaniensium Graecae et Latinae; 2016, 26, 1; 93-107
    0302-7384
    Pojawia się w:
    Symbolae Philologorum Posnaniensium Graecae et Latinae
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Tylem wytrwał, tyle wycierpiałem…” Werteriada Carla Ernsta Reitzensteina jako przedmiot odniesień w IV części „Dziadów Adama Mickiewicza
    “I’ve persevered so long, I’ve suffered so much…”. A Wertheriad by Carl Ernst Reitzenstein as an object of reference in the 4th part of “Dziady” by Adam Mickiewicz
    Autorzy:
    Paprocka-Podlasiak, Bogna
    Powiązania:
    https://bibliotekanauki.pl/articles/967299.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Wertheriad
    song
    elegy
    unfortunate love
    grave
    mourning
    bewailing
    remembering
    sentimentalism
    Opis:
    The aim of the article is to complement the research on "Dziady, Part IV" by Adam Mickiewicz with a previously unexplored question of references to two stanzas from C.E. Reitzenstein’s "Lotte bei Werthers Grabe", a youthful work of the poet, which the author of the drama wrongly attributed to Goethe. Considering that the author of this Wertheriad, which was very popular at the turn of the 18th century, is not very well known in the Polish culture, it is necessary to include a few aspects related to his biography. The analysis is concerned with the aesthetics, meaning and idealistic rela-tions that connect Reitzenstein’s poem with "Dziady, Part IV". The paper also contains a comparison of the reception of the German poet’s elegy in German-speaking countries and functionalising it in Mickiewicz’s drama.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica; 2015, 27, 1
    1505-9057
    2353-1908
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Vectes” i „vestes”. Dwie lekcje antycznego tekstu i dwie różne imitacje
    Vectes and vestes. Two lessons of ancient text and two different imitations
    Autorzy:
    Głombiowska, Zofia
    Powiązania:
    https://bibliotekanauki.pl/articles/1806885.pdf
    Data publikacji:
    2021-10-12
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    votive epigram
    Roman elegy
    militia amoris
    frangere postes
    farewell to Venus and love
    Opis:
    The article shows the Horatian ode III 26 on the background of the votive epigram and in reference to the custom and at the same time the topos of „winning” by violence the house of a lover (frangere postes) and the way of imitating this ode by Filip Buonaccorsi Kallimach in the XXVII elegy and by Jan Kochanowski in the elegy II 11 (in the version preserved in the so-called Osmólski’s manuscript). Callimachus had the text of the ode with the lesson of vestes in verse 7, Kochanowski with the lesson of vectes. As a consequence, in Kallimach’s elegy there is no topos of breaking the door, but the motif of the victorious militia amoris remains, while Kochanowski uses the topos of frangere postes, but departs with love, Lydia and the goddess Venus not with the satisfaction of a victorious soldier, but similarly to Propertius in anger and with a feeling of experienced harm.
    Źródło:
    Symbolae Philologorum Posnaniensium Graecae et Latinae; 2021, 31, 1; 85-105
    0302-7384
    Pojawia się w:
    Symbolae Philologorum Posnaniensium Graecae et Latinae
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Analyse des Liebe-Motivs in der Marienbader Elegie von Johann Wolfgang Goethe und im Roman Ein liebender Mann von Martin Walser
    Analysis of the Love Motif Based on J. W. Goethe’s “Marienbad Elegy” and the Novel M. Walser’s “Ein liebender Mann”
    Autorzy:
    Szyndler, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/458597.pdf
    Data publikacji:
    2020-06-20
    Wydawca:
    Uniwersytet Wrocławski. Oficyna Wydawnicza ATUT – Wrocławskie Wydawnictwo Oświatowe
    Tematy:
    J. W. Goethe’s “Marienbad Elegy”
    M. Walser’s “Ein liebender Mann”
    love motif
    Opis:
    19-year-old Ulrike von Levetzow was Goethe’s last love. The 74 year old poet immortalised his feelings in a masterpiece of German love poetry “Marienbad Elegy“. Nearly two hundred years later Martin Walser based his novel “Ein liebender Mann“ on that love story. Not a lot is known about what truly happened between the famous poet and the young lady on that memorable summer of 1823 in Marienbad. Walser used this lack of historical details to let his creativity run free and tell the story in his own way. His version of the story argues with the picture that the lovestruck Goethe painted in his “Elegy“. The poem’s lyrical motifs are analysed and often debunked in the novel, treated as idealised and thus untrue. This article follows Walser’s analysis, in which Goethe’s view as a person was subjected to quite a questionable deconstruction.
    Źródło:
    Linguistische Treffen in Wrocław; 2020, 17; 317-328
    2084-3062
    2657-5647
    Pojawia się w:
    Linguistische Treffen in Wrocław
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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