Wyniki wyszukiwania - Biblioteka Nauki

1

Chrystocentryzm alegorii chrześcijańskiej w starożytnej hermeneutyce biblijnej

100%

Paciorek A.

The Biblical Annals

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1997

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tom 44

|

nr 1

29-42

PL

Der Aufsatz betrifft die in dem Altertum von christlichen und nichtchristlichen Autoren benutzte Allegorie. Die christliche Allegorie ist aber gar nicht dieselbe wie bei den anderen (heidniche Philosophie, Philo). De Unterschied besteht in Annahme der Historizität der betreffenden Aussagen, vor allem der in der Annahme der entscheidenden Bedeutung Christi für das Verstehen der ganzen alttestamentlichen Geschichte. Im Horizont der Hermeneutikprinzipien von Origenes ist das besonders überzeugend. Eben diese Hermenutikprinzipien lassen verstehen, wie weit die allegorische Interpretation in der Gesamtheit der alexandrinischen Exegese eingebaut ist.

2

Przed bramą. Od alegorii do katachrezy

100%

Kunz T. , Uniwersytet Jagielloński W. P. , tomasz.kunz@uj.edu.pl

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

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2012

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tom 01

EN

The allegorical story entitled At the Gate, which appeared as the eighth chapter of Elizabeth Costello, a novel by John M. Coetzee, ostentatiously alludes to the famous parable by Franz Kafka, Before the Law. Deconstructing an allegory with its own devices, Coetzee points to the need to replace allegorical reading, transform vague narrative meanings into unambiguous ideological senses, with interpretation, which always has to negotiate between the rule of the Law and the idiomatic singular voice, since both of them — the Law, as well as the narrative — are equally necessary to make interpretation possible. Rhetorically, it means replacing a readable allegory with a catachresis, which, by its ambiguous and intermediate status, eludes the opposition of the original and the figurative, situating itself into the borderland between them. Thus, it is a catachresis which becomes a figure of literature, which cannot make unambiguous ideological choices, but at the same time it cannot avoid them, if it is to hold any existential value.

3

Totalność i dekonstrukcja. Kilka uwag o symbolu i alegorii

88%

Warchala M.

Stan Rzeczy

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2015

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nr 1(8)

288-305

PL

"Celem artykułu jest pokazanie kilku historycznych odsłon „sporu” między symbolem a alegorią, który po raz pierwszy pojawia się w okresie oświecenia. Wychodząc od krytyki oświeceniowego i romantycznego pojęcia symbolu dokonanej przez Waltera Benjamina w jego książce o barokowym dramacie żałobnym, pokazuję następnie, w jaki sposób zrehabilitowana przez niego przy tej okazji alegoria zaczyna odgrywać kluczową rolę w dekonstrukcji Paula de Mana. Dla tego ostatniego staje się ona interpretacyjnym narzędziem, które podważa uświęconą przez romantyków totalność znaczenia i odsłania przewrotne gry języka z samym sobą. Inny epizod tego sporu rozgrywa się w psychoanalizie Freuda, gdzie idiosynkratyczność „alegorycznego” sensu generowanego przez aparat psychiczny w formie marzeń sennych czy scenariuszy pragnienia wchodzi w konflikt z uniwersalnym sensem kulturowych symboli, przenikających do psychicznych wytworów."

EN

"The purpose of the paper is to examine some episodes from the historical „controversy” between symbol and allegory triggered in the period of Enlightenment. My starting point being Walter Benjamin’s critique of the Enlightenment and Romantic conception of symbol in his book on German Trauerspiel I attempt to show how the notion of allegory put into new use by Benjamin becomes the key concept of Paul de Man’s deconstruction. De Man makes it into an interpretative tool which undermines the totality of meaning while uncovering the subtle and games language plays with itself. The other episode of that controversy is Freud’s psychoanalysis featuring the opposition between „allegorical”, idiomatic meaning of dreams or other phantasmatic scenarios and the universal meaning of cultural symbols that find their place in psychic artefacts."

4

Patrystyczna egzegeza alegoryczna - użycie czy nadużycie tekstu biblijnego?

75%

Bardski K.

Vox Patrum

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2003

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tom 44

49-64

EN

The interpretation of the Bibie throughout the centuries followed a twofoid way: it consisted either in the research of the literate meaning connected with the intention of the author and the historical-cultural environment of the text, either in the more-the-literal creative development of ideas associated with the literary motives of the text. The first kind of interpretation is considered fundamental for the biblical studies and makes use of the historical-critical method. The second one constitutes a very important stream in the tradition of the Church but has been scarcely analyzed from the point of view of the biblical studies.

5

Alegoria w czeskiej powieści historycznej lat 60. XX wieku (Václav Kaplický „Kladivo na čarodějnice” i Jiri Šotola „Tovaryšstvo Jezišovo”)

75%

Królak J.

Prace Filologiczne. Literaturoznawstwo

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2017

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nr 7(10)

219-230

EN

The article concerns the problem of allegory in two Czech historical novels from the beginning and the end of the 60s of the twentieth century: Kladivo na čarodějnice by Václav Kaplický and Tovaryšstvo ježišovo by Jiři Šotola. Both novels are also considered to be important political ‘clearing accounts’ novels. Application of allegory as a method of reception allows us to answer the question about the participation of the reader in the setting up of allegory in the Czech prose of the twentieth century .

6

O alegorii jako warunku arcydzielności epickiej

75%

Czechowicz A.

Prace Filologiczne. Literaturoznawstwo

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2017

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nr 7(10)

175-188

EN

This article concerns the potential of figurative meaning in heroic poems as well as the links between epic mimesis and allegorical interpretation. It also deals with an early modern idea of a literary masterpiece and its standards. As an outstanding work, a poem should be attractive for both trained and less advanced readers, those who are capable to grasp intellectually each level of the text, and those who simply want to enjoy poetry as a source of pleasure and otium. The analysis of Alegoria del poema by Torquato Tasso and De perfecta poesi by Maciej Kazimierz Sarbiewski proves that in the early modern period the idea of figurative meaning of epic poems was still widely recognized. This multidimensional semantic structure, conceptualized by writers and critics, combines both didactic and the ‘pleasure-giving’ aspect of a poem as well as makes the epic plot a vivid actualization of moral beauty, and thus influences a reader in a long-lasting way typical of poetry and art. An allegorical interpretation, built over a structure of a heroic fable, unites the sensual beauty of things with an intellectual experience of the great order of the world. It also adds universal qualities to the mimesis of a poem and opens it up to a cognitive and ethical perspective. The process of intense reading, although described in academic terms in Renaissance and Baroque literary criticism, is initiated in a reader’s mind, as (s)he gets exposed to poetic beauty by the very nature of poesis perfecta.

7

Twórczość dominikanina Gabriela Zawieszki. Początki konceptyzmu w polskim kaznodziejstwie

71%

Kuran M.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2019

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tom 53

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nr 2

265-286

EN

The article presents the work of the Dominican preacher Gabriel Zawieszko (? – 1649). Each of his six collections of sermons is subordinated to the title metaphor, which (more or less) determines the inventional and compositional shape of individual volumes, individual sermons and arguments. Leopolita as the first Polish preacher so consciously and extensively applied the concept to sermons and entire collections, combining it with the exegesis of spiritual sense (sensus misticus). A similar way of forming collections of sermons is found in Poland only in the second half of 17th century.

PL

Artykuł przedstawia twórczość dominikańskiego kaznodziei Gabriela Zawieszki (? – 1649). Każdy z jego sześciu zbiorów kazań podporządkowany jest tytułowej metaforze, która (mniej lub bardziej) wyznacza kształt inwencyjny i kompozycyjny poszczególnych tomów, pojedynczych kazań i argumentów. Leopolita jako pierwszy polski kaznodzieja tak świadomie i szeroko zastosował koncept w kazaniach i całych zbiorach, łącząc go w wielowymiarowym wykorzystaniem w egzegezie sensu duchowego. Podobny sposób formowania zbiorów kazań spotykamy w Polsce dopiero w drugiej połowie XVII wieku.

8

Krakowska kurtyna Henryka Siemiradzkiego: alegorie i rebusy

71%

Kuczyńska A.

Roczniki Humanistyczne

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2021

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tom 69

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nr 4

405-424

EN

This article focuses on the curtain installed in the Municipal Theatre in Kraków (now the Juliusz Słowacki Theatre) painted by Henryk Siemiradzki. The giant composition is an example of the unique formula of allegoric painting related to rebuses, which, as attested by the many drawings preserved in his sketchbooks, was the artist’s favourite kind of pastime. The identification of new iconographic sources (primarily Les Dieux Antiques by Stéphane Mallarmé) and the broadening of the context for those already known has made it possible to ask questions anew about the sources of creativity and imagination in late academic painting. The juxtaposition of Siemiradzki’s allegorical curtain manifesto with the rebuses he devised (contained in the sketchbooks preserved in the National Museum in Kraków) problematises the issue of the relationship between word and image which was characteristic of that period.

PL

Przedmiotem artykułu jest namalowana przez Henryka Siemiradzkiego kurtyna Teatru Miejskiego (obecnie Teatru im. Juliusza Słowackiego) w Krakowie traktowana jako przykład szczególnej formuły malarstwa alegorycznego na swój sposób pokrewnej rebusom, które – jak świadczą liczne zachowane w szkicownikach przykłady – z upodobaniem uprawiał artysta. Zidentyfikowanie nowych źródeł ikonograficznych (przede wszystkim Les Dieux antiques Stéphane’a Mallarmé) i poszerzenie kontekstu dotychczasowych analiz pozwoliło na nowo postawić pytania o źródła twórczości i rolę wyobraźni w malarstwie późnoakademickim. Zestawienie alegorycznego programu kurtyny z konstruowanymi przez malarza rebusami (ze szkicowników zachowanych w Muzeum Narodowym w Krakowie) problematyzuje charakterystyczne dla epoki relacje między słowem a obrazem.

9

Aktualność homilii Orygenesa we współczesnym przepowiadaniu

63%

Dyk S.

Vox Patrum

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2020

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tom 75

139-162

EN

The goal of the article is to show the extent to which Origen’s homilies can be used as a model and inspiration for today’s homilies. It focuses on the formal aspects of Origen’s preaching, who was regarded as a master for spiritual interpretation of the Holy Scriptures and a “father” of the exegetical homily. His method of working with the sacred text and communicating its saving message was compared with the instructions for homilies contained in contemporary church documents and theological reflections. Our considerations lead to the following conclusions: Origen’s homilies are still current in terms of their Christological focus; the spiritual interpretation of the Bible is combined with openness to the light of the Holy Spirit; and he uses a direct, simple and dialogical style of preaching. On the other hand, objections are raised due to the lack of reference to the everyday life problems of his audience; Origen’s homilies are not acceptable today with regard to their composition because he elucidates the sacred text verse by verse.

PL

Celem artykułu było wykazanie na ile homilie Orygenesa mogą być inspiracją dla współczesnego przepowiadania homilijnego? Skupiono się przy tym na formalnych aspektach przepowiadania Orygenesa. Wskazano na Orygenesa jako na mistrza duchowej interpretacji Pisma Świętego oraz „ojca” homilii egzegetycznej. Jego metodę pracy nad tekstem świętym oraz sposób komunikacji zbawczego orędzia porównano ze wskazaniami dotyczącymi homilii zawartymi we współczesnych dokumentach Kościoła i refleksji teologicznej. Przeprowadzone analizy doprowadziły do następujących wniosków: homilie Orygenesa są aktualne pod względem chrystologicznej koncentracji swej treści, duchowej interpretacji Pisma św. połączonej z otwartością na światło Ducha Świętego oraz bezpośredniego, prostego i dialogicznego stylu przepowiadania; zastrzeżenie budzi natomiast zbyt małe odniesienie do problemów życia codziennego swych słuchaczy; nie do utrzymania jest także kompozycja Orygenesowej homilii polegająca na wyjaśnieniu tekstu świętego wiersz po wierszu.

10

Egzegeza patrystyczna w katechezach o psalmach Jana Pawła II i Benedykta XVI

63%

Szram M.

Vox Patrum

|

2007

|

tom 50

263-272

FR

Quatre-vingt-dix-neuf catecheses sur les Psaumes des Laudes et Vepres, proclamees par les papes Jean Paul II et Benoit XVI entre 28 mars 2001 et 8 fevrier 2006, furent preparees pendant le pontificat du pape polonais. Comme inventeur du projet Jean Paul II presantait aux fideles chaque semaine dans son enseignement l’exegese des Peres de l’Eglise, qui joint parfaitement l’interpretation scientifique et spirituelle du texte sacre. Les catecheses sont un exemple de bonne realisation du postulat du Concil Vatican II du „retour ad fontes", parce que elles montrent des liens tres stricts entre l’Ecriture sainte et les commentaires respectueux de la Tradition ecclesiastique. Grande nombre de 37 auteurs patristiques - plus ou moins connus - presentes dans les catecheses fut une occasion pour les participants aux audiences papales de faire une connaissance de la richesse de la litterature de l’Eglise primitive. L’exposition des deux aspects - christologique et spirituel - de l’exegese patristique montre la direction de l’interpretation contemporaine de l’Ecriture sainte non seulement pour les theologiens, mais aussi pour tous les membres de l’Eglise qui doivent prier avec les textes bibliques. Le pape Jean Paul II evoquait surtout la methode de typologie christologique tres repandue aux premiers siecles du christianisme, elargie par l’exegese spirituelle dans le milieu alexandrin, qui formait une source d’inspiration pour tous les plus grands exegetes patristiques en Orient et en Occident. En meme temps le pape montrait l’actualite de cette exegese pour notre epoque d’aujourd’hui et son utilite pour la vie morale et spirituelle des chretiens, beaucoup plus grande que celle de l’exegese litterale et historique, representee dans l’antichite chretienne par le milieu antiochien.

11

Obrazy do Czytania. Rauschenberg, Rosenquist, Salle, Brauntuch

63%

Pręgowski F.

Sztuka i Dokumentacja

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2020

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nr 23

215-229

EN

The essay investigates the category of contemporary painting which transforms the visual component into textual. This is the case of Robert Rauschenberg’s combined paintings and silkscreens from 1950s and 1960s, which offer the viewer a specific kind of collage. By juxtaposing images derived from various aesthetic modes, Rauschenberg enforced the reading of his work part-by-part. Such a composition did not remain a holistic unity - a Gestalt - as was the case of the abstract painting from that period (eg. Kenneth Noland’s), since it evoked a strictly discursive experience based on syntactic relations between the signs / images. The article focuses on the discursive turn and its impact on the reception of both pop-art such as Rauschenberg’s and James Rosenquist’s paintings, and the work of artists from the American movement partly deriving from pop-art, that is The Pictures Generation, with David Salle and Troy Brauntuch among them. The aim is to employ allegory and palimpsest as a conceptual frame to read contemporary painting not only as a product of mass culture in the age of mechanical (and digital) reproduction, but also as discursive structures, deconstructing cultural myths and their essential internal contradictions

PL

Tekst dotyczy współczesnego malarstwa, które wizualnym elementom kompozycji nadaje charakter tekstualny. Jest to między innymi przypadek tzw. combines i sitodruków Roberta Rauschenberga z lat 50. i 60. XX wieku, w których artysta stosował specyficzną formę kolażu. Zestawiając szereg wizerunków pochodzących z różnych obszarów stylistycznych, Rauschenberg zmusił widza do odczytywania jego prac kawałek po kawałku. Powstałych w ten sposób kompozycji nie sposób odbierać jako jednorodnego Gestalt, jak w przypadku powstającego w tym czasie malarstwa abstrakcyjnego (np. Kennetha Nolanda), ponieważ wykorzystują one doświadczenie dyskursywne, polegające na szukaniu relacji syntaktycznych pomiędzy znakami /obrazami. W eseju podjęto wątek dyskursywnego zwrotu i jego wpływu na recepcję amerykańskiego pop-artu na przykładach prac Rauschenberga i Jamesa Rosenquista, a także artystów należących do nurtu wywodzącego się po części z pop-artu, czyli The Pictures Generation - Davida Salle’go i Troya Brauntucha. Jako narzędzia metodologiczne wykorzystano między innymi pojęcia palimpsestu i alegorii łączące elementy wizualne z tekstualnymi. Pozwoliło to traktować wybrane przykłady współczesnego malarstwa nie tylko w kategoriach produktu kultury masowej w dobie mechanicznej (a także cyfrowej) reprodukcji, ale odczytać je jako strukturę dyskursywną, dokonującą dekonstrukcji kulturowych mitów i ich wewnętrznych sprzeczności.

12

Alegoria w „Historii powszechnej” Teofilakta Simokatty. Przyczynek do badań nad obecnością alegorii w literaturze bizantyńskiej

63%

Kotłowska A.

Prace Filologiczne. Literaturoznawstwo

|

2017

|

nr 7(10)

191-203

EN

: The History by Theophylact Simocatta constitutes a very important source for the history of Byzantine civilization in the last two decades of the sixth century, especially within the context of the appearance of the Avars and Slavs in the Balkans. Its importance as a source is also to be valued in the aspect of the Persian conflict on the eastern border. Photius, the Patriarch of Constantinople (cod. 65, ed. Henry) was very strict in his opinion of the allegories present in Simocatta’s prose. The purpose of this paper is to verify the appropriateness of such harsh review by analyzing the presence of allegory in historical narrative in question. The analysis of all allegorical images present in Theophylact’s work has confirmed that the opinion presented by the author of Bibliotheca was indeed proper. Allegories in question prove to be highly conventional, lacking creativity, indistinctive and quite standard for the time. Only the image of Odysseus wandering, which served as allegory of writing, deserves to be called authentic and emotional. Not only are they of middling artistic value, but also they do not provide any help in interpreting the historical events they describe. Moreover, there is one fragment, where the allegory used can be even misleading and cause some misunderstandings of the text. Nevertheless, other rhetorical structures present in Theophylact’s History deserve to be praised, such as the method in which he uses the quotes from the epic. Such quotes are always very smoothly and diligently composed into narrative and designed to strengthen the author’s axiological argumentation, which seems to be a universal standard in Byzantine literature.

13

Romantyzm jenajski, Cyprian Norwid, Walter Benjamin i Friedrich Creuzer: symbol i alegoria

63%

Van Nieukerken A.

Prace Filologiczne. Literaturoznawstwo

|

2017

|

nr 7(10)

259-278

EN

Comparative studies have established that Cyprian Norwid knew about Friedrich Creuzer’s famous work on the symbol and mythology. He must at least have read its first volume, particularly the theoretical part (albeit in a French translation). Reading Creuzer aided him in reinterpreting his own concept of the symbol, presented in his early theoretical writings. His point of departure were Creuzer’s remarks about “mystical” and “divine” symbols. Norwid’s reinterpretation did not remain without consequences for his poetry. Recently several Norwid scholars have drawn attention to a fresh interpretative context: the concept of allegory elaborated by Walter Benjamin. They considered the context to be related to Benjamin’s and Norwid’s perception of the modern city (Paris from the “Passagenwerk”) and also to the motive of ruins. Benjamin presented his concept of the allegory in his famous book Origin of German Tragic Drama. He developed it on the basis of the same considerations about the symbol (focusing in a “totalizing” and “necessary” way on the “mystical now”) and allegory as Norwid once did. Here their paths converge. A precondition, however, for understanding Benjamin’s remarks about the symbol is his PhD thesis The Concept of Art Criticism in German Romanticism that devotes much attention to reflexivity in the oeuvre of Novalis and Fr. Schlegel.This “Romanticism of Jena” and its philosophy of consciousness had also impact on Norwid (though mediated by Mickiewicz’s “Parisian Lectures”). Comparing Norwid and Benjamin in these contexts contributes to defining their (differing) attitude towards the temporality of Being and the Holy.

14

Alegorie i symbole proletariatu. Retoryka odpodmiotowienia i upodmiotowienia klasy robotniczej w tekstach poetyckich drugiej połowy XIX wieku

63%

Tomczok P.

Prace Filologiczne. Literaturoznawstwo

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2017

|

nr 7(10)

321-334

EN

The article describes two models of representing proletariat in the Polish poetry of the second half of the 19th century. The first model relates to the image of misery, poverty and weakness and focuses on the frail beings (children, orphans, paupers) faced with the state apparatus or lack of any help from the environment. Various forms of allegories appear in this model very frequently. The second model can be seen in the so called revolutionary poetry. Here, the image of poverty and weakness starts to fulfill a completely different role − the misery of the proletariat is perceived not through the eyes of an outside observer, but by the proletariat itself, although only to see the strength of the weak coming from their number. The same reality is thus depicted in an absolutely different manner − in the first case the image confirms the misery and weakness of the proletariat which can only be changed by an outside philanthropist; in the second case the image induces the sense of empowerment in the proletariat, which − although weak, exploited and humiliated – possesses an inner power to recover from its position.

15

Paradoksy młodopolskiej alegorii

63%

Kielak D.

Prace Filologiczne. Literaturoznawstwo

|

2017

|

nr 7(10)

279-289

EN

The present sketch traces the process of verifying allegory which takes place in the Young Poland prose, in which authors use the images of sculptures. The interpretation of Pavoncello, a story by Stefan Żeromski, Chimera, a novel by Tadeusz Jaroszyński and The Angel of Death by Kazimierz Przerwa-Tetmajer allows to put forward a thesis that the allegorical function of sculptural works of art which appear in the presented world is challenged, whereas allegory understood as the compositional principle of a work is strengthened. Verification of allegory for the benefit of allegoresis is done by challenging the ‘semiogenic’ function of allegory and at the same time by appreciating it for defining trails of interpretation and universalizing meanings.

16

Relacja między alegorycznym obrazem a poetycką interpretacją rzeczywistości w wybranych emblematach staropolskich

63%

Wydrych–Gawrylak M.

Napis. Pismo poświęcone literaturze okolicznościowej i użytkowej

|

2011

|

nr 17

169-180

EN

Emblem as a genre composed of words and images is an extremely interesting research object. Hidden in the allegorical picture content is being developed and read in two stages: the inscription — which is often quote (taken out of the works of well–known authors), and signature — presenting the author’s thoughts about the complexity of the world, human and their physical and metaphysical relationships. Article shows how the allegorical picture hides or reveals creator’s reflections, how the correlation between words and ideas with the image looks like, as well as legibility (or illegibility) of artistic vision in itself helps (and whether it helps) in the interpretation of the text. Also tries to answer the question of whether and how in today’s “pictorial culture”, the young recipient is able to read and interpret old Polish emblems.

17

Зрение как литературно-культурный код в жанре путешествия русского сентиментализма (А.Н. Радищев — Н.М. Карамзин)

63%

Ałpatowa T.

Slavica Wratislaviensia

|

2015

|

tom 161

5 - 15

EN

The article is devoted to the examination of the motif of vision in Journey from Petersburg to Moscow by A.N. Radishchev and Letters of a Russian Traveler by N.M. Karamzin. On the basis of visual images’ examination in the texts the following conclusions about the evolution of vision representation method as a leading sensual code in the Russian literature of the 18th–early 19th centuries are drawn. The development of the motif came from the allegoric reading of the vision as the truth opening (Radishchev) to the multifaceted philosophic understanding of vision as a sense, serving as a ground for an emotional bond between people and the ability to sympathise with all the events of the world (Karamzin and his successors).

18

Playing with meanings

63%

Pyrtek P.

Czasopismo Techniczne. Architektura

|

2015

|

tom Y. 112, iss. 9-A

285--288

EN

Meaning is an element of form wherever it manifests itself as an aesthetic aspect. Playing with symbols and allegories and the game of intentions and inspirations is an intrinsic element of art, so also of architecture which, too, needs meaning to become a valuable cultural element in the surroundings and a quality mark of perceptible form. Two interpretations: that of the author and of the observer seem to be its most prominent indicator.

PL

Warstwa znaczeniowa jest elementem formy wszędzie tam, gdzie przejawia się jako warstwa estetyczna. Zabawa symbolem i alegorią oraz gra intencji i inspiracji, jest nieodzownym elementem sztuki, a więc też architektury, która również potrzebuje znaczeń aby stać się wartościowym elementem kulturowym środowiska przestrzennego oraz znakiem jakości formy odczuwalnej. Dwie interpretacje: autora i obserwatora zdają się być jej najznamienitszym wyznacznikiem.

19

O nowych wcieleniach alegorii – psychomachia w psychoanalizie i współczesnej literaturze (wokół powieści Slobodana Novaka „Izgubljeni zavičaj”)

63%

Boguska A.

Prace Filologiczne. Literaturoznawstwo

|

2016

|

nr 6(9)

187-196

EN

The article is an attempt to demonstrate innovativeness and usefulness of the theory of allegory proposed by Dorothy L. Sayers, the author of The Writing and Reading of Allegory. Sayers identifies allegory as a literary genre, presents it as a ‘being’ mentally close to psychomachia, and tries to use the idea of “soul-battle” in the field of analytic psychology. Her conception seems to be fertile when interpreting Lost Homeland by Slobodan Novak.

20

, „Tu Dafnis [...] pogrzebion” – próba alegorycznej lektury sielanki Szymona Szymonowica „Rocznica”

63%

Rot-Buga E.

Prace Filologiczne. Literaturoznawstwo

|

2016

|

nr 6(9)

253-270

EN

The article is devoted to allegorical themes in Szymon Szymonowic’s Rocznica (Anniversary) in the context of the tradition of funeral idyll. Anniversary is a funeral idyll which contains biographical allegories and references to then current events. It commemorates Jan Zamoyski and his achievements in the field of culture. It was probably written memorialize the first anniversary of Zamoyski’s death (1606). Daphnis represents Zamoyski, whereas Thestylis - his wife Barbara, and the narrator is probably Szymonowic himself. The description of the burial is based on the framework of bucolic convention. There are other levels of the allegory, connected with the name of Daphnis as the supreme creator of poetry (Master Poet) and the sense of identifying a shepherd with a poet. Szymonowic consciously uses these and other biographical allegorical themes and intertextually refers to Vergil and Kochanowski. Anniversary is build according to the rules and convention of a funeral idyll as it contains many epicedial themes and levels of allegory. Thanks to the character of Dafnis-Zamoyski as well as many Polonization measures, it is strictly connected with the contemporary culture.