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    Wyświetlanie 1-7 z 7
    Tytuł:
    Arcadia, The Golden Age, and The locus amoenus idyllic poetic landscapes of early Rome and their later repercusion, „Acta Antiqua” 53:2013
    Autorzy:
    Piwowarczyk, Bartosz
    Powiązania:
    https://bibliotekanauki.pl/articles/436037.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie
    Tematy:
    antyk
    Arkadia
    Złoty Wiek
    locus amoenus.
    Źródło:
    Res Gestae. Czasopismo Historyczne; 2016, 3; 305-313
    2450-4475
    Pojawia się w:
    Res Gestae. Czasopismo Historyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Szczęśliwe niegdy ruskie [...] kraje” − Józefa Bartłomieja Zimorowica wizja Arkadii spopielonej
    “Formerly happy [...] Ruthenian countries” − Józef Bartłomiej Zimorowic’s vision of incinerated Arcady
    Autorzy:
    Rot-Buga, Ewa
    Powiązania:
    https://bibliotekanauki.pl/articles/2013671.pdf
    Data publikacji:
    2014-06-02
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    J. B. Zimorowic
    sielanka
    Arkadia
    locus amoenus
    locus horridus
    pastoral
    Opis:
    The author of the article describes the ways the Arcadicvision of the world as well as its contradiction i.e. the dystopia were constructed in J.B. Zimorowic’s New Rutheniam bucolics. Both of these are described within literature tradition and in their historical context as well. It is shown how Zimorowic, in his dialogue with Vergil, Ovid and Polish writers, creates the vision of Ruthenia as an Arcadic and also pleasant place (locus amoenus).He further creates a vision of locus horridus – the burnt Arcady. The Ruthenian Arcady contains the vision of happiness sand the golden age in Ruthenia, the Arcadic landscape and the interfusion of the realistic world with the world of myths. Ruthenian Arcady of Zimorowic is destroyed by the war (1648), epidemic and the loss of the loved ones (his wife and brother) − the themes of war, death and vanishing. New Ruthenian Bucolics contain contradictory visions, namely, the poetic Arcady of family and Lviv and the Arcady of loss. This dystopia becomes a poetic comment to bloody events of the century and the personal grief of the author. The text shows how the author exploits the locus amoenus theme and how he changes it into the theme of locus horridus.
    Źródło:
    Prace Filologiczne. Literaturoznawstwo; 2014, 4(7); 307-332
    2084-6045
    2658-2503
    Pojawia się w:
    Prace Filologiczne. Literaturoznawstwo
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Klaudian i jego tajemnica
    Claudianus and His Secret
    Autorzy:
    Wesołowska, Elżbieta
    Powiązania:
    https://bibliotekanauki.pl/articles/32060984.pdf
    Data publikacji:
    2022
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Claudianus
    Proserpine
    myth
    maternity
    adulthood
    wedding
    Arcadia
    Klaudiusz
    Prozerpina
    mit
    macierzyństwo
    dojrzałość
    zaślubiny
    Arkadia
    Opis:
    The aim of this chapter is to present the mythological poem by Claudianus about Proserpine’s kidnapping and marriage. The poem still encourage the scholars to discussion about its aim and the state of its preservation. I will also focus my attention to the intratextual as well intertextual connections joining the poem with itself and the wide ancient tradition. I will propose two very hypothetical lines of interpretation concerning the De raptu Proserpinae.
    Źródło:
    Przestrzenie Teorii; 2022, 38; 279-289
    2450-5765
    Pojawia się w:
    Przestrzenie Teorii
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Trudniejsza Arkadia – wizja natury w gwarowej poezji gorczańskiej poetki Antoniny Zachary-Wnękowej
    A Harder Arcadia: A Vision of Nature in the Dialect Poetry of the Gorce Poet Antonina Zachara-Wnękowa
    Autorzy:
    Mlekodaj, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/962152.pdf
    Data publikacji:
    2019
    Wydawca:
    Polskie Towarzystwo Ludoznawcze
    Tematy:
    arcadia
    highlander village
    dialect poetry
    nature
    present day
    poezja gwarowa
    arkadia
    natura
    współczesność
    góralska wieś
    Opis:
    Podhale is a region that can boast over a century-long literary tradition. Inspired by the Podhale's current Polish literature, educated Highlanders, at the beginning of the twentieth century, initiated a non-folkloric trend of dialect prose and poetry. They elevated the native dialect to the level of the language of poetry. The Podhale literature has therefore been created by five generations of poets. Their work is a unique and original reflection of the perception of the world through a micro-society with a strong cultural identity and a deep attachment to the tradition of Podhale. The radical changes that have taken place in the Highlander villages in recent decades have always enhanced the tendency of the Podhale literature to idealize the past. Already in the 1970s, the old simple rural life was supplanted by modernity, which both brought prosperity and became the reason for alienating people from the natural world. Under the influence of civilizational changes, Podhale - once a land of shepherds and farmers living in the mountains and forests - gradually lost its connection with nature. Its contemporary inhabitants are no longer living according to natural rhythms, nor do they have time to contemplate nature. The article focuses on the analysis of the Arcadian vision of nature created in the dialect poetry of Antonina Zachara-Wnękowa, who sees the basic condition for human happiness in returning to nature and living in harmony with it.
    Podhale jest regionem, które może poszczycić się ponadstuletnią tradycją literacką. Zainspirowani nurtem podhalańskim w literaturze polskiej wykształceni górale na już na początku XX wieku zainicjowali niefolklorowy nurt gwarowej prozy i poezji. Rodzimemu dialektowi nadali rangę języka poezji. Podhalańską literaturę do naszych czasów współtworzyło pięć generacji poetów. Ich twórczość stanowi unikatowy i oryginalny obraz percepcji świata przez mikrospołeczność o silnej tożsamości kulturowej oraz głębokim przywiązaniu do tradycji. Radykalne zmiany, jaki nastąpiły na góralskiej wsi w ostatnich dekadach, wpłynęły na kondycję życia górali. Już w latach 70 XX wieku dawne, proste życie wiejskie zostało wyparte przez nowoczesność, która chociaż przyniosła z sobą dobrobyt, stała się przyczyną wyobcowania człowieka ze świata przyrody. Podhale – niegdyś zagubiona wśród gór i lasów kraina pasterzy i rolników – pod wpływem zmian cywilizacyjnych stopniowo zagubiło więź z naturą. Jego współcześni mieszkańcy nie żyją już zgodnie z jej rytmem ani też nie mają czasu na jej kontemplację.  Przedmiotem referatu będzie analiza arkadyjskiej wizji natury stworzonej w gwarowej poezji Antoniny Zachary-Wnękowej, która w powrocie do natury i życiu z nią w harmonii upatruje podstawowy warunek ludzkiego szczęścia.
    Źródło:
    Literatura Ludowa; 2019, 63, 4-5; 84-94
    2544-2872
    0024-4708
    Pojawia się w:
    Literatura Ludowa
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Barokowy hortus ludi w perspektywie geopoetyki (na wybranych przykładach literackich)
    Baroque hortus ludi in the perspective of geopoetics (on chosen literary examples)
    Autorzy:
    Krawiec-Złotkowska, Krystyna
    Powiązania:
    https://bibliotekanauki.pl/articles/650536.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Barok
    poezja
    kultura
    ogród
    hortus ludi
    Arkadia
    topos
    przestrzeń
    geopoetyka
    interakcje geograficzno-literackie
    Baroque
    poetry
    garden
    Arcadia
    space
    geopoetry
    geographical-literary interactions
    Opis:
    The article shows a baroque hortus ludi (the garden of entertainment) in the perspective of geopoetics. The subject of explorations are chosen works of seventeenth century’s poets in the base of which there was considered this studied phenomenon. There was demonstrated to what extent real places could inspire authors who were writing about noble or baronial patios and on the other hand, there was made a try of designation how the literary creation builds subjected places for a potential receiver (reader). As a result of analysis it was alleged that descriptions of baroque hortus ludi – creations of places processed in poet’s mind, characterised by aspect of being painterly, which can inspire not only landscape architects, but also painters and other artists.In the article there was also considered a genesis of baroque gardens of entertainment and distinctive features of park-garden assumptions, starting with medieval times to baroque. Hortus ludi present in poetry of seventeenth century was shown in new, geopoethical conceptualization.
    Artykuł ukazuje barokowy hortus ludi (ogród zabaw) w perspektywie geopoetyki. Przedmiotem eksploracji są wybrane utwory poetów XVII wieku, na podstawie których badane zjawisko zostało poddane refleksji. Wykazano, na ile rzeczywiste miejsca mogły inspirować autorów opisujących szlacheckie bądź magnackie wirydarze, a z drugiej strony podjęto próbę określenia, w jakim stopniu kreacja literacka buduje miejsca poddane deskrypcji u potencjalnego odbiorcy dzieła literackiego (czytelnika). W wyniku analizy stwierdzono, że opisy barokowych hortus ludi to kreacje miejsc przetworzone w umyśle poety, odznaczające się aspektem malarskości, który może inspirować nie tylko architektów krajobrazu, ale również malarzy i innych artystów.W artykule uwzględniono także genezę barokowych ogrodów zabaw i cechy charakterystyczne parkowo-ogrodowych założeń począwszy od średniowiecza po barok. Obecny w poezji XVII wieku hortus ludi ukazano w nowym, geopoetycznym ujęciu.
    Źródło:
    Acta Universitatis Lodziensis. Folia Geographica Socio-Oeconomica; 2016, 26
    1508-1117
    2353-4826
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Geographica Socio-Oeconomica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Trzy wizje Ukrainy w twórczości Aleksandra Karola Grozy
    Three visions of the Ukraine in Aleksander Karol Groza’a literary output
    Autorzy:
    Mikinka, Aleksandra Ewelina
    Powiązania:
    https://bibliotekanauki.pl/articles/40614543.pdf
    Data publikacji:
    2023
    Wydawca:
    Uniwersytet Komisji Edukacji Narodowej w Krakowie
    Tematy:
    the Ukrainian school of Polish romanticism
    Aleksander Groza
    frenzy
    Arcadia
    romanticim
    minorum gentium
    Cossack
    the Ukraine
    szkoła ukraińska polskiego romantyzmu
    frenezja
    Arkadia
    romantyzm
    Kozak
    Ukraina
    Opis:
    In the article selected works of Aleksander Groza, a representative of “the Ukrainian school” of Polish romanticism, have been thoroughly investigated. The author used interpretive methods of postcolonialism, comparative studies and intertextuality, and sometimes also from the field of ethnography and ethnology. The article is an introduction to the monograph that the author is currently working on. As a result of the analysis of the works, it was possible to distinguish three main images of the Ukraine, which are stereotypical for the Polish literature in genere: Arcadian Ukraine, Cossack Ukraine and frenetic Ukraine. By using the fragments of Groza’s texts, as well as intertextual references, the author characterized each of these images. After outlining the poet’s profile through a simple biography, which will be developed in the future, the author of the article conducted an analysis and interpretation of the following works by Groza: the volume Poezje, Ukrainian elegies: Soroka and Pierwsza pokuta Żeleźniaka, poem Mogiły, dramas Śmieciński and Hryć. Such a versatile choice of texts allowed to draw some interesting conclusions concerning Aleksander Groza’z profile.
    Źródło:
    Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria; 2023, 23; 27-40
    2081-1853
    Pojawia się w:
    Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Panorama Konstantynopola w Liber chronicarum Hartmanna Schedla (1493). Miasto idealne – memoria chrześcijaństwa
    The panorama of Constantinople in Liber chronicarum of Hartmann Schedel (1493). The ideal city – the recollection of christianity
    Autorzy:
    Mazurczak, Urszula
    Powiązania:
    https://bibliotekanauki.pl/articles/613044.pdf
    Data publikacji:
    2018
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II
    Tematy:
    Konstantynopol – widok miasta po 1453 r. – rzeczywistość
    historia
    miasto jako wotum ofiarne
    miasto – Arkadia (utopia)
    Constantinople – the view of the city after 1453 – the reality
    the history
    the City as a votive offering
    the city – the Arcadia (utopia)
    Opis:
    The historical research of the illustrated Nuremberg Chronicle [Schedelsche Weltchronik (English: Schedel’s World Chronicle)] of Hartmann Schedel comprises the complex historical knowledge about numerous woodcuts which present views of various cities important in the world’s history, e.g. Jerusalem, Constantinople, or the European ones such as: Rome, some Italian, German or Polish cities e.g. Wrocław and Cracow; some Hungarian and some Czech Republic cities. Researchers have made a serious study to recognize certain constructions in the woodcuts; they indicated the conservative and contractual architecture, the existing places and the unrealistic (non-existent) places. The results show that there is a common detail in all the views – the defensive wall round each of the described cities. However, in reality, it may not have existed in some cities during the lifetime of the authors of the woodcuts. As for some further details: behind the walls we can see feudal castles on the hills shown as strongholds. Within the defensive walls there are numerous buildings with many towers typical for the Middle Ages and true-to-life in certain ways of building the cities. Schematically drawn buildings surrounded by the ring of defensive walls indicate that the author used certain patterns based on the previously created panoramic views. This article is an attempt of making analogical comparisons of the cities in medieval painting. The Author of the article presents Roman mosaics and the miniature painting e.g. the ones created in the scriptorium in Reichenau. Since the beginning of 14th century Italian painters such as: Duccio di Buoninsegna, Giotto di Bondone, Simone Martini and Ambrogio Lorenzetti painted parts of the cities or the entire monumental panoramas in various compositions and with various meanings. One defining rule in this painting concerned the definitions of the cities given by Saint Isidore of Seville, based on the rules which he knew from the antique tradition. These are: urbs – the cities full of architecture and buildings but uninhabited or civita – the city, the living space of the human life, build-up space, engaged according to the law, kind of work and social hierarchy. The tradition of both ways of describing the city is rooted in Italy. This article indicates the particular meaning of Italian painting in distributing the image of the city – as the votive offering. The research conducted by Chiara Frugoni and others indicated the meaning of the city images in the painting of various forms of panegyrics created in high praise of cities, known as laude (Lat.). We can find the examples of them rooted in the Roman tradition of mosaics, e.g. in San Apollinare Nuovo in Ravenna. They present both palatium and civitas. The medieval Italian painting, especially the panel painting, presents the city structure models which are uninhabited and deprived of any signs of everyday life. The models of cities – urbs, are presented as votive offerings devoted to their patron saints, especially to Virgin Mary. The city shaped as oval or sinusoidal rings surrounded by the defensive walls resembled a container filled with buildings. Only few of them reflected the existing cities and could mainly be identified thanks to the inscriptions. The most characteristic examples were: the fresco of Taddeo di Bartolo in Palazzo Publico in Siena, which presented the Dominican Order friar Ambrogio Sansedoni holding the model of his city – Siena, with its most recognizable building - the Cathedral dedicated to the Assumption of Mary. The same painter, referred to as the master painter of the views of the cities as the votive offerings, painted the Saint Antilla with the model of Montepulciano in the painting from 1401 for the Cathedral devoted to the Assumption of Mary in Montepulciano. In the painting made by T. di Bartolo, the bishop of the city of Gimignano, Saint Gimignano, presents the city in the shape of a round lens surrounded by defence walls with numerous church towers and the feudal headquarters characteristic for the city. His dummer of the city is pyramidally-structured, the hills are mounted on the steep slopes reflecting the analogy to the topography of the city. We can also find the texts of songs, laude (Lat.) and panegyrics created in honour of the cities and their rulers, e.g. the texts in honour of Milan, Bonvesin for La Riva, known in Europe at that time. The city – Arcadia (utopia) in the modern style. Hartman Schedel, as a bibliophile and a scholar, knew the texts of medieval writers and Italian art but, as an ambitious humanist, he could not disregard the latest, contemporary trends of Renaissance which were coming from Nuremberg and from Italian cities. The views of Arcadia – the utopian city, were rapidly developing, as they were of great importance for the rich recipient in the beginning of the modern era overwhelmed by the early capitalism. It was then when the two opposites were combined – the shepherd and the knight, the Greek Arcadia with the medieval city. The reception of Virgil’s Arcadia in the medieval literature and art was being developed again in the elite circles at the end of 15th century. The cultural meaning of the historical loci, the Greek places of the ancient history and the memory of Christianity constituted the essence of historicism in the Renaissance at the courts of the Comnenos and of the Palaiologos dynasty, which inspired the Renaissance of the Latin culture circle. The pastoral idleness concept came from Venice where Virgil’s books were published in print in 1470, the books of Ovid: Fasti and Metamorphoses were published in 1497 and Sannazaro’s Arcadia was published in 1502, previously distributed in his handwriting since 1480. Literature topics presented the historical works as memoria, both ancient and Christian, composed into the images. The city maps drawn by Hartmann Schedel, the doctor and humanist from Nurnberg, refer to the medieval images of urbs, the woodcuts with the cities, known to the author from the Italian painting of the greatest masters of the Trecenta period. As a humanist he knew the literature of the Renaissance of Florence and Venice with the Arcadian themes of both the Greek and the Roman tradition. The view of Constantinople in the context of the contemporary political situation, is presented in a series of monuments of architecture, with columns and defensive walls, which reminded of the history of the city from its greatest time of Constantine the Great, Justinian I and the Comnenus dynasty. Schedel’s work of art is the sum of the knowledge written down or painted. It is also the result of the experiments of new technology. It is possible that Schedel was inspired by the hymns, laude, written by Psellos in honour of Constantinople in his elaborate ecphrases as the panegyrics for the rulers of the Greek dynasty – the Macedonians. Already in that time, the Greek ideal of beauty was reborn, both in literature and in fine arts. The illustrated History of the World presented in Schedel’s woodcuts is given to the recipients who are educated and to those who are anonymous, in the spirit of the new anthropology. It results from the nature of the woodcut reproduction, that is from the way of copying the same images. The artist must have strived to gain the recipients for his works as the woodcuts were created both in Latin and in German. The collected views were supposed to transfer historical, biblical and mythological knowledge in the new way of communication.
    Źródło:
    Vox Patrum; 2018, 70; 499-525
    0860-9411
    2719-3586
    Pojawia się w:
    Vox Patrum
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-7 z 7

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