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Tytuł:
Métamorphoses du poète dans « Le Poète assassiné » d’Apollinaire : Apollon et Orphée, oursin et laurier
Autorzy:
Rousseau, Guillaume
Powiązania:
https://bibliotekanauki.pl/articles/20874649.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Gdański. Wydawnictwo Uniwersytetu Gdańskiego
Tematy:
loss
poetic glory
metamorphoses
Apollinaire
perte
gloire poétique
métamorphoses
Opis:
This article focuses on the figure of the poet in Apollinaire’s « Le Poète assassiné ». We try to show the connections that are established between loss and poetic glory. In the tale, the hero, Croniamantal, becomes successively Apollo and Orpheus. As in Ovid’s Metamorphoses, he is going to lost his beloved (story of Apollo and Daphne) before being slaughtered (the death of Orpheus). To reach glory, the poet has to sacrifice everything including himself.
Źródło:
Cahiers ERTA; 2023, 34; 73-94
2300-4681
Pojawia się w:
Cahiers ERTA
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Retelling Orpheus: Orpheus in the Renaissance
Autorzy:
Beattie, Laura I. H
Powiązania:
https://bibliotekanauki.pl/articles/653555.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Orpheus
Metamorphoses
Renaissance
Opis:
This paper examines the importance of the Orpheus myth during the English Renaissance. The Orpheus myth was one of the most common mythic intertexts of the period due to the fact that we could see the very story of Orpheus as being imbedded within the idea of the Renaissance itself. The main ambition of the Renaissance humanist was to bring the literature of the ancients back to life via the means of education. In other words, they attempted to bring the dead back to life and Orpheus serves as an embodiment of this ambition due to his ability to bring inanimate objects to life and in his journey to the underworld to rescue Eurydice. We find many different aspects of the Orpheus myth dealt with in Renaissance writing, for example Orpheus as poet, Orpheus as lover and the death of Orpheus being some of the key focal points. This paper, however, will focus specifically on the role of Orpheus as Poet as, due to the Renaissance love for art, rhetoric and eloquence, this seems to be the most popular dimension of the Orpheus myth at that time. We will see how Renaissance writers reinterpret the story of Orpheus, as originally told by Ovid and Virgil, in the Metamorphoses and the Georgics respectively, to show Orpheus as not only as being an archetypal poet but in fact the very first poet whose art is not only responsible for the civilisation of man, but also for the creation of a “Golden Age” in Renaissance England.
Źródło:
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre; 2014, 2, 1
2353-6098
Pojawia się w:
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Retelling Orpheus: Orpheus in the Renaissance
Autorzy:
Beattie, Laura I. H.
Powiązania:
https://bibliotekanauki.pl/articles/24987859.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Orpheus
Metamorphoses
Renaissance
Opis:
This paper examines the importance of the Orpheus myth during the English Renaissance. The Orpheus myth was one of the most common mythic intertexts of the period due to the fact that we could see the very story of Orpheus as being imbedded within the idea of the Renaissance itself. The main ambition of the Renaissance humanist was to bring the literature of the ancients back to life via the means of education. In other words, they attempted to bring the dead back to life and Orpheus serves as an embodiment of this ambition due to his ability to bring inanimate objects to life and in his journey to the underworld to rescue Eurydice. We find many different aspects of the Orpheus myth dealt with in Renaissance writing, for example Orpheus as poet, Orpheus as lover and the death of Orpheus being some of the key focal points. This paper, however, will focus specifically on the role of Orpheus as Poet as, due to the Renaissance love for art, rhetoric and eloquence, this seems to be the most popular dimension of the Orpheus myth at that time. We will see how Renaissance writers reinterpret the story of Orpheus, as originally told by Ovid and Virgil, in the “Metamorphoses” and the “Georgics” respectively, to show Orpheus as not only as being an archetypal poet but in fact the very first poet whose art is not only responsible for the civilisation of man, but also for the creation of a “Golden Age” in Renaissance England.
Źródło:
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre; 2014, 2, 1; 1-8
2353-6098
Pojawia się w:
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Owidiusz: Metamorfozy I 5-363
OVID'S METAMORPHOSES I 5-363 IN WŁADYSŁAW MĄCZKA'S TRANSLATION
Autorzy:
Mączka, Władysław
Powiązania:
https://bibliotekanauki.pl/articles/702745.pdf
Data publikacji:
2008
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
Ovid
Metamorphoses
Latin poetry
Opis:
A Polish translation of a well-known passage of Ovid’s masterpiece by an army offi cer who died in 1950. In his short introduction Juliusz Domański tries to establish some facts pertaining to the life of this forgotten personage, his wife’s uncle.
Źródło:
Meander; 2008, 63, 1-4; 129-141
0025-6285
Pojawia się w:
Meander
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Graphic illustrations of Ovid’s Metamorphoses : A selection of the most important executions
Autorzy:
Giełdoń-Paszek, Aleksandra
Powiązania:
https://bibliotekanauki.pl/articles/2138817.pdf
Data publikacji:
2022
Wydawca:
Uniwersytet Wrocławski. Instytut Historii Sztuki
Tematy:
Ovid
graphics
illustrations
the Metamorphoses
Opis:
Ovid’s Metamorphoses has inspired artists of various disciplines almost from the very moment of its creation. The poem has been the literary canvas of many paintings. It was particularly popular in the early modern period. Its numerous editions from the Middle Ages were decorated first with miniatures, and, after the invention of printing, with illustrations, made in the technique of woodcut, copperplate engraving, and etching. The composition of scenes known from the poem was based on a simultaneous and multi-thread narration and also, later, focused on one specific moment of the selected episode. The authorship of the illustrations found in early editions remains anonymous. The graphic designers of 16th c. and later editions are known by name: Jörg Wickram, Virgilio Solis, Bernard Solomon, Hendrick Goltzius, Francis Cleyn, Salomon Savery, Godfried Maes, and in the 20th c. Pablo Picasso. Ovid’s poem continues to be interpretated, as evidenced by the works of, for example, Kiki Smith and the Polish queer artist Mikolaj Sobczak.
Źródło:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2022, 64, 2; 64-79
1896-4133
Pojawia się w:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Sąd Parysa. Widowisko pantomimiczne (w relacji filozoficznego osła)
(The Judgment of Paris. A pantomimic spectacle [as related by the philosophizing ass])
Autorzy:
Wasyl, Anna Maria
Powiązania:
https://bibliotekanauki.pl/articles/1045676.pdf
Data publikacji:
2020-12-30
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Apuleius (Lucius Apuleius Madaurensis)
Apuleius’s Metamorphoses
or
the Golden Ass
book X
ancient pantomime
The Judgment of Paris
aesthetics of pantomime in Apuleius’s Metamorphoses
enargeia / evidentia in Apuleius’s Metamorphoses; scenic illusion in Apuleius’s Metamorphoses
Opis:
This paper focuses on the description of a pantomimic spectacle given by Apuleius in the 10th book of his Metamorphoses. Set in a theater in Corinth and narrated by Lucius the ass, this performance relates the story of the judgment of Paris. Lucius, as the viewer of the performance (and, from our perspective, its main teller), styles himself as an objective ‘connoisseur’ of the art of pantomime. Upon a closer look, however, one realizes that he has been absorbed by the scenic illusion and takes it for his own reality. Consequently, despite his penchant for philosophizing, he turns out to be not merely Lucius the ass, but an asinine philosopher, indeed.
Źródło:
Symbolae Philologorum Posnaniensium Graecae et Latinae; 2020, 30; 99-122
0302-7384
Pojawia się w:
Symbolae Philologorum Posnaniensium Graecae et Latinae
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Семантика и сюжетно-композиционные функции яблока и яблони в сказочном фольклоре
Autorzy:
Rzepnikowska, Iwona
Powiązania:
https://bibliotekanauki.pl/articles/2032660.pdf
Data publikacji:
2018
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
apple
apple tree
folktale
folk beliefs
folktale metamorphoses
Źródło:
Slavia Orientalis; 2018, LXVII, 1; 79-87
0037-6744
Pojawia się w:
Slavia Orientalis
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Remarks on Ovid and the Golden Age of Augustus
Uwagi o Owidiuszu i złotym wieku Augusta
Autorzy:
Łukaszewicz, Adam
Powiązania:
https://bibliotekanauki.pl/articles/1045750.pdf
Data publikacji:
2019-12-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Ovid
Augustus
golden age
exile
Metamorphoses
lurida aconita
Opis:
Publius Ovidius Naso was an outstanding poet of the Augustan age who after a period of successful activity was suddenly sent to exile without a formal judicial procedure. Ovid wrote frivolous poems but inserted into his works also the obligatory praises of Augustus. The standard explanation of his relegation to Tomis is the licentious content of his Ars Amatoria, which were believed to offend the moral principles of Augustus. However, the Ars had been published several years before the exile. The poet himself in his Pontic writings mentions an unspecified error and a carmen, pointing also to the Ars, without, however, a clear explanation of the reason for his fall. The writer of the present contribution assumes that the actual reason for the relegation of the poet without a trial were the verses of his Metamorphoses and especially the passage about the wicked stepmothers preparing poison. That could offend Livia who, according to gossip, used poison to get rid of unwanted family members. Ovid was exiled, but the matter was too delicate for a public justification of the banishment. When writing ex Ponto the poet could not explicitly refer to the actual cause of his exile.
Źródło:
Symbolae Philologorum Posnaniensium Graecae et Latinae; 2019, 29, 2; 37-56
0302-7384
Pojawia się w:
Symbolae Philologorum Posnaniensium Graecae et Latinae
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Die Metamorphosen und Anspielungen auf die Werke der deutschen Literatur (Friedrich Nietzsche und Günter Grass) im Roman von Stefan Chwin „Dolina Radości” [Freudental]
Transformations and references to German literary works (Friedrich Nietzsche and Günter Grass) in Stefan Chwin‘s novel “Dolina Radości” [Valley of Joy]
Autorzy:
Bednarska-Kociołek, Joanna
Powiązania:
https://bibliotekanauki.pl/articles/967255.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Chwin
metamorphoses
transformations
literary allusions to German literary works
Opis:
In his novel “Dolina Radości” [“Valley of Joy”] Stefan Chwin tackles the subject of metamorphoses. In this article I will talk about the issue of transformations in “Dolina radości”. The hero of the novel is a makeup-artist and that is why metamorphoses are at the center of the action. Noteworthy are also transformations connected with the most important political events and the most important places in Europe in the 20th century for example in the Polish city of Gdańsk which Chwin writes about. The events of December 1970 are described in an episode of the novel but are a very important element of the whole book. This article first presents references to German literary works (Friedrich Nietzsche, Günter Grass, Novalis) which are the part of the literature of German-Polish dialogue.
Źródło:
Acta Universitatis Lodziensis. Folia Germanica; 2014, 10; 187-203
2449-6820
Pojawia się w:
Acta Universitatis Lodziensis. Folia Germanica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
De genere dicendi deliberativo a latronibvs Apuleianis vsvrpato (Met. VI, VII )
(O doradczym rodzaju wypowiedzi zastosowanym przez rozbójników u Apulejusza (Met. VI, VII )
Autorzy:
Pezzuolo, Paulus
Powiązania:
https://bibliotekanauki.pl/articles/1046607.pdf
Data publikacji:
2016-10-27
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
robbers
greek novel
genus deliberativum
Apuleius
Metamorphoses
anti-society
comic.
Opis:
In books VI and VII of Apuleius’ Metamorphoses we find the robbers delivering some orations, which imitatethe genus deliberativum: they display sollemnity and refined elegance to such an extent, that the reader, beingaware that they proceed from the most heinous rogue’s lips, cannot but smile by himself.Composing this part of his tale, Apuleius also falls back on and re-treats some elements of the greek novel, inparticular the representation of the band of robbers like a sort of perverted state.In this article I will first show the resemblances that Apuleius’ rogue-tales share with the same places of theGreek novels’ writers, then I will continue to examine the speeches found in books VI and VII.I will demonstrate with how much elaboration Apuleius has amplified and augmented these tales, which theGreek novelists have merely outlined, for the sake of playing on extant literature, and I will clarify to whatextent we can understand this playing on literature as a parody.
Źródło:
Symbolae Philologorum Posnaniensium Graecae et Latinae; 2016, 26, 1; 123-137
0302-7384
Pojawia się w:
Symbolae Philologorum Posnaniensium Graecae et Latinae
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ambiwalencja Melancholii
Ambiguity of Melancholy
Autorzy:
Proszak, Monika
Żymełka, Anna
Powiązania:
https://bibliotekanauki.pl/articles/920086.pdf
Data publikacji:
2013-01-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Lars von Trier
Melancholy
Nietzsche
ambiguity
amor fati
metamorphoses of the spirit
Opis:
In this essay, we attempt to convey Lars von Trier’s Melancholia in the light of Friedrich Nietzsche’s philosophy, i.e., the three metamorphoses of the spirit, contained in Thus Spoke Zarathustra. Three levels of existence (the camel, lion and child) are ascribed to the main character, Justine, whose evolution can be seen during the film.In the face of the film’s intended ambiguity, we suggest treating our essay as a voice in the discussions about Trier’s movie, which has provoked plenty of different interpretations.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2013, 12, 21; 351-354
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Fotel Kraszewskiego
Kraszewski’s Armchair
Autorzy:
Rudkowska, Magdalena
Powiązania:
https://bibliotekanauki.pl/articles/2012595.pdf
Data publikacji:
2015-06-01
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
motywy akwatyczne
wyobraźnia literacka
metamorfozy
Józef Ignacy Kraszewski
aquatic motifs
literary imagination
metamorphoses
Opis:
The title “Kraszewski’s Armchair” refers to the name of the rock located in the ravine of the river Teteriv commemorating the writer’s stay in Zhytomyr, where Józef Ignacy Kraszewski would spend long hours seeking inspiration for literary and artistic work as well as rest. This thread serves as a starting point to reflect on the meanings offered by the theme of the river in abundant works of the writer: from the first poetic (Dumanie nad Horyniem, Szatan i kobieta) and prosaic attempts (Życie sieroty and other), through novels from the periods of Vilnius and Zhytomyr and theoretical works (on the landscape), and travel writings, to the notes created at the end of life. The core of reviewing some of the problems related to the forms of the writer’s literary imagination as well as world perception and feeling is the theme of metamorphoses and passing directly combined with the element of the river.
Źródło:
Prace Filologiczne. Literaturoznawstwo; 2015, 5(8); 253-269
2084-6045
2658-2503
Pojawia się w:
Prace Filologiczne. Literaturoznawstwo
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Quem dii diligunt, non semper adolescens moritur – Sybilla z Kume i jej wizerunek poprzez wieki
Quem dii diligunt, non semper adolescens moritur – the Cumaean Sybil and Her Images Through the Centuries
Autorzy:
Miazek-Męczyńska, Monika
Powiązania:
https://bibliotekanauki.pl/articles/1046774.pdf
Data publikacji:
2014-01-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
the Cumaean Sybil
reception of the Sybil myth
prophetess
Aeneas in Hades
Metamorphoses
Opis:
The text is focused on the ancient literary images of the Cumaean Sibil, one of the most known and mysterious figures of the Roman mythology. Described by Vergil and Ovid in their monumental epic poems, mentioned also by other Roman writers (like Aulus Gellius, Petronius, Silius Italicus) Sibil from Cumae became a symbol of longevity of Rome and of the Roman culture and a guarantee of its successful existence. According to the mythological tradition, Sybil’s appearance was changing during her thousand-year-long life from a resplendent beauty, who was desired by Apollo, to a flabby old woman, dreaming about her own death. In this context the Roman prophetess could be interpreted as a personification of the passing human nature, ruled by the cycle of the returning eras (the Gold Era, the Silver Era, the Bronze Era and the Iron Era). The tragedy of Sybil, who was mortal, but could not die, trapped in her weak human body, firstly inspired Roman poets. Later their poems became an inspiration for many painters (for example Salvator Rosa, Guercino, Domenichino, Jan Breughel the Elder, William Turner) who recreated the Cumaean prophetess, giving her a new silent life in the art galleries all over Europe. Their masterpieces correspond with the ancient tradition underlining her agelessness.
Źródło:
Symbolae Philologorum Posnaniensium Graecae et Latinae; 2014, 24, 2; 179-191
0302-7384
Pojawia się w:
Symbolae Philologorum Posnaniensium Graecae et Latinae
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
L’Ovide moralisé du XIVe siècle : mort ou renaissance des „Métamorphoses” d’Ovide ?
The "Ovide Moralisé" from the 14th Century: Death or Renaissance of Ovid’s "Métamorphoses"?
Czternastowieczny „Ovide moralisé” – śmierć czy odrodzenie „Przemian” Owidiusza?
Autorzy:
Possamaï-Pérez, Marylène
Powiązania:
https://bibliotekanauki.pl/articles/966669.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Ovid’s "Metamorphoses"
"Ovide moralisé"
translation
interpretation
„przemiany” owidiusza
„ovide moralisé”
tłumaczenie
interpretacja
Opis:
The “Ovide moralisé”, anonymous poem from the beginning of the 14th century, is the first complete translation in vernacular language of Ovid’s “Metamorphoses”: in this sense, this text resurrects the ovidian poem, gives it life for all the lay people who did not read the latin. But this translation is for its author as the pretext for another rewrite, thematic and axiological transposition. Moreover, the “translator” often bends his source text to make it more consistent with interpretation (especially the “Christian” one) he intends to give it in a second time: can we then consider that this vernacular version makes disappear the latin poem, to replace it with another text? In fact the moralist is fascinated by his hypotexte and the phenomenon of metamorphosis: most often, he is faithful to the ovidian poetry, he describes metamorphosis in its conduct, in specifying the steps. We can say that during the 14th and 15th centuries at least, the “Ovide moralisé” gives life to the ovidian “carmen perpetuum”. In invigorating breath of the Christian spirit, the author of the “Ovide moralisé” metamorphosed Ovid’s poem, certainly, but saved it from death.
„Ovide moralisé”, anonimowy poemat z początków XIV wieku, jest pierwszym kompletnym tłumaczeniem „Przemian” Owidiusza w języku wernakularnym. Tekst ten wskrzesza zatem utwór Owidiusza, czyni go żywym dla wszystkich ludzi świeckich, którzy nie potrafili czytać łaciny. Tłumaczenie owo stanowi jednak dla autora pretekst do kolejnej przeróbki, tematycznej i aksjologicznej transpozycji. Ponadto, „tłumacz” często modyfikuje tekst źródłowy, aby bardziej dopasować go do interpretacji (zwłaszcza tej „chrześcijańskiej”), którą zamierza mu nadać. Czy możemy wobec tego uznać, że ta wernakularna wersja wypiera łaciński poemat, by zastąpić go innym tekstem? De facto moralista jest zafascynowany hipotekstem i zjawiskiem metamorfozy; zwykle pozostaje wierny poezji Owidiańskiej, opisuje proces przemiany, wyszczególniając jego etapy. Rzec można, iż „Ovide moralisé”, przynajmniej w XIV i XV wieku, daje życie „carmen perpetuum” Owidiusza. Autor dzieła, tworząc w pokrzepiającym duchu chrześcijańskim, z pewnością dokonał metamorfozy Owidiańskiego poematu, lecz ocalił go tym samym od zapomnienia.
Źródło:
Acta Universitatis Lodziensis. Folia Litteraria Romanica; 2014, 009
1505-9065
2449-8831
Pojawia się w:
Acta Universitatis Lodziensis. Folia Litteraria Romanica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ikonograficzne metamorfozy „złotych” mitów w malarstwie europejskim od piętnastego do siedemnastego wieku
Iconographic Metamorphoses of Golden Myths in European Painting from the Fifteenth to the Seventeenth Century
Les métamorphoses iconographiques des mythes sur l’or dans la peinture européenne du XVe au XVIIe siècle
Autorzy:
Kościan, Klaudia
Powiązania:
https://bibliotekanauki.pl/articles/31339710.pdf
Data publikacji:
2022
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
mythe
couleur
or
peinture
métamorphoses
iconographie
variantes
sources
myths
colour
gold
painting
metamorphosis
iconography
Opis:
Dans cet article nous avons sélectionné et analysé les mythes grecs en rapport avec le motif de l’or, qu’il apparaisse comme objet principal de la narration ou comme attribut des personnages. Tout d’abord, nous avons identifié les sources littéraires anciennes avant de faire état de l’iconologie développée dans l’Europe moderne en nous appuyant sur la littérature encyclopédique, les recueils de symboles et d’hiéroglyphes. Ensuite, nous nous sommes concentrées sur quelques œuvres picturales de maîtres italiens, français et flamands des XVe et XVIIe siècles dans lesquelles l’or figure comme symbole d’hybris, de victoire et de désir. Enfin, nous avons essayé de répondre à la question de la symbolique de l’or. L’or et sa couleur sont ainsi au centre de nos réflexions non seulement en raison du statut de ce métal dans la culture antique, mais aussi en raison de la métamorphose de ses significations symboliques dans l’Europe moderne.
In this paper we analysed the Greek myths exclusively in terms of presence of the motifs of gold, both as the main narrative thread, and as an attribute of the selected characters. Firstly, we found the sources of inspiration for the painters, which came not only from the ancient literary tradition, but most of all from the modern encyclopaedic sources, as well as compendiums of symbols and hieroglyphs. Secondly, we analysed several selected paintings of Italian, French and Dutch masters ranging from fifteenth to seventeenth century for gold as a symbol of the hybris, victory and desire. Finally, we answered to the question of what the diversity of gold symbolism consisted. The gold ant its colour is therefore the essence of considerations, not only because of the gold’s status in the old culture, but also because of the metamorphosis of its symbolic meanings in modern Europe.
Źródło:
Acta Universitatis Lodziensis. Folia Litteraria Romanica; 2022, 17, 2; 243-260
1505-9065
2449-8831
Pojawia się w:
Acta Universitatis Lodziensis. Folia Litteraria Romanica
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 21

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