PL
 |
EN
Nowa wersja platformy, zawierająca wyłącznie zasoby pełnotekstowe, jest już dostępna.
Przejdź na https://bibliotekanauki.pl
Preferencje help
Polish version English version Język
Widoczny [Schowaj] Abstrakt
Liczba wyników

Znaleziono wyników: 11

Liczba wyników na stronie
first rewind previous Strona / 1 next fast forward last
Wyniki wyszukiwania
Wyszukiwano:
w słowach kluczowych:  Metamorphoses
help Sortuj według:

help Ogranicz wyniki do:
first rewind previous Strona / 1 next fast forward last
1
Content available Retelling Orpheus: Orpheus in the Renaissance
100%
Beattie L. I. H.
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
|
2014
|
tom 2
|
nr 1
1-8
EN
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.
2
Content available remote Metamorfózy sociálního státu v Československu v letech 1956–1989
100%
Tomeš I.
|
2013
|
nr 1-2
65-88
EN
This article follows on chronologically from the preceding article published in the current issue of Soudobé dějiny, and seeks to identify and explain the main lines in the development of social policy in Czechoslovakia from 1956 to the end of the Communist regime in late 1989. It combines historical analytical narration and eye-witness recollections – for the author was continuously involved, at international institutes and in Czechoslovakia from the late 1950s onwards, in the theory and practical implementation of social policy (although in the period of re-established hard-line Communism, called ‘normalization’, beginning in 1969, he was unable to be publicly involved). Since he worked in academia, mostly in the second half of the 1960s, and actively participated in efforts to achieve a fundamental reform of the Czechoslovak social model, he can provide valuable insight into the intellectual ferment of the times. In this article he provides a clear overview of the important social-policy measures that were developed and implemented between two tendencies, in which the welfare state became an instrument of the populist politics of the Communist Party and the Government, while faced with the pressures of economic reality.
3
Content available Retelling Orpheus: Orpheus in the Renaissance
100%
Beattie L. I. H. , Berlin F. U. , Having graduated from the University of St Andrews with an MA Hons degree in English and Latin L. B. w. s. c. a. M. s. d. i. E. S. a. t. F. U. B. w. h. r. i. l. i. t. f. o. R. l.
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
|
2014
|
tom 2
|
nr 1
EN
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.
4
Content available 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).
88%
Miazek-Męczyńska M.
Symbolae Philologorum Posnaniensium Graecae et Latinae
|
2014
|
tom 24
|
nr 2
179-191
PL
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.
5
Content available Remarks on Ovid and the Golden Age of Augustus
76%
Łukaszewicz A.
Symbolae Philologorum Posnaniensium Graecae et Latinae
|
2019
|
tom 29
|
nr 2
37-56
PL
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.
6
Content available Ovid, ‘Metamorphoses’ 5,254–6,2, and the Terms for the Muses in Greek and Roman Culture
75%
Mojsik T.
Symbolae Philologorum Posnaniensium Graecae et Latinae
|
2023
|
tom 33
|
nr 1
243-259
EN
Epithets used to describe the Muses are an essential component of metapoetic language, starting as early as the time of Homer and Hesiod. However, it has never been a static phenomenon, as the cultural transformations entailed the changes in the language describing the Muses. Its scope included physical appearance, ancestry, voice/sound, relations with the poet/musician and – a rather important aspect – geographical associations. Revealing traces of this imagery is not an easy task: we lack cult hymns, and in most literary works, we encounter merely 2–3 epithets at the most. In this respect, Ovid is exceptional. In his Metamorphoses (5,254–6,2), in the story of the contest between the Muses of Helicon and the false Pierides, the poet deploys a uniquely rich descriptive terminology concerning the Muses (Mnemonides, Thespiades, Aonides, Emathides, [Pierides], doctae sorores, etc.). In this article, I look at the poet’s choices in this story and analyze the origins, functions and connotations of the epithets and terms he uses.
7
Tum canit hesperidum miratam mala puellam: The Hesperides and Hesperia in Virgil and Ovid
75%
Fratantuono L.
Eirene. Studia Graeca et Latina
|
2015
|
tom 51
|
nr 1-2
27-44
EN
The image of Hesperia and the Hesperides, western lands endowed with mythological mystery and geographical wonder, is of great significance to the Virgilian epic depiction of the westward journey of Aeneas and his Trojans, as well as to Ovid in his own epic reflection on the world and the place of Rome therein. Close consideration of the passages in both the Aeneid and the Metamorphoses that reference Hesperia and the Hesperides will reveal a careful Ovidian reading of his Virgilian source material, as well as a commentary on the nature of the fall of Troy.
8
Content available De genere dicendi deliberativo a latronibvs Apuleianis vsvrpato (Met. VI, VII )
75%
Pezzuolo P.
Symbolae Philologorum Posnaniensium Graecae et Latinae
|
2016
|
tom 26
|
nr 1
123-137
EN
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.
9
Content available Wieloznaczna semantyka czerni w „Metamorfozach” Owidiusza
75%
Czapińska-Bambara M. , Danek Z.
Symbolae Philologorum Posnaniensium Graecae et Latinae
|
2023
|
tom 33
|
nr 1
67-81
EN
The subject of this study is how and in what scope Ovid uses the terms of blackness (ater, niger, pullus, piceus, fuscus) occurring in Latin in his Metamorphoses. Particular attention is paid to those places in the poem where this blackness enhances the dynamics of the situations described by the poet, gaining at the same time a specific axiological qualification, and also justifies through its presence the conventional use of the colour as an expression of mourning. This non-typical usage of the terms mentioned above leads to the conclusion that in this aspect of his poetic creativity, Ovid depicts the mythical reality he presents in an absolutely non-imitative manner, but rather full of at times surprising expressionistic colour associations.The subject of this study is how and in what scope Ovid uses the terms of blackness (ater, niger, pullus, piceus, fuscus) occurring in Latin in his Metamorphoses. Particular attention is paid to those places in the poem where this blackness enhances the dynamics of the situations described by the poet, gaining at the same time a specific axiological qualification, and also justifies through its presence the conventional use of the colour as an expression of mourning. This non-typical usage of the terms mentioned above leads to the conclusion that in this aspect of his poetic creativity, Ovid depicts the mythical reality he presents in an absolutely non-imitative manner, but rather full of at times surprising expressionistic colour associations.
10
Content available Baśń o Erosie i Psyche Apulejusza z Madaury. Duchowe aspekty baśni
51%
Pawłowski K.
Vox Patrum
|
2016
|
tom 65
533-546
EN
This work will discuss the eponymous tale of „Cupid and Psyche”, originally written as a part of Lucius Apuleius Madaurensis’ „Metamorphoses”. The tale’s main thread, the motif of Psyche making an effort to reclaim Cupid’s lost affec­tion, is depicted through the means of mysteriosophic context of Apuleius’ phi­losophy, as well as his theory on love. The work will draw upon the characteristic motifs of the ancient sacred mysteries, thus suggesting that the story of Psyche’s trials and tribulations is somewhat an allegory of the spiritual development of man, who searches for love to find the meaning of his life and the fulfillment of his spiritual yearning for the eternal and the divine.
11
Content available Botanical Imperialism and Metamorphic Biodiversity: Livia and Ovid
44%
Myers K. S.
Sztuka i Dokumentacja
|
2022
|
nr 26
69-72
first rewind previous Strona / 1 next fast forward last
JavaScript jest wyłączony w Twojej przeglądarce internetowej. Włącz go, a następnie odśwież stronę, aby móc w pełni z niej korzystać.