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    Wyświetlanie 1-6 z 6
    Tytuł:
    „Chrystus jest Aqua” – metafory chrystologiczne w poezji Symeona z Połocka
    „Christ is the Aqua” – The Figure of Christ in the Metaphorical World of the Poetry of Symeon of Polotsk
    Autorzy:
    Kozak, Barbara
    Powiązania:
    https://bibliotekanauki.pl/articles/444266.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Warmińsko-Mazurski w Olsztynie
    Tematy:
    Symeon of Polotsk
    baroque
    metaphysical poetry
    metaphor
    metaphorization
    Opis:
    Metaphor is universally manifest in every language past and present and conspicuously embedded in the system of human cognition. We can assert that it plays the central role in the process of exploration and familiarization of the world. As such, metaphor is also one of the most interesting and complex means of poetic expression. Metaphor confronts concepts and objects belonging to different orders to bring a complex reality to the human dimensions, filtering and conditioning the world to his or her mindset and mental capacities. As a tool of exploration and habituation of the world metaphor is deeply rooted in human imagination and reflects the values of a community. It transforms incomprehensible ideas – including scientific or metaphysical abstracts but also such concepts as time or love – into familiar shapes and formulas. This paper presents and reviews the process of metaphorization of Christ in the poetry of Symeon of Polotsk. That Polish-Russian poet took profusely from the riches of the Baroque to create such masterpieces as poems Chrystus Aqua, Kamień, Chleb, Kwiat, Dweri, Król, Żywot, Męka, Śmierć – to name only those discussed in this paper. The poems selected by the author form a particularly interesting continuum of visions entirely built around metaphors which constitute and organize poetic expressions.
    Źródło:
    Acta Neophilologica; 2013, XV/2; 129-137
    1509-1619
    Pojawia się w:
    Acta Neophilologica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    KIM JEST AMFINOGEN KRYŻANOWSKI – TAJEMNICZY MNICH Z SATYRY SYMEONA Z POŁOCKA
    Autorzy:
    Kozak, Barbara
    Powiązania:
    https://bibliotekanauki.pl/articles/444397.pdf
    Data publikacji:
    2019-06-01
    Wydawca:
    Uniwersytet Warmińsko-Mazurski w Olsztynie
    Tematy:
    Symeon of Polotsk
    baroque poetry
    satire
    mockery
    wicked behaviour
    nefarious ways
    Opis:
    Amfinogen Kryżanowski – the mysterious monk in the satire by Symeon of Polotsk
    Źródło:
    Acta Neophilologica; 2019, XXI/1; 69-79
    1509-1619
    Pojawia się w:
    Acta Neophilologica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    POEZJA PASYJNA SYMEONA Z POŁOCKA
    Passion Poetry by Symeon of Polotsk
    Autorzy:
    Kozak, Barbara
    Powiązania:
    https://bibliotekanauki.pl/articles/444434.pdf
    Data publikacji:
    2011-12-01
    Wydawca:
    Uniwersytet Warmińsko-Mazurski w Olsztynie
    Tematy:
    passion poetry,
    baroque poetry,
    symbolism,
    Christ’s suffering, Symeon of Polotsk
    Opis:
    Passion poetry plays an important part in the early creative work of Symeon of Polotsk. Visions of Christ’s suffering sparkle in his poems with baroque ornaments - sophisticated symbo- lism and exquisite metaphors structured on contrast. Describing last hours of Christ before the crucifixion, Symeon does not run from vivid, naturalist imagery, full of cruelty and pain. The suffering does not belittle Jesus, on the contrary, in the eyes of Symeon it makes Him more powerful, the true Lord of all creation. The most characteristic for this series of poems is their emotional flavour. Symeon is very personal in these works. He does not scare from using a strong, graphic language that should engage all senses of the reader, even bring him/her to tears. Filled with imagery, the passion poetry of Symeon is designed to resonate with the inner world of the reader and induce mystical experiences. To that end Symeon uses the brutality of Christ’s suffering and other sophisticated literary concepts.
    Źródło:
    Acta Neophilologica; 2011, XIII; 177-187
    1509-1619
    Pojawia się w:
    Acta Neophilologica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Decyma barokowych przekładów pieśni o marności świata (inc.: „Cur mundus militat sub vana gloria”). Studium źródłoznawcze
    The Decima of Baroque Translations of Songs about the Vanities of this World (Inc.: “Cur mundus militat sub vana Gloria”): A Study of Sources
    Autorzy:
    Grześkowiak, Radosław
    Powiązania:
    https://bibliotekanauki.pl/articles/1790941.pdf
    Data publikacji:
    2021-02-11
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    marność świata
    Jacopone da Todi
    Jan Libicki
    Symeon z Połocka
    Wespazjan Kochowski
    vanity of the world
    Symeon of Polotsk
    Opis:
    Artykuł zawiera edycję dziesięciu przekładów hymnu o inc.: „Cur mundus militat sub vana gloria”, przypisywanego Jacopone da Todi (ok. 1236-1306), które powstały w latach 1647-1747. Ich autorami są Jan Libicki (zm. 1670), Symeon z Połocka (1629-1680), Wespazjan Kochowski (1633-1700) oraz twórcy anonimowi.
    This article contains the edition of ten Polish translations of a hymn about the vanity of the world, attributed to Jacopone da Todi (c. 1236-1306), and which were written in the years 1647-1747. Their authors were Jan Libicki (d. 1670), Symeon of Polotsk (1629-1680), Wespazjan Kochowski (1633-1700) and various anonymous poets.
    Źródło:
    Roczniki Humanistyczne; 2021, 69, 1; 101-123
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Барочные отзвуки классицизма: Михаил Ломоносов, Гавриил Державин и Симеон Полоцкий
    Baroque Traits in Russian Neoclassicism: Mikhail Lomonosov, Gavriil Derzhavin, and Symeon of Polotsk
    Autorzy:
    Прохоров, Георгий
    Powiązania:
    https://bibliotekanauki.pl/articles/22446706.pdf
    Data publikacji:
    2022
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    барокко
    классицизм
    литературная традиция
    Михаил Ломоносов
    Гавриил Державин
    Симеон Полоцкий
    Baroque
    Neoclassicism
    literary tradition
    Mikhail Lomonosov
    Gavriil Derzhavin
    Symeon of Polotsk
    Opis:
    В центре статьи – эволюция топосов, пришедших в русскую поэзию в эпоху барокко. Автор полемизирует с традиционным для России отношением к барокко как в явлению периферийному и чуждому русской культуре – скорее буферу между традиционным древнерусским и новым искусством, рожденным реформами Петра I и ориентированным на европейские образцы. Акцентируется риторическая природа русского классицизма, при котором античные мотивы и аллюзии – исключительно речевые формулы, введенные скорее как дань моде, притом что Россия никогда не была страной античной цивилизации. Соответственно, под этими формулами продолжает жить русская литературная традиция, а русский классицизм несет в себе отчетливые черты русского барокко. В статье сопоставляются произведения Симеона Полоцкого, Михаила Ломоносова, Гавриила Державина и вскрывается преемственность, выраженная общностью сюжетной ситуации и обращением к общему набору мотивов. Барочные элементы, вошедшие в русскую литературу при посредничестве Симеона Полоцкого, продолжают функционировать внутри духовной поэзии классицизма. Потому лирический герой Ломоносова парадоксально испытывает скепсис по поводу способности человеческого разума познавать и осмыслять природу; восхищается сверхъизбыточностью и непознаваемостью мироздания. В более поздней поэзии (ода Бог Гавриила Державина) пришедшая из барокко топика выражает переживания, характерные для мироощущения предромантизма. Мир предстает объектом, предназначенным для переживания индивидуальной личностью, зоной диалога между Творцом и человеком.
    In this article, I trace some effects produced by Baroque on the Russian poetry and question the traditional attitude to the cultural epoch as to somewhat occasional and uninfluential; a mere buffer between the traditional Old Russian art and Russian Neoclassicism introduced by Peter the Great’s reforms oriented towards new European norms. In contrast to the vision, I put an emphasis on the genuine, rhetoric nature of the Neoclassicism. Russia has never been a country of the classical antiquity; thus, Russian poets use classical motifs solely and exclusively as popular verbal cliches. Beneath the new formulas, poets continue the Russian literary tradition; Russian Neoclassicism is shaped by the Baroque. I compare works by Symeon of Polotsk, Mikail Lomonosov, and Gavriil Derzhavin in order to explore a poetic tradition manifested by a shared plot and a set of motifs. Influenced by Symeon of Polotsk, Russian Neoclassicism continues to use baroque elements. Namely, the protagonists of Lomonosov are sceptical about the capabilities of the human mind to interpret nature. Quite opposite, they are admired by superabundance and the omnipresent mysteries of the Universe. In later poetry, such as Derzhvine’s ode titled “God”, the baroque vision is linked with Pre-Romanticism. There, an individual appears as someone who is able to have a sensual experience of the Universe and interact with it. The world turns into an area of dialogue and spiritual interaction between the Creator and the Human.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2022, 15; 251-262
    1427-9681
    2353-4834
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Poetic reception of the illustrations to the “Triumphs of Petrarch” (late 17th and 18th century)
    Poetycka recepcja rycin do „Tryumfów” Petrarki (druga połowa XVII i XVIII wiek)
    Autorzy:
    Grześkowiak, Radosław
    Powiązania:
    https://bibliotekanauki.pl/articles/2089370.pdf
    Data publikacji:
    2019
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Poetry and graphic art
    Petrarch
    "The Triumphs"
    emblem epigrams
    Polish poetry of the 17th and 18th century
    Symeon of Polotsk (1629–1689)
    Wespazjan Kochowski (1633–1700)
    Franciszek Dionizy Kniaźnin (1750–1807)
    Franciszek Karpiński (1741–1825)
    Francesco Petrarca
    Symeon z Połocka
    Wespazjan Kochowski
    Franciszek Dionizy Kniaźnin
    Franciszek Karpiński
    Tryumfy
    wiersze na ryciny
    Opis:
    The Triumphs (Triumphi) by Petrarch is a series of six poems honouring the allegorical figures of Love, Chastity, Death, Fame, Time and Eternity, who vanquish each other in turn. The Italian poem sequence was virtually unknown in Poland (although a Polish translation of The Triumph of Love appeared c. 1630, only few readers would have read it as it was circulated exclusively in a small number of hand-made copies). The illustrations, however, caught the eye of the printers and became immediately popular. They depicted each of the victorious figures riding on triumphal chariot, followed by procession of captives. This article examines the Polish verses inspired by the illustrations rather than the text of the Trionfi i.e. written in the course of the late 17th and 18th century. The author of the most remarkable poetic response to the pictorial representations of Petrarch's Triumphs was Samuil Gavrilovich Piotrowski-Sitnianowicz (aka Symeon of Polotsk). As a student of the Academy of Wilno, he came across an emblem book with copperplate engravings of the Triumphs designed by Maarten van Heemskerck in 1565. His Polish verses (composed c. 1650–1653) follow loosely the Latin epigrams (subscriptiones) by Hadrianus Junius (Adriaen de Jonghe). Symeon of Polotsk was the first Polish-language author whose verses reflected in extenso the pictorial representation of the Triumphs (before him verses inspired by Petrarch's allegories had been written by Mikołaj Rej, Maciej Stryjkowski and Stanisław Witkowski). Wespazjan Kochowski's volume of miscellaneous pieces in verse published in 1674 includes an epigrammatic poem The Triumph of Love, inspired by Plate One of the Triumphs. However, Kochowski's description suggests that he must have seen an engraving showing Cupid's victims under his feet. That iconographic variant appears, among other, in the woodcuts of Bernard Salomon (1547) and the copperplates designed by one of van Heemskerck's pupils (mid-16th century) or Matthäus Greuter (1596). The following two poems were written about a century later. In 1779 Franciszek Dionizy Kniaźnin published in his second volume of Erotyki [Erotic poems] a song called The Triumph of Love. Its scenic arrangement, inspired by the illustrations of Petrarch's first Triumphus, is adapted to present twenty-one pairs of suitors. The description is stylized in conformity with the current Rococo manner and spiced up with touches of parody. A similar treatment of this subject can be found in some 17th-century paintings, for example in the Triumph of Love by Frans Francken the Younger, or an identically titled picture by the Italian Baroque artist Mattia Preti. The other poem, On the picture of the 'Triumph of Death', can be found in Franciszek Karpiński's Zabawki wierszem i przykłady obyczajne [Diversions in Verse and Moral Exemplars] published in 1780. It names eleven preeminent ancient conquerors and rulers, all cut down by Death personified by a scythe-wielding skeleton. Karpiński's description was no doubt inspired by a copperplate engraving produced by Silvestro Pomarede and designed about 1748–1750 by Gianantonio Buti after Bonifacio de' Pitati. In each of the two prints most of the figures on the ground round the chariot are identified by name. It may also be noted that Karpiński rounds of his poem with two stanzas evoking the last plate in the cycle, The Triumph of Eternity.
    Źródło:
    Ruch Literacki; 2019, 5; 493-510
    0035-9602
    Pojawia się w:
    Ruch Literacki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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