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    Wyświetlanie 1-9 z 9
    Tytuł:
    Funkcje antytezy w epigramie religijnym I poi XVI w. (Na przykładzie utworów Krzyckiego i Janickiego)
    Functions of antithesis in the religious epigram of the 1st half of the 16th century (on the basis of Krzycki’s and Janicki’s poems)
    Autorzy:
    Budzisz, Andrzej
    Powiązania:
    https://bibliotekanauki.pl/articles/1965802.pdf
    Data publikacji:
    1982
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Źródło:
    Roczniki Humanistyczne; 1982, 30, 3; 81-90
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Biblia i retoryka w polemicznych utworach Jana Dantyszka (Ionas propheta i In hostes gloriosissimae Virginis Mariae)
    Autorzy:
    Budzisz, Andrzej
    Powiązania:
    https://bibliotekanauki.pl/articles/1964863.pdf
    Data publikacji:
    1988
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Źródło:
    Roczniki Humanistyczne; 1988, 36, 3; 163-170
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Motyw syna marnotrawnego w łacińskim dramacie religijnym Renesansu. Na przykładzie dramatu niderlandzkiego
    The Motif of the Prodigal Son in the Latin Religious Drama of the Renaissance. On the Basis of the Netherlandic Drama
    Autorzy:
    Budzisz, Andrzej
    Powiązania:
    https://bibliotekanauki.pl/articles/1964502.pdf
    Data publikacji:
    1993
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Opis:
    The author discusses two dramatic works of Netherlandic authors: Asotus by Georgius Macropedius and Acolastus by Gulielmus Gnapheus. Both works belong to a large group of the paraphrases of biblical themes which were very numerous in the period of the Renaissance. In these works we deal with a particular kind of imitating the ancients (imitatio antiquorum) which was the capital creative principle of the Renaissance: the patterns are at the same time the Bible and classical poetry. The latter comes from the fact that both literary traditions, Christian and classical, are characterized by a love and, in a sense, cult of the word. The word in the Bible is based on a transcendent power as the word acting (creating, revealing, redeming, redempting) God. The classical tradition would emphasize the power of the human word which power comes from its form. It is not a power in itself (in opposition to the power of the divine word), but a power purchased by art. Having these two concepts of the word at their disposal the poets of the Renaissance made notice that the literary form of the Bible did not meet the criteria of the rhetoric beauty. This was one of the reasons why they sought somehow to „help” God’s word, giving it a beautiful form according to the rhetoric canons. It seems that the second factor which influenced the establishment of many paraphrases was the religious debates induced by the Reformation. Putting a new form on the well-known biblical themes one could freely choose proportions, skillfully distribute emotional stress, and thus prove this or that religious thesis. Comparing Macropedius’ (a Catholic) and Gnapheus’ (a Protestant) dramas one can notice both similarities and differences. The theme in both works is the same, i.e. the story of the prodigal son. They both patterned them on the same biblical problem parabole, and both reach to the Roman comedy as their subsequent pattern. Here one can, however, notice difference. Macropedius based himself to a large extent on Plautus’ comedy Mostellaria. Gnapheus made use of Terence’s play Andria as his pattern. He is also not so close to the Roman pattern as Macropedius. The latter, in turn, aside to the motif of the prodigal son makes use in his work of the motif of the good and bad servant. The social differences in treating the themes as seen in both authors result from their different religious beliefs. The Catholic Macropedius while making use of the parabole about the good and bad servant seeks to enhance the argument in favour of the thesis that it is man’s behaviour as a free human being that decides about his salvation. Gnapheus, however, in line with the teaching of Luther takes a different standpoint, namely, that life is governed by necessity, and man’s behaviour has no bearing on his salvation. In the foreword to his play the author makes a stipulation that it does not tell about religious rumours. One can notice here apperent allusions to the teaching of Luther. Both plays are an interesting example for the use of literature in religious propaganda and debate, which was very common phenomenon in the 16th century.
    Źródło:
    Roczniki Humanistyczne; 1993, 41, 3; 83-96
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Postać Boga w Heroidach Heliusa Eobanusa Hessusa
    God in Heroids by Helius Eobanus Hessus
    Autorzy:
    Budzisz, Andrzej
    Powiązania:
    https://bibliotekanauki.pl/articles/1964467.pdf
    Data publikacji:
    1994
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Opis:
    Helius Eobanus Hessus' Heroids are one of the many examples of poetry that has the Bible as the subject-matter. Such poetry was very popular in the Renaissance epoch. The main rule of that epoch, ”imitatio antiquorum”, was realized in that poetry in a particular way because at the same time the Bible and the classical literature became models for it. In this particular case the models were first of all the New Testament and Ovid's Heroids. Analysis of the first two letters in the collection (”Deus Pater Mariae Virgini” and ”Maria Virgo Deo Patri”) has shown that the God that is presented there is the Christian God, his picture being consistent with the one shown in the Bible. The anthropomorphization of God found in the poems is not flagrant. The erotic vocabulary in both these letters − used because of the convention typical of the limitated literary genre − also does not exceed the limits of good taste. The author clearly rejects mythology in his presentation of God. However, he uses the ancient patterns in the description of the approaching God's Kingdom, following the description of the golden age in Ovid's Metamorphoses. The Savious who is about to be born, presented in the two letters, is God's Word, he is God himself. In this case the picture of God is consistent both with the Catholic and the Protestant religion. The element of controversy which is so frequently encountered in the literature of that period is absent from the two letters discussed here. The stress is put on conveying certain fundamental religious truths (”docere”). This is achieved by certain stylistic means aiming at moving the adressee as well as the virtual reader; e.g. by emotionally charged rhetorical questions justifying the necessity of Incarnation, or the apostrophe to Satan (”movere”). The literary form imitating the ancient literature serves a third function (”delectare”) which is to attract the reader and arouse his interest. The analysis also shows that the double imitation (of the Bible and of the classical literature) is not an aim in itself. The superior aim is to create a new quality (”aemulatio”) which through its Christian contents, according to Desiderius Erasmus, was to surpass the literary model − Ovid's Heroids.
    Źródło:
    Roczniki Humanistyczne; 1994, 42, 3; 129-137
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Ad posteritatem − adresat w autobiograficznych elegiach Klemensa Janickiego, Eobana Hessa i Owidiusza
    Ad posteritatem − the Addressee in the Autobiographical Elegies by Klemens Janicki, Eobanus Hessus and Ovid
    Autorzy:
    Budzisz, Andrzej
    Powiązania:
    https://bibliotekanauki.pl/articles/1956584.pdf
    Data publikacji:
    1998
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Opis:
    The paper seeks to show the way in which to carry out the principle imitatio antiquorum in the works of Klemens Janicki and Eoban Hessus, addressed to Posterity. Both poets manifest a conscious and deliberate imitation of the tenth elegy from Book Four of Ovid's Tristia. Once the recipient has noticed this fact he enter some special relationship in the process of literary communication. The condition to discover the sense and proper interpretation in this relationship common to both levels of reference, not only to the code of the language and, generally, to literature, but also reference to another text, another statement. This new text may be perceived against the background of the relationships which combine it with other texts, owing to references and associations. The Imitatio is an invitation to a double reading of the texts, for they are multiplied by the intertextual relationships between the model and the work. The first difference that stands out in the analysis is another conceptions of the collections in which the autobiographies have been placed. For this reason Janicki is closer to Ovid, by placing the autobiographic elegy in the collection of the Tristia. Hessus closes the autobiography with a cycle of Christian Heroids. Consequently, we have a different conception of the addressee. Now, who is this Posterity with each of the three poets? With Ovid the Posteritas is the future generations of the readers (studiosa pectora, candidus lector) interested with his poetry, which is one of the necessary elements of fame. The Posteritas with Janicki is, similar like with Ovid, a kind reader who once in the future will, perhaps, want to know the life of the poet. The relationship, however, between the Polish-Latin poet and fame is different. Janicki did not thank, as Ovid did, the future generations of readers for his immortal fame. He expressed his gratitude to the physician who prolonged his life in this world. After death he would praise him in another world, for then he would not be able to secure fame for anyone among the living. In the face of death the humanistic understanding of immortality gives way to the Christian understanding, although some expressions (e.g. manes) do not belong to Christian vocabulary. The problem with the addressee is entirely different in the elegy of Hessus, wherein the addressee is a personified Posteritas.
    Źródło:
    Roczniki Humanistyczne; 1998, 46, 3; 127-136
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Ioel Propheta Szymona Szymonowica jako przykład renesansowej parafrazy biblijnej
    Szymon Szymonowics Ioel Propheta as an Example of the Renaissance Biblical Paraphrase
    Autorzy:
    Budzisz, Andrzej
    Powiązania:
    https://bibliotekanauki.pl/articles/1954401.pdf
    Data publikacji:
    2002
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Renesans
    Szymonowic
    parafraza
    prorok Joel
    the Renaissance
    paraphrase
    Prophet Joel
    Opis:
    Szymon Szymonowic's Ioel Propheta, dedicated to Pope Clement VIII, is the second example, aside to Jan Dantyszek's Ionas Propheta, of the Polish-Latin Biblical poetry in the sixteenth century, a poetry that imitated the prophetic books of the Old Testament. The poetic paraphrases of the biblical books in the Renaissance are a particular and frequent type of writing, although the Renaissance literary theory was rather not occupied with this phenomenon and the majority of authors of poetical theories keep silent about paraphrase. The paper quotes in short what the ancient (Quintilian and Cicero) and Renaissance (Erasmus of Rotterdam and Nicodemus Frischlin) authors said as regards the essence and function of paraphrase. These authors emphasize the emulative character of literary paraphrases, and aemulatio is one of the basic (apart to imitatio) principles of poetic writing, those that were binding in the Renaissance. Quintilian quotes two very general ways of paraphrasing: breviare, that is summary, abbreviation of the original text, and exornare – ornament (which most often is also a development of the text under paraphrase). Giving a new literary form to the well-known biblical themes, one may be free in selecting proportions, skillfully laying emotional stresses and thus making use of paraphrase for an appropriate goal. Prophecy as a literary genre has been found to be similar to speech, in particular to genus deliberativum, the essence of the oratory style being, according to Quintilian and Cicero, amplification and ornamentation. One can see therefore, that amplification is a characteristic feature of both speech and paraphrase. Our analysis of Szymonowic's work shows that the poet extended the theme from the Bible through his amplification in the stylistic layer. In the work Ioel Propheta by Szymonowic the amplification serves to characterize a figure, and expresses various feelings. Above all, it has been used to demonstrate the author's workshop skill, and thereby to evoke the reader's admiration for his talent and erudition. The evident particular amplification of some parts of Joel's prophecy can make us assume that it was caused by a definite goal, for which Szymonowic made his paraphrase. This goal was to direct Pope Clement VIII's attention to danger that threatened Christian Europe on the part of the Turkish empire. This is not, however, a kind of persistent anti-Turkish propaganda. For sure, Szymonowic's work, especially his dedication of the initial part, is also a panegyric to honour Pope Clement VIII. Thus, apart from imitative and emulative effort, one may stress in Szymonowic his skilful use of paraphrase to broaden the interpretative range of a work.
    Źródło:
    Roczniki Humanistyczne; 2002, 50, 3; 65-82
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-9 z 9

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