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EN
The author refers solely to coexisting polemic poetic works (prints and manuscripts) adhering to a literary convention of an initiating text. The poems treat significant events from the final years of the First Polish Republic and became the seed bed of the ideological struggle. Their polemic character was usually indicated in their titles beginning with words such as answer, reply, response, travesty, “tit for tat”, or with prepositions “on” (“on poetry”) or “to” (“to the author”). Perhaps they would not have won much renown if it was not for their presence in poetic skirmish. This paper indicates various battle methods used by polemicists and the propaganda impact of these works.
EN
Acrostics, works belonging to the mainstream of artistic poetry, were particularly popular in the Middle Ages and the Baroque era, but also enjoyed success in other periods of literature. The simplest form of this statement was to enter author’s personal data in the work, but there were more complex literary puzzles, such as logogryf in which the syllables of words are read from the hidden content. Many acrostics include elaborately arranged compliments (e. g. titles of recipients), thanks, greetings, requests, etc., and even insults. Being the subject of this study acrostics relate to commanders of Targowica — Stanisław Szczęsny Potocki and Szymon Marcin Kossakowski. Attractive form of text, most likely was an incentive to read, and perhaps made it easier to memorize rhymes. Although the poems themselves were not outstanding, they can capture images of traitors in a slightly different way than usual: short, more interesting and quite ingeniously, which resulted from the same assumptions of the genre.
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nr 2
249-263
PL
W artykule podjęto próbę ukazania literackiego wizerunku Barbary z Bielińskich Kossowskiej, słynnej z urody damy czasów stanisławowskich. „Bohaterka” studium przywoływana była głównie jako adresatka wiersza „Do Kossowskiej w tańcu”, interesującego badaczy przede wszystkim ze względu na atrybucję autorską. Ponadto pojawiała się w poezji za sprawą jej męża, Rocha Kossowskiego, sprawującego znaczący urząd podskarbiego wielkiego koronnego. Autorka artykułu ukazuje różne wcielenia Barbary Kossowskiej, ukształtowane przez panegirystów i pamflecistów.
EN
The article attempts to picture a literary image of Barbara Kossowska, née Bielińska, a lady of the times of Stanisław August Poniatowski, famous for her beauty. The heroine of the study was largely recalled as an addressee of the poem “Do Kossowskiej w tańcu” (“To Kossowska in Her Dance”) that raised researchers’ interest mainly due to the author’s attribution. Regardless of it, she was referred to because of her husband, Roch Kossowski, a grand royal undertreasurer. The authoress of the article depicts the many incarnations of Barbara Kossowska shaped by panegyrists and lampoon writers.
EN
Literature of the Bar Confederation created a positive legend of the Kraków’s bishop, Kajetan Sołtyk. Its point of birth was the abduction of the bishop from Warsaw Sejm (Parliament) of 1767. At that Sejm, the bishop became famous for being one of the main leaders opposing equality for dissidents, for which he paid with over five years in Russian captivity. The authors of the Bar poems used in this article concentrated on the martyrdom of the prisoner, his unshaken attitude and the readiness to sacrifice his life for the Catholic faith. They would place him in the context of saints, biblical characters and heroes of antiquity, who were paragons of behaviour. The poems highlighted in the study are largely laudatory or canvassing in character – they call for not yielding on the issue of dissidents.
EN
The poem of Ignacy Srzednicki addressed to Kazimierz Nestor Sapieha was created during the Great Sejm, when the addressee served as the Speaker of the Seimas and the General Confederation of the Polish-Lithuanian Commonwealth. The author reconstructs the biography of the creator of the poem, explores the relationship between Srzednicki and Sapieha, as well as analyses and interprets the poem included in the appendix.
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