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Tytuł:
Nationalisme et littérature au cours de la renaissance acadienne (1864-J930). Voix discordantes
Nationalism and literature during the Acadian renaissance (1864-1930). Discordant voices
Autorzy:
Guérin, Pierre M.
Powiązania:
https://bibliotekanauki.pl/articles/1052666.pdf
Data publikacji:
2017-12-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Acadian renaissance
Opis:
This article examines a key event in the literary history of the Acadian renaissance (1864-1930), the founding of newspapers. Our study deals specifically with the status given to literary works in newspapers. In sequence, we will look at Marichette's Lettres (1895-1898) published in L'Évangéline, the novel Placide, l'homme mystérieux by Paul (1904-906) published in L'Impartial and the play « Subercase » (1902, 1936) published in Le Moniteur acadien
Źródło:
Studia Romanica Posnaniensia; 2008, 35; 3-13
0137-2475
2084-4158
Pojawia się w:
Studia Romanica Posnaniensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
“The Words of My Mouth Shall They Be, Yet the Will of the Greeks”. A Representation of the “Diplomatic Mission” in Act III of Troas by Łukasz Górnicki
Autorzy:
Bajer, Michał
Powiązania:
https://bibliotekanauki.pl/articles/953867.pdf
Data publikacji:
2016
Wydawca:
Polska Akademia Nauk. Instytut Historii im. Tadeusza Manteuffla PAN w Warszawie
Tematy:
Łukasz Górnicki
Renaissance
diplomacy
Renaissance tragedy
Stoicism
Humanism
Opis:
The study is an analysis and interpretation of a scene from Łukasz Górnicki’s tragedy Troas (1589), a translation of Seneca’s Troades. A comparison to the original as well as the description of changes introduced by the translator serve to capture a special phenomenon of emphasising the analogy between Ulysses’s and a diplomat’s activity. Starting with the main character’s first line, the words: “durae minister sortis” were translated as “Ja, co poselstwo niosę”. The analysis of this issue shows that the role of Ulysses (who does not negotiate with a representative of a sovereign country, but with a captive woman) cannot be equated with the role of an ambassador. Conversely, it combines in itself the features characteristic of diplomatic staff of various ranks, including characters operating on the edge of the law. The consilium ascribed to Ulysses enables to explore the secret of Andromacha by observing physical symptoms of emotions. This makes it possible for Górnicki to define the main character’s ingenuity as “dowcip odwrócony na nice” which, irrespective of Seneca’s original, refers to the terminology used earlier in Dworzanin polski, where dowcip (wit) is the equivalent of ingegno. Among the ethical elements of Ulysses’s speeches one should name, above all, his desire to convince Andromacha to accept the Greek’s line of argumentation. This, in turn, provides good framework for parallelism with the New Testament (Lk 2:35). The last part of the work, devoted to pathos, addresses the problem of a mismatch between the role of Ulysses and diplomacy codes in Górnicki’s times. The main character does not limit himself to conducting well thought-out negotiations, but he also uses direct violence. Similar dissonance in character construction seems to make the representation of diplomatic practices in Górnicki’s translation a problematic task, given the socio-political tensions in Europe in the second half of sixteenth century.
Źródło:
Odrodzenie i Reformacja w Polsce; 2016, 60
0029-8514
Pojawia się w:
Odrodzenie i Reformacja w Polsce
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:
Lekcje anatomii w obrazach mistrzów holenderskich epoki Renesansu
Anatomy lessons in the paintings by the Dutch artists of the Renaissance
Autorzy:
Wilemska, Katarzyna
Kidzińska, Małgorzata
Kucharzewski, Marek
Powiązania:
https://bibliotekanauki.pl/articles/1038388.pdf
Data publikacji:
2011
Wydawca:
Śląski Uniwersytet Medyczny w Katowicach
Tematy:
Renaissance
anatomy
paintings
Opis:
Needless to say, medical topics have always aroused a great interest among various artists. What is more, a great number of art works has been preserved, which undoubtedly contributes to the enrichment of our knowledge about doctors working in the previous centuries. Moreover, in the Renaissance, one could easily notice the thriving development of paintings, presenting ordinary scenes from everyday life, which was started mainly by the Dutch. Furthermore, among frequent topics undertaken by famous artists we can diff erentiate the ones that presented surgeries and autopsies. In the given article we will discuss the paintings presenting the anatomy lessons by Pietersz, Pickenoy, van Mierveld, Rembrandt, and van Neck, since the analysis of given works provides a great source of information about the doctors living in these times.
Od wielu stuleci malarze interesowali się tematyką medyczną. Do naszych czasów zachowało się wiele dzieł sztuki, które wzbogacają naszą wiedzę o lekarzach z minionych wieków. W epoce renesansu rozpoczął się bujny rozkwit malarstwa rodzajowego, który zapoczątkowali Holendrzy. Do częstych tematów malarskich sławnych mistrzów należały m.in. sceny rodzajowe przedstawiające zabiegi chirurgiczne czy sekcje. W pracy zostały omówione obrazy przedstawiające lekcje anatomii Pietersza, Pickenoya, van Miervelda, Rembrandta, van Necka. Analizując te dzieła wiele możemy się dowiedzieć o żyjących wówczas lekarzach.
Źródło:
Annales Academiae Medicae Silesiensis; 2011, 65, 3; 71-76
1734-025X
Pojawia się w:
Annales Academiae Medicae Silesiensis
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:
The Poetics of Phantasia: Some Remarks on the Renaissance Concepts of Imagination and “Fantastic Imitation”
Autorzy:
Niebelska-Rajca, Barbara
Powiązania:
https://bibliotekanauki.pl/articles/579051.pdf
Data publikacji:
2018
Wydawca:
Łódzkie Towarzystwo Naukowe
Tematy:
phantasia
imagination
fantastic imitation
Renaissance poetics
Renaissance aesthetics
Jacopo Mazzoni
Opis:
According to the traditional view, the notion of imagination in early modern aesthetics was a rather marginal and subsidiary concept within the classical doctrine of mimesis dominated by rules and reason. The present paper raises some doubts about this well-established opinion. It argues that even if imagination in early modern aesthetics did not play as prominent role as in Romantic poetics, the concept had significant relevance. It presents one important episode from the Renaissance debate on imagination, which arose from the sixteenth century literary quarrel over the artistic quality and the uncertain genre of Dante’s Commedia. Its main distinctive category was “fantastic imitation” — a concept derived from Plato, yet misunderstood and thus transformed.
Źródło:
Zagadnienia Rodzajów Literackich; 2018, 61, 1(125); 37-51
0084-4446
Pojawia się w:
Zagadnienia Rodzajów Literackich
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Dialogue sur le mariage, dialogue dans le mariage. Sur le troisième livre de la Civil Conversatione de Stefano Guazzo
Dialogue on Marriage, Dialogue in the Marriage. On the third book of Civil Conversatione by Stefano Guazzo
Autorzy:
Dimke-Kamola, Joanna
Powiązania:
https://bibliotekanauki.pl/articles/1050645.pdf
Data publikacji:
2015-12-11
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Stefano Guazzo
Renaissance Marriage
Renaissance Family
Rules of Communication
Conversation
Opis:
The starting point for this study of the marriage according to Guazzo is the notion of conversation in its original meaning, as living together. The treaty of Guazzo (1574) develops the concept of « civil conversazione » in which men exchange their opinions, but especially support each other and show mutual respect and amiability, which avoids conflicts. The study shows the analogies between such ideal of communication and Guazzo’s vision of the marriage – both envisaged in the humanistic and Christian perspectives: as foundations of society and means of mutual edification. Guazzo’s discourse concerning conversation of the spouses oscillates between the necessity of accomodation to the spouse (related to concealment) and sincerity. Given the complexity of codes that characterize other types of communication, « marital conversazione » is presented as the closest to the ideal of transparency.
Źródło:
Studia Romanica Posnaniensia; 2015, 42, 3; 79-96
0137-2475
2084-4158
Pojawia się w:
Studia Romanica Posnaniensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Astrologiczne i humoralne uwarunkowania wyglądu ciała ludzkiego. Johannesa ab Indagine Introductiones apotelesmaticae in Chyromantiam, Physiognomiam, Astrologiam Naturalem complexiones hominum naturas planetarum (1522) na tle kultury umysłowej renesansu
Human body in the astrological and humoral context. Johannes ab Indagine Introductiones apotelesmaticae in Chyromantiam, Physiognomiam, Astrologiam Naturalem complexiones hominum naturas planetarum (1522) in the light of intellectual culture of the Renaissance
Autorzy:
Raubo, Agnieszka
Powiązania:
https://bibliotekanauki.pl/articles/1041684.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Renaissance
physiognomy
astrology
chiromancy
Opis:
This article describes the impact of humoral theory and astrology on the description of human body in four types of temperaments (choleric, phlegmatic, sanguine and melancholic) in the Renaissance writings. The most important of them is an antique book entitled Introductiones apotelesmaticae in Chyromantiam, Physiognomiam, Astrologiam Naturalem complexiones hominum naturas planetarum  written by Johannes Indagine and printed in 1522. Other books from this period are: Enchiridion Physiognomiae co[m] pe[n]diosu[m]: cu[m] figuris facieru[m]  (1532) by Simonenide Louicz, Problemata Aristotelis. Gadki… o składności członk.w człowieczych  (1535) by Andrzej Glaber, Phisionomia hinc inde ex illustribus scriptoribus… recollecta (1518) by Johann von Glogau. The article describes the humoral theory of diseses, which roots were created by Hippocrates and Galen, and the doctrine of the four humors dominated Medieval and Renaissance medicine. This theory held that in the body there are four humors or bodily fluids (moists) held the secret to temperaments. These humors were: blood, yellow bile, black bile and phlegm. A proper domination of each fluid was a cause of characteristic patterns of appropriate temperament: melancholic, sanguine, choleric and phlegmatic. The theory of four temperaments was also intrinsically tied to astrology, beginning with a natal birth chart interpretations to the impact of diffrent planets (Zodiac) on the organs in human body. Astrology was also helpful in the interpretation of temperaments (personality types) with their connection to the picture of human face, which was analyzed by the medieval physiognomy and also to physical appearance: shape of the body, colour of the skin, musculature and hair. The article also describes the correlations connecting the theory of four humors with birth (natal) charts and looking which planet has the impact on each temperament and human body, with negative or positive domination of diffrent character qualities. And finally, there is a detailed reconstruction of physiognomic types of human types of four temperaments, based on the book from 1522 Introductiones apotelesmaticae in Chyromantiam, Physiognomiam, Astrologiam Naturalem complexiones hominum naturas planetarum  by Indagine. The author discusses a planet’s positions and conjunctions with other planets in horoscope and their impact on temperament, physical posture, character traits, with some medical comments.
Źródło:
Poznańskie Studia Polonistyczne. Seria Literacka; 2017, 31; 89-128
1233-8680
2450-4947
Pojawia się w:
Poznańskie Studia Polonistyczne. Seria Literacka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Marsilio Ficino i Platoński Charmides
Autorzy:
Piotrowska, Paulina
Powiązania:
https://bibliotekanauki.pl/articles/636255.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
Tematy:
Marsilio Ficino, temperantia, Renaissance neoplatonism
Opis:
Marsilio Ficino and Plato’s Charmides The following article, devoted to Ficino’s interpretation of Plato’s Charmides, consists of two parts. The first one is an introduction to Ficino’s comment. It brings up Ficino’s stylistics and the place of Charmides among the Plato’s dialogues. It seems that the decision to translate the works of Plato was not accidental. Th e philosopher’s views on governance perfectly justified the strong power of Cosimo de’ Medici in Florence. Poliziano praised his rule in his own preface to Charmides. Charmides, in turn, is an interesting dialogue because it was followed by Ficino’s censorship where the philosopher tackles Plato’s homoerotic fascinations. Th e translator, so honest and conscientious in other translations, this time decides to pare down the content of the dialogue. However, a comment written by him becomes a valuable compensation for these shortcomings. Ficino’s main philosophical notions (above all the prisca theologia doctrine) bloom in every passage of the paper. The author interweaves the wisdom of Arab mystics with the wisdom of ancient Greek mystics in order to reconcile these thoughts with the Christian revelation. Particularly interesting is the psychosomatic approach to human nature, that is the interdependence of the health of body and soul. As by the means of sophrosyne full harmony is to be discovered between them, we can even reach immortality. We are like Adam Kadmon, who, though imperfect, can improve his own and the world’s nature. The second part of the paper is a translation of Ficino’s synopsis of the dialogue, in which the author explains what can be understood under the term sophrosyne. Temperance needs to be instilled into a man’s mind early, as early as the patient is given medication. It should be given especially to young people, to those from noble families and to the beautiful. Physical beauty, in particular, hinders striking the right balance but, on the other hand, it can also stimulate insight into the beauty of the soul. The form allows us to explore the idea. When the violent desires are tamed, it is easier to balance all other activities. Th at is the reason why “moderation is best”, as Cleobulos of Lindos would say. When both the soul and body are healed, we achieve a harmonious consonance. In the spirit of this harmony, Pythagorean magical practices agree with the thoughts of Avicenna and Hippocrates’s medical practice to end up with the mysteries of Moses. That is what they have achieved – Enoch, Elijah and St. John the Evangelist. Enriched with necessary footnotes, the translation seems to represent an important example of Italian Renaissance interpretation of Platonic thought.
Źródło:
Terminus; 2013, 15, 1(26)
2084-3844
Pojawia się w:
Terminus
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-10 z 312

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