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    Wyświetlanie 1-4 z 4
    Tytuł:
    Biblioteka Blooma
    Blooms library
    Autorzy:
    Paszek, Jerzy
    Powiązania:
    https://bibliotekanauki.pl/articles/2012805.pdf
    Data publikacji:
    2018-06-03
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    Joyce
    Ulisses
    motywy przewodnie
    Berent
    Ulysses
    leitmotifs
    Opis:
    Leopold Bloom’s library contains works of various categories: religious (The Hidden Life of Christ, Philosophy of the Talmud, “an ancient hagadah book”), historical (The Secret History of the Court of Charles II, Lockhart’s Life of Napoleon, Hozier’s History of the Russo-Turkish War), astronomic (A Handbook of Astronomy, The Story of the Heavens by Sir Robert Ball), geographic (Ellis’s Three Trips to Madagascar, Voyages in China by “Viator”, In the Track of the Sun), geometric (Short but yet Plain Elements of Geometry written in French by F. Ignat. Pardies), literary (Shakespeare’s Works, Denis Florence McCarthy’s Poetical Works, When We Were Boys by William O’Brien, The Stark-Munro Letters by A. Conan Doyle, Soll und Haben by Gustav Freytag), philosophical (Thoughts from Spinoza), as well as practical guides and calendars. Most of these works and professional publications are occasionally referred to, as leitmotifs, in the epic of Dublin, yet, most frequently Joyce chooses to quote the romance book he made up, namely, Sweets of Sin! Richard M. Kain claims that there are a few thousands of leitmotifs persevering in Ulisses, which is the unquestionable essence of this encyclopaedic novel.
    Źródło:
    Prace Filologiczne. Literaturoznawstwo; 2018, 8(11) cz.2; 157-166
    2084-6045
    2658-2503
    Pojawia się w:
    Prace Filologiczne. Literaturoznawstwo
    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:
    L’Oceano più arcaico: al di là del Bosforo e del Canale di Sicilia
    The Most Archaic Ocean: Beyond the Bosphorus and the Strait of Sicily
    Autorzy:
    Cerri, Giovanni
    Powiązania:
    https://bibliotekanauki.pl/articles/938323.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Mediterranean
    Ocean
    Argonauts
    Ulysses
    Aristarchus
    Crates
    Eratosthenes
    Opis:
    From immemorial time, many Tyrrhenian places of ancient Sicily and Italy were identified (also by the local people) with the main stages of the return of Ulysses (Cyclopes, Aeolus, Circe, etc.). Some Hellenistic critics (for example Aristarchus and Polybius) assumed that it was from the various ancient and pre-Homeric myths that Homer drew inspiration, in the same way that he did with the myth of the Trojan War, which certainly occurred before him. Thus, the voyage of Ulysses, after his losing the course because of the storm at Cape Malea, had to be located in those sites. But how can one explain the fact that Homer places the voyage from Circe to the Hades over the Ocean? Is it only a pseudogeographic poetic touch, aimed to magnify the exploit? Crates of Mallus did not think so: in his opinion, only some of the numerous adventures had taken place in the Tyrrhenian Sea, whereas Homer had purposefully placed some other exactly on the Atlantic Ocean, beyond the Pillars of Hercules (the ancient name given to the Straits of Gibraltar). Whichever of the two models one chooses, the route of Ulysses seems to be completely unlikely, both from the point of view of objective reality and from the point of view of poetic imagination (if one desires to retain at least some plausibility). It appears to be a senseless coming and going that takes the shape of some sort of a labyrinth. Furthermore, the navigation times suggested by the text do not accord at all (even approximately) with the distances among the real sites. For this reason, Eratosthenes held that, from Cape Malea onwards, Ulysses switched from the real world to that of fantasy, or better still to the world of some narrative fable that does not heed geography at all. The modern critics are inclined to agree with him and this thesis is nowadays the most popular one. Yet, a very serious objection can be raised here: the myth and the epos (since the most archaic era), are strictly linked to the geography and the topography as well – they are radically refractory to a narrative fable that totally contradicts the then realities of time and space. Why should Ulysses plunge from Cape Malea onwards straight into the Neverland kingdom? If we combine Odyssey’s data with those we can reconstruct for the earliest form of the Argonautic saga (taking also into account the chronology of the Greek western colonization), then we get the solution that neither the ancient nor the modern critics have guessed correctly: up to around the middle of the 8th century B.C., the Greeks thought the Ocean to flow just after the Sicily Channel, essentially coinciding with the so-called Tyrrhenian Sea, still completely unknown at that time. This new perspective can well justify the objective disorder of Ulysses’ route. Above all, it also bears a deeper poetic sense: the Hero had the chance to know and to experience not only some far and exotic countries in general terms (as it can happen to any off-course sailor), but he also met the very boundaries of the surfacing lands and the rushing waters which encircle the terrestrial disc, bordering the external cosmic abyss. Ulysses came back home alive. He was able to tell the stories about the lands where no human being could ever sail. This borderline that geographically is clearly located marks at the same time the insurmountable chasm between the physical and the meta-physical world.
    Źródło:
    Peitho. Examina Antiqua; 2013, 4, 1; 13-22
    2082-7539
    Pojawia się w:
    Peitho. Examina Antiqua
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    James Joyces Play with Dramatic Conventions in Ulysses (1922): Episode 15 (Circe)
    Autorzy:
    Vasylenko, Roman
    Powiązania:
    https://bibliotekanauki.pl/articles/601253.pdf
    Data publikacji:
    2019
    Wydawca:
    Uniwersytet Marii Curie-Skłodowskiej. Wydawnictwo Uniwersytetu Marii Curie-Skłodowskiej
    Tematy:
    James Joyce, Ulysses, dramatic conventions, play, modernism, time, space.
    Opis:
    Abstract. This essay focuses on the fifteenth episode of James Joyce’s Ulysses(1922), „Circe”, which is written in the form of a drama script. My claim is that in „Circe” Joyce subverts the traditional Western view of drama, established by Aristotle in Poetics(c. 335 BCE), particularly with respect to the principles of imitation, the plot structure, the process of interpretation, and the role of dramatis personae. Yet, the focal point of the analysis is Joyce's vision of the categories of time and space categories and their implementation in „Circe”.
    Źródło:
    New Horizons in English Studies; 2019, 4
    2543-8980
    Pojawia się w:
    New Horizons in English Studies
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-4 z 4

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