Informacja

Drogi użytkowniku, aplikacja do prawidłowego działania wymaga obsługi JavaScript. Proszę włącz obsługę JavaScript w Twojej przeglądarce.

English (EN)·Polski (PL)·Yкраїнський (UK)
Przejdź do strony domowej biblioteki Centralna Biblioteka Wojskowa Link otwiera się w nowym oknie Logo biblioteki Prolib Integro - strona głównaCentralna Biblioteka Wojskowa

Wyszukujesz frazę "Cleopatra" wg kryterium: Temat

  Lista filtrów
Wyrównaj
    Wyświetlanie 1-12 z 12
    Tytuł:
    Cleopatra – a Queen, a Lover, a Mother: Transformations of the Image
    Kleopatra – królowa, kochanka, matka – transformacja wizerunku.
    Autorzy:
    Wiśniewska, Lidia
    Powiązania:
    https://bibliotekanauki.pl/articles/437474.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie. Instytut Filozofii i Socjologii
    Tematy:
    archetypes
    Cleopatra VII
    coincidentia oppositorum
    Mircea Eliade
    Karen Essex
    Horace
    image
    imagology
    mythical patterns
    William Shakespeare
    transformations
    Opis:
    Transformations are not only conditioned by facts encompassing narrower or wider panoramas: from concentrating on death and one (political) role (the ode of Horace), through recalling Cleopatra’s mature life and love (the drama of Shakespeare), to creating an image embracing the heroine’s whole life with its numerous roles, but as a mother and a daughter in the first place, because even her lovers resemble a father and a child (the fictional biography of Karen Essex). Above all, they appear to be more connected with different attitudes towards universal references lying within human cognitive abilities. Horace’s didactic opposition of contradictory patterns leads to the victory of one of them — and it is a linear pattern, as an equivalent of modern myth, which is accepted by the author himself. In Shakespeare, it takes a form of tragedy resulting from the fragmentary character of each pattern, one of which introduces change (archaic myth) and the other constancy (modern myth), and from a painful attempt to combine them. In Essex, the vision of the world in which archaic myth, strongly represented by a child, triumphs is utopian. Irrespective of the differences, all the works realize the essential role played by images developed by heroes, and especially by authors, in human cognition
    Źródło:
    ARGUMENT: Biannual Philosophical Journal; 2012, 2, 1; 151-169
    2083-6635
    2084-1043
    Pojawia się w:
    ARGUMENT: Biannual Philosophical Journal
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Cleopatra by Adam Lukaszewicz
    Autorzy:
    Sawinski, P.
    Powiązania:
    https://bibliotekanauki.pl/articles/702667.pdf
    Data publikacji:
    2005
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    CLEOPATRA BY A. LUKASZEWICZ
    Opis:
    A critical review of the biography of the famous queen of Egypt, recently published by Adam Lukaszewicz.
    Źródło:
    Meander; 2005, 60, 3; 386-392
    0025-6285
    Pojawia się w:
    Meander
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Cleopatra and kandake
    Autorzy:
    Łukaszewicz, Adam
    Powiązania:
    https://bibliotekanauki.pl/chapters/1054698.pdf
    Data publikacji:
    2020
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    women rulers in antiquity
    Ptolemaic Egypt
    Roman history
    Cleopatra VII
    Meroitic Kingdom
    Opis:
    The author discusses the circumstances of Cleopatra VII taking power as the sole ruler of Egypt in 49/48 BC. The queen was forced out of Alexandria by her brother and co-regent Ptolemy XIII. When she reappeared in Egypt, it was from Palestine. The author considers the possibility that she traveled from Alexandria through the Thebaid, the Meroitic Kingdom and Arabia to Palestine, where she expected to obtain financial support necessary for recruiting mercenaries. She need not have modeled her political activity on that of the Meroitic kandake, but personal contacts between the two queens are plausible. The author suggests that a woman’s head represented on the cover of a box containing a mirror, found at Faras in Nubia, may be a portrait of Cleopatra.
    Źródło:
    Aegyptus et Nubia Christiana. The Włodzimierz Godlewski jubilee volume on the occasion of his 70th birthday; 691-698
    9788323547266
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Mark Antony and the date of the Inimitables. A remark on an edited text
    Autorzy:
    Łukaszewicz, Adam
    Powiązania:
    https://bibliotekanauki.pl/articles/2083683.pdf
    Data publikacji:
    2020
    Wydawca:
    Fundacja im. Rafała Taubenschlaga
    Tematy:
    Alexandria
    Mark Antony
    Cleopatra VII
    Antyllus
    ‘Inimitables’
    Opis:
    A Greek inscription on stone found in Alexandria in the nine- teenth century and exhibited in the Alexandrian Greco-Roman Museum contains an unusual dedicatory text in honour of Mark Antony. The text was edited several times. It contains useful information which agrees with the passage of Plutarch on the lifestyle of Antony and Cleopatra, and their entourage. In this paper the author suggests the date 34–30 bc for the activity of the ‘Inimitables’ and adds a further commentary on the history of Antony and Cleopatra.
    Źródło:
    The Journal of Juristic Papyrology; 2020, 50; 223-232
    0075-4277
    Pojawia się w:
    The Journal of Juristic Papyrology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Kleopatra VII we współczesnej kulturze popularnej: przekaz źródeł czy stereotyp postrzegania Egiptu?
    Autorzy:
    Kulpa, Karolina
    Powiązania:
    https://bibliotekanauki.pl/articles/631202.pdf
    Data publikacji:
    2010
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Cleopatra VII
    popular culture
    Egypt
    reminiscence of antiquity
    Opis:
    For more than two thousand years Cleopatra has been an inspiration of artists. At the turn of the 20th and 21st century she became one of the icons of our (European) perception of Egypt. She is certainly better known than the builders of pyramids or Ramesses the Great, and she is remembered better than the names of ancient rulers. One may even venture to claim that although little is known, she is a familiar, not to say clichéd figure. One needs to consider what hides behind the representations of Cleopatra we encounter everyday in various aspects of popular culture-advertising, products of daily use, television. In my opinion, we only perceive the picture contrived by Octavian and the writers devoted to him-a femme fatale of the antiquity, an ambitious and ruthless temptress. Horace, Propertius, Florus and Pliny conveyed in their works an image of Cleopatra which met Octavian Augustus’ expectations: of a woman defeated in the eyes of the victor. A cursory read of their works in the 18th century, in the wake of renewed interest in antiquity following the discovery of Pompeii and Herculanum, led to uncritical repetition of Cleopatra’s depiction-first, in the historiography, and then in popular culture. Stereotypes concerning Egypt developed, reinforced by the descriptions of travelers. In the light of the latter, the country appears a quintessence of the Orient, with all its riches and delights. The figure of the last queen of ancient Egypt suited such notion perfectly. The most interesting issue is that today, when through archeological and historical research Cleopatra’s life became known in greater detail, the popular culture, advertising and cinematography in particular, keeps on perpetuating the stereotypical representation of this extraordinary woman. I incline towards the views of M. Krajewski, who claims that popular culture has become a lens sifting reality, and in striving to become an integral element of reality, it selects whatever is helpful (discarding the rest). The answer to the question of whether the image of Cleopatra originates from sources or stems from our stereotypes of Egypt, is, I think, a complex one. It was precisely the superficial reading of sources rediscovered, as it were, in the 18th century, that brought forth the stereotypes, whose reverberations in popular culture of the 20th and the 21st century created a specific picture of the last Egyptian queen. The “present–day” picture of Cleopatra is in a way a remote echo of Augustian propaganda, whose charm still holds sway over us. I wished to demonstrate this dependence by showing various aspects of popular culture, from press to cosmetics. Popular culture adopted those features of Cleopatra that help sell merchandise-youth, amorous intrigue, alleged beauty and murder. We cannot escape the influence she exerts on us and our lives, yet what lies beneath the facade of a pretty face with a ureus-adorned temples deserves consideration. In the case of Cleopatra VII it is a fascinating history of life and death of one of the most influential women of her times.
    Źródło:
    Studia Europaea Gnesnensia; 2010, 1-2; 163-181
    2082-5951
    Pojawia się w:
    Studia Europaea Gnesnensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Ancient philosophy of lovesickness Plutarch, Cleopatra and Eros
    Autorzy:
    Kostuch, Lucyna
    Powiązania:
    https://bibliotekanauki.pl/articles/2157537.pdf
    Data publikacji:
    2014
    Wydawca:
    Instytut Studiów Międzynarodowych i Edukacji Humanum
    Tematy:
    Plutarch
    Philosophy
    Eros
    Lovesickness
    Cleopatra
    Opis:
    Over the centuries, Cleopatra VII, the famous queen of the Nile, has uttered thousands of amorous sentences in countless dramas, poems, novels, librettos and films. Historians, writers and artists of all periods, selecting the Egyptian monarch as the “hero” of their works, referred, and still continue to do so, primarily to the Life of Antony by a great Greek philosopher and moralist - Plutarch of Chaeronea. It might seem that it was Plutarch who presented Cleopatra a woman overcome with genuine passionate love. But does the queen in the Plutarch’s work really, even for a moment, experience the true agony of love? The problem with this is that if we reject the Shakespearean prism through which we used to view Cleopatra created by Plutarch and we analyse the Life of Antony exclusively in the context of other works of the moralist from Chaeronea, we will not perceive an Egyptian Dido cursing her lover and dying of love. It is a delusion that in the final parts of the Life of Antony, the monarch’s previously feigned or perhaps concealed love for the Roman commander is manifested as true – as is stated by many researchers identifying in Plutarch’s work the specific elements of romance in which the lovers’ feelings are reciprocated.
    Źródło:
    Społeczeństwo i Edukacja. Międzynarodowe Studia Humanistyczne; 2014, 2(14); 5-14
    1898-0171
    Pojawia się w:
    Społeczeństwo i Edukacja. Międzynarodowe Studia Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Ancient philosophy of lovesickness: Plutarch, Cleopatra and Eros
    Autorzy:
    Kostuch, Lucyna
    Powiązania:
    https://bibliotekanauki.pl/articles/2158804.pdf
    Data publikacji:
    2014
    Wydawca:
    Instytut Studiów Międzynarodowych i Edukacji Humanum
    Tematy:
    Plutarch
    Philosophy
    Eros
    Lovesickness
    Cleopatra
    Opis:
    Over the centuries, Cleopatra VII, the famous queen of the Nile, has uttered thousands of amorous sentences in countless dramas, poems, novels, librettos and films. Historians, writers and artists of all periods, selecting the Egyptian monarch as the “hero” of their works, referred, and still continue to do so, primarily to the Life of Antony by a great Greek philosopher and moralist - Plutarch of Chaeronea. It might seem that it was Plutarch who presented Cleopatra a woman overcome with genuine passionate love. But does the queen in the Plutarch’s work really, even for a moment, experience the true agony of love? The problem with this is that if we reject the Shakespearean prism through which we used to view Cleopatra created by Plutarch and we analyse the Life of Antony exclusively in the context of other works of the moralist from Chaeronea, we will not perceive an Egyptian Dido cursing her lover and dying of love. It is a delusion that in the final parts of the Life of Antony, the monarch’s previously feigned or perhaps concealed love for the Roman commander is manifested as true – as is stated by many researchers identifying in Plutarch’s work the specific elements of romance in which the lovers’ feelings are reciprocated.
    Źródło:
    Prosopon. Europejskie Studia Społeczno-Humanistyczne; 2014, 3(9); 5-14
    1730-0266
    Pojawia się w:
    Prosopon. Europejskie Studia Społeczno-Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    How the attributes of Cleopatra VII changed over time
    Autorzy:
    Kostuch, Lucyna
    Powiązania:
    https://bibliotekanauki.pl/articles/2157830.pdf
    Data publikacji:
    2016
    Wydawca:
    Instytut Studiów Międzynarodowych i Edukacji Humanum
    Tematy:
    Cleopatra VII
    Attributes
    Ancient tradition
    Western culture
    Opis:
    The legend of Cleopatra VII in Western culture is a frequently researched topic. However, little thought is devoted to the Queen’s attributes which, as centuries passed, underwent frequent metamorphoses. In art and literature, the attributes and motifs associated with Cleopatra are mainly the crocodile, the pearl, the snake and the cat (the panther, the lion and the sphinx). These royal symbols seem to have lived their own “lives” and form an interesting linear pattern. Furthermore, their history is full of paradox. The crocodile, although probably attributed to Cleopatra by the Romans, never became Cleopatra’s perennial symbol. The famous cobra, initially huge and multiplied, was reduced over time to the size of a bracelet and was eventually replaced by the cat. The latter, undeniably an ancient animal, became Cleopatra’s symbol only in the nineteenth century. Moreover, most probably, the snake was not linked to Cleopatra because of the erotic association, neither was the cat assigned to her because she was a voluptuous witch. Modern representations of Cleopatra with African animals are not necessarily a misunderstanding.
    Źródło:
    Społeczeństwo i Edukacja. Międzynarodowe Studia Humanistyczne; 2016, 3(22); 112-122
    1898-0171
    Pojawia się w:
    Społeczeństwo i Edukacja. Międzynarodowe Studia Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Kleopatra i eros w Żywocie Antoniusza. O nadinterpretacji dzieła Plutarcha
    Autorzy:
    Kostuch, Lucyna
    Powiązania:
    https://bibliotekanauki.pl/articles/944906.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie. Instytut Filozofii i Socjologii
    Tematy:
    Plutarch
    Cleopatra
    Life of Antony
    eros
    Opis:
    Cleopatra and Eros in Plutarch’s Antonius. On overinterpretation of Plutarch’s work Historians, writers and artists who wanted to pay homage to Cleopatra once again, referred to and still refer to Plutarch’s Life of Antony, first and foremost. It can seem that this main, if not the only ancient work, being quite a compact story about the Egyptian queen, has been ultimately interpreted in numerous review editions and biographies of Cleopatra. However, Plutarch’s Cleopatra has not been analysed as a separate work - excerpts from Life of Antony have always been combined with other sources in order to obtain a single picture. And in belles-lettres, the work of this ancient moralist have been exploited for centuries in such a way that it is no longer Plutarch’s property. Literary works from different epochs, in the form of interpretations, with Shakespeare’s Antony and Cleopatra at the head of the list, have distorted the ancient moralist’s message. It turns out that when we reject Shakespeare’s prism that we usually use when examining Plutarch’s Cleopatra and we start to analyse Antony’s biography only in the context of other works written by the moralist of Chaeronea, considering them to be a peculiar comment on Life of Antony, we are able to see a completely different picture to the one we are used to. Divine powers, present on the pages of the ancient work and implicating gods and people in love and desire do not have access to the queen. However, everything suggests that in the case of “the romance of all time” we can see in the moralist’s work something he did not write at all. We refer to Life of Antony and we envisage the character of Cleopatra described by Shakespeare and his successors.
    Źródło:
    ARGUMENT: Biannual Philosophical Journal; 2017, 7, 2; 259-270
    2083-6635
    2084-1043
    Pojawia się w:
    ARGUMENT: Biannual Philosophical Journal
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Une grande reine et deesse
    A Great Queen and Goddess
    Autorzy:
    Kiss, Zsolt
    Powiązania:
    https://bibliotekanauki.pl/articles/484169.pdf
    Data publikacji:
    2014
    Wydawca:
    Polska Akademia Nauk. Instytut Kultur Śródziemnomorskich i Orientalnych PAN
    Tematy:
    sculpture
    Isis iconography
    Ptolemaic queens
    Cleopatra III
    underwater archaeology
    Heracleion
    Ptolemaic Egypt
    Opis:
    During the research led by the European Institute for Underwater Archaeology at Heracleion a huge statue of black diorite was found on the site of the Temple. Preserved in four parts, the sculpture is nearly complete (2.20m). It represents a woman standing, with arms on her sides down and slightly forward. In her left hand she hold the sign ankh and on the chest of her garment she bears the ‘knot of Isis’. Also the hair, arranged in long, rolled-up curls, are characteristic for the goddess. But the broad flat diadem is clearly a royal one, therefore it is possible to see in this sculpture an image of a ptolemaic queen assimilated with Isis. Certain is that Berenice II, the wife of Ptolemy III, wore on some portraits this kind of ‘isiac’ hairdress. Close to the Heracleion statue are portraits of Cleopatra II, sister-wife of Ptolemy VI, and of her daughter – Cleopatra III. Distinction of the portraits of the mother and daughter is difficult, but considering the long reign of the last one, the Heracleion statue seems more probably an image of Cleopatra III as Isis.
    Źródło:
    Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences); 2014, 27; 185-194
    2084-6762
    2449-9579
    Pojawia się w:
    Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    A Myth That Never Dies: Cleopatra in Twentieth-Century Italian Culture
    Autorzy:
    Janicka-Jarnuszkiewicz, J.
    Powiązania:
    https://bibliotekanauki.pl/articles/702723.pdf
    Data publikacji:
    2005
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    CLEOPATRA
    ITALIAN CULTURE
    Opis:
    The article discusses twentieth-century Italian films and books devoted to the personage of Cleopatra. Fascination with the myth of the Egyptian queen reached its climax during the period of fascism; but also later Cleopatra was the subject of many works, often having little in common with the historical facts.
    Źródło:
    Meander; 2005, 60, 3; 377-385
    0025-6285
    Pojawia się w:
    Meander
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Niech się połączą niebiosa i ziemia…”: w poszukiwaniu (nowej) astronomii w Antoniuszu i Kleopatrze Williama Shakespeare’a
    “Heaven and earth may strike their sounds together”: In search of the (new) astronomy in Shakespeare’s Anthony and Cleopatra
    Autorzy:
    Cetera-Włodarczyk, Anna
    Włodarczyk, Jarosław
    Powiązania:
    https://bibliotekanauki.pl/articles/1041723.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    William Shakespeare
    Nicolaus Copernicus
    Anthony and Cleopatra
    new astronomy
    geocentric universe
    heliocentric universe
    celestial spheres
    Opis:
    Shakespeare appears to be one of the most intensely studied authors exemplifying mutual influence of literature and science. Significantly enough, astronomical references deserve a particular attention due to the spectacular change of paradigm resulting from the replacement of the concept of the geocentric cosmos with the concept of the heliocentric universe. Starting from some general remarks concerning the methodological assumptions of such analyses and the specificity of Shakespeare canon, the paper offers an in-depth study of Anthony and Cleopatra  as one of the most representative plays with regard to the number, suggestiveness and interpretative potential of astronomical references. The paper exemplifies the way in which the play combines traditional astronomical and astrological allusions with some unconventional images, usually featuring imaginative hyperboles, which inscribe the fate and feelings of the characters into a cosmic framework. These references repeatedly trigger some fascinating and yet risky interpretations which strive to present Shakespeare as part of the scientific revolution of the age. Refraining from any value judgment, the paper highlights the overall importance of reading Renaissance literature, and Shakespeare in particular, against the background of the history of science in a way which allows for precise identification of contemporary sources of astronomical knowledge as well as for the reconstruction of the actual paths of dissemination of such ideas.
    Źródło:
    Poznańskie Studia Polonistyczne. Seria Literacka; 2017, 31; 23-46
    1233-8680
    2450-4947
    Pojawia się w:
    Poznańskie Studia Polonistyczne. Seria Literacka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-12 z 12

      Ta witryna wykorzystuje pliki cookies do przechowywania informacji na Twoim komputerze. Pliki cookies stosujemy w celu świadczenia usług na najwyższym poziomie, w tym w sposób dostosowany do indywidualnych potrzeb. Korzystanie z witryny bez zmiany ustawień dotyczących cookies oznacza, że będą one zamieszczane w Twoim komputerze. W każdym momencie możesz dokonać zmiany ustawień dotyczących cookies