Wyniki wyszukiwania - Biblioteka Nauki

1

Odradzający się barok

100%

Werner B.

Zieleń Miejska

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2009

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tom Nr 7-8

26-27

PL

Epoka baroku to wspaniały okres rozwoju pełnych przepychu ogrodów i posiadłości, które na nowo budzą się do życia w krajach Europy Zachodniej. Najlepszym tego przykładem jest ogród Schlosshof w Austrii, który dzięki traktatowi Dezalliera, największego z barokowych teoretyków sztuki ogrodowej, ma szanse na rekonstrukcje i odzyskanie swojego dawnego czaru.

2

Motywy historyczne w prozie Wałerija Szewczuka. Tradycja ukraińskiego baroku

100%

Zambrzycka M.

Studia Ucrainica Varsoviensia

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2016

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tom 4

547-562

PL

The subject of the article is history in the prose of Valery Shevchuk. History in Shevchuk’s novels is associated with such categories as freedom, historical memory and national consciousness. Valery Shevchuk creates a panorama of Ukrainian people’s lives and writes in a historical and cultural context. The most important historical period for Shevchuk is the time of the 17th and 18th centuries, especially the culture of the baroque.

3

Образ і статус жінки у літературних творах епохи бароко

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Трофимук О. , Трофимук М.

Studia Polsko-Ukraińskie

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2015

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tom 2

71-86

EN

In the epic tradition of 16th–18th centuries description of women’s participation in public life has both positive and negative dimensions. On the one hand, women are the reflection of men’s positive topos activity – home, and even conversional – when they convert to a man’s religion – and, on the other – negative: the role of women in the process of ‘moral corruption’, ‘rampant disbelief’ and so on. The article deals with the literary heritage of Pylyp Orlyk discussing the positive role of women in the works of the Baroque epoch. The authors expand the scope of classical knightly ethos, depicting a woman as equal to ‘a noble man’ creature, personality.

4

Трансформація середньовічного топосу дороги у паломницькій прозі доби бароко

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Bilous B. , Bilous P.

Studia Polsko-Ukraińskie

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2018

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tom 5

33-43

XX

Analyzing the texts of Ukrainian pilgrim works, the author of this article studies the special features of transforming the medieval image of the road into the baroque types of visiting the sacred places, which signifies the changes of the ideological, moral and art criteria of the narration. Character of road in baroque pilgrim work distinctly will be realized through reason of trip, that appeared a comfortable enough composition factor that unites, co-ordinates, knits literary text in one artistic unit. At the same time reason of trip gives an opportunity to the author to overcome the most various material, that especially brightly appeared in circulations of ХVIII of century, when rational knowledge, trip experience influenced on maintenance of pilgrim notes. A road in pilgrim work of time of baroque is a symbol of spiritual road, possibility of self-realization, offenses of vital fate. Road in circulation – it and fear before unknown, it opposing with stranger, hostile space, and it is the unfolded allegory of fight against temptations, with an own weakness. A road is opening of space that in perception of pilgrim constantly diversifies and enriched, as a result there are changes in the inner world of traveller.

5

Symbolika i funkcja postaci literackich w "Labiryncie świata i raju serca" Jana Amosa Komeńskiego

100%

Borkowski A.

Siedleckie Zeszyty Komeniologiczne seria Pedagogika

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2021

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tom 8

157-167

EN

The presented research concerns the functions and symbolism of the characters in "Labyrinth of the World and Paradise of the Heart" by John Amos Comenius. In this work, the characters are largely typified and are examples that serve the author’s in-depth spiritual reflection. The negative features of the heroes are often shown by Comenius in animal costumes. Symbolic associations with the world of fauna refer to the inner sphere of man and show his moral condition.

6

Na pograniczu kultur: emblematyka i antyk jako główne pierwiastki konstruujące hybrydyczne XVII-wieczne dzieło Sphinx Samosonica…

100%

Drzewiecka E.

|

EN

In 1628, pupils and professors of Jesuits college in Rawa Mazowiecka presented to a bride and groom a poem called “Sphinx Samsonica…” - a unique book, full of allusions and references to the emblem of classical antiquity. The poem was created during the thriving baroque period which relished in abundance and variety. It was the perfect time to publish works which had bountiful contents which were as diverse and hybrid as “Sphinx Samsonica…”.The poem, in the fabric of which a few literary genres coexist, is a perfect example of an erudite Jesuit rhetoric full of parallels and with clear citations of many ancient writers. Thus showing that one of the main pillars of the poem is the theme of antiquity. The second pillar is its emblematic character as the multiple layers of this work are visible not only in the verbal area, but also in the pictorial. The emblems are one of the innovative tendencies of this work, tendencies which had just started to appear on the pages of printed panegyrics and which would become a part of panegyric literature in the 17th century. “Sphinx Samsonica…” is original in this area not only because of the presence of emblems in the poem, but also because of the “baroque”, ornamental construction of the work in which words and pictures are woven together in a unique way. Although Sphinx Samsonica… figured in many listings and was also mentioned in the bibliography of emblematic printouts written by Paulina Buchwald-Pelcowa, presenting basic information about this work, it has gone unnoticed for a long time. It is not mentioned in monographs devoted to modern epithalamiums, and it was marginally mentioned in monographs devoted to emblems. The dust of oblivion was finally wiped by Jadwiga Bednarska, who discovered the dormant potential of the pages of the Jesuits work in the first part of her book about Polish panegyric illustrations. In the second part, she considers the relationship of this work with Dutch emblems. Therefore, the work has been thoroughly researched from the point of view of the history of art. However, meticulous attention has not been lavished upon it, both from the philological point of view and also regarding the correlation between words and pictures. No research has been undertaken regarding its genre diversity and the work has been neither published, nor translated from Latin into Polish. However, the philological level is also important because it allows the research and discovery of what is hidden inside Latin comments and epigrams full of allusions to antiquity. This knowledge allows an explanation to the exact sense and meaning of the emblems, which very often are not clear and understandable at first sight. As a result, this article makes an attempt to enlighten the reader of the philological level of this work, and the foundation of the article is a presentation of the opulence of antique allusions which regularly appear in the whole text in a chosen fragment of “Sphinx Samsonica…” . Emphasis is also put on the unique and uncommon structure of the work, the main element of which is the emblems. The rich use of these two elements; their coexistence; and their complementation makes “Sphinx Samsonica…” a remarkable piece of literature.

7

Barokowi pamiętnikarze wobec „polskiego kodu kulturowego” — od krytyki do afirmacji (rekonesans)

100%

Borkowski A.

Prace Literackie

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2018

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tom 58

9-18

EN

The main purpose of the research is to recognize and interpret Old Polish diarists’ reflections on language and local culture in a wider cultural perspective. Literary works by J.Ch. Pasek, J. Sobieski and some foreign authors who visited the Republic of Poland have been analyzed. Two questions seem to be particularly interesting in the context of this theme: what features of local culture distinguished the Poles from people in other countries and regions in Europe in the 17th century and how these differences affected the contacts with the environment and the self-esteem of the protagonists in each work. In view of the author’s own and other people’s opinions, a multiple image of the “Polish cultural code” has been revealed, whose elements were maintained in Polish customs and mentality for a long time.

8

Tradycja barokowa w "Agaj-Hanie"

100%

Seweryn A.

Rocznik Przemyski

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2012

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tom 48

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nr 2: Literatura i Język

73-104

XX

Agaj-Han is an interesting and important example of long-standing baroque tradition in the literature of Polish Romanticism. Krasiński employs several conventions known from heroic epic poems (Jerusalem liberated by Tasso-Kochanowski), memoirs (The Momoirs of Jan Chryzostom Pasek), baroque iconography, erotic, metaphysical and Counter-Reformation poetry. Frenetic imagination of the Romantic writer is deeply rooted in the seventeenth century frenzy. It has much in common with Baroque fascination with death and corporeality not only in its flourish, but also in destruction and decay. Vanitas in Krasiński's works occurs, most often, in tandem with Worldly Pleasure, the same as in moralistic literature of the Baroque period, especially in its Counter-Reformation stream. Theatricality (topos of life as a battle, theatrum mundi), the use of light effects, imagery of labyrinth in Agaj-Han brings to mind the Baroque period's penchant for illusion related to vanitas and oneirism forming the presented world of the novel. Orientalism in the works of Krasiński and his ambivalence towards the man of the East also has baroque roots. The ambivalence is mainly reflected in the creation of the main character, compared in the novel to a snake, who simultaneously fascinates like Rousseau's Peacock. The Polish Commonwealth in Agaj-Han was presented as antemurale, and a snake, apart from an oriental rug, became the symbol of Romantic Orientalism in Poland.

9

Motyw urody kobiecej w utworze „Obraz panej krásnej perem malovaný, která má v Trnave svoje prebývání” Štefana Ferdinanda Seleckiego

100%

Sagało M.

Białostockie Studia Literaturoznawcze

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2018

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nr 13

249-261

EN

The article discusses the description of feminine beauty in the Slovak baroque love poem Obraz panej krásnej perem malovaný, která má v Trnave svoje prebývání by Štefan Ferdinand Selecki. The author points to the essential function of feminine figures from the Age of Antiquity (Mary Magdalene, Judith, Diana, Terpsichore, Sibyl, Lucretia, and Helen). The poet invokesthem to construct the main female character. The analysis considers the selection of figures and their features, which collaborate ideally to portray the “lady of Trnava”. The stunning physical beauty of the Slovak aristocrat corresponds with inner grace, virtue and purity.

10

Zwycięska „bitwa” z Wacławem Potockim, czyli o wydaniu „Dyjalogu o zmartwychwstaniu Pańskim”. Rec.: Wacław Potocki, Dyjalog o zmartwychwstaniu Pańskim. Wydała i opracowała Agnieszka Czechowicz. Redakcja naukowa Radosław Grześkowiak. Lublin 2018. „Staropolski Dramat i Dialog Religijny”. T. 3

100%

Dybek D.

Pamiętnik Literacki

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2020

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tom 111

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nr 2

275-282

PL

Recenzja stanowi omówienie edycji jedynego dramatu Wacława Potockiego „Dyjalog o zmartwychwstaniu Pańskim” w opracowaniu Agnieszki Czechowicz. O wysokiej jakości tej edycji zadecydowało m.in.: opatrzenie utworu bardzo rzetelnym wstępem; uwagi dotyczące źródeł XVII-wiecznego utworu – połączenie inwencji Potockiego z dwoma pasyjnymi misteriami dało formę określoną przez Czechowicz jako „pisarski eksperyment”; rozważania na temat retoryczności akcji „Dyjalogu”, wreszcie – próba ustalenia, czy utwór miał swą sceniczną realizację. Dużą wartość edycji stanowi wzorcowa transkrypcja tekstu Potockiego i wartościowe komentarze. Podobne zalety dotyczą transkrypcji i uwag do anonimowego źródła Dyjalogu, czyli do misterium „[Dialogus] de resurrectione D[omini] n[ostri] Jesu Christi”. Dzięki umieszczeniu obu dzieł w jednym tomie czytelnik może poznać metodę twórczą Potockiego.

EN

The review is a discussion about the publication the only drama by Wacław Potocki’s “Dyjalog o zmartwychwstaniu Pańskim” (“A Dialogue about the Resurrection of Jesus”) edited by Agnieszka Czechowicz. The high value of the book is the effect of equipping it with a genuine introduction, remarks on the sources of the 17th c. text—a combination of Potocki’s inventiveness with two Passion mysteries, all of which, according to Czechowicz, gave the form called “a creative experiment,” considerations about the piece’s rhetoricity, and finally an attempt to establish whether the text succeeded in being staged. A great value of the edition is a model transcription of Potocki’s text and valuable commentaries. Comparable advantages refer to the transcription and notes about the anonymous source of “A Dialogue”, namely to the mystery play “[Dialogus] de resurrectione D[omini] n[ostri] Jesu Christi”. Due to inclusion of both texts in one volume the reader may discover Potocki’s creative method.

11

Opera włoska we Wrocławiu (1725–1734) i jej związki z innymi ośrodkami muzycznymi

88%

Węgrzyn-Klisowska W.

Italica Wratislaviensia

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2014

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nr 5

123-146

XX

In the years 1725–1734, there was an Italian opera troupe performing in Wrocław, which was composed almost entirely of well-known Italian artists. At the beginning, its repertoire mimicked those of Italian theatres operating in Venice, Vienna, Florence, Genoa and Prague. Later on, however, the operas staged by Treu and Bioni, the music directors of the Wrocław opera, were also performed by other European theatres. The owner of the theatre in Prague and the originator of the idea to set up a theatre in Wrocław was Count Anton von Sporck, an imperial governor and a friend of Silesian aristocracy. It was on his initiative that a meeting with Antonio Vivaldi was arranged and the performers he recommended were invited to Wrocław. Thanks to the extensive contacts of Wrocław’s impresarios and bandmasters, the city’s virtuoso singers travelled throughout Europe, and outstanding musicians, stage designers and ballet masters were hired. The fame and high standards of Wrocław’s theatre caused its chief conductor, Daniel Gottlieb Treu (Daniele Teofilo Fedele), a pupil of Vivaldi, to write the history of the theatre, which was published in Hamburg (1740) by Johann Mattheson in Grundlage einer Ehren-Phorte. During the nine-year long operation of the theatre, a total of 45 operas were premiered, and their librettos are partly extant in the collection of Wrocław’s University Library (the Silesian-Lusatian Section) and at the Biblioteca Nazionale Braidense in Milan. Recently, a previously unknown copy of the opera Il Daphni by Spanish composer Emanuele d’Astorga, currently in the collection of the Sapieha Library, part of the collection of the Wawel Royal Castle Museum, has been discovered. The staging by the theatre in Wrocław of eminent baroque operas, performed by outstanding artists, puts them among the most interesting events in the European opera in the 18th century.

12

„Chrystus jest Aqua” – metafory chrystologiczne w poezji Symeona z Połocka

88%

Kozak B.

Acta Neophilologica

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2013

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nr XV/2

129-137

EN

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.

13

Historická kulturní krajina a drobné sakrální památky v Telči a okolí jako síť významů:

88%

Hnilica O. , Hnilicová P.

Historická geografie (Historical Geography)

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2020

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tom 46

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nr 2

231-257

EN

The study focuses on specific aspects of historic cultural landscape of Telč and its immediate vicinity. The focal point is the location of sacral landmarks in the suburban areas of the town of Telč. The objects were studied in the context of territorial links among small sacral structures. We compared the places of interest and reconstructed them partly according to available iconographic sources and relicts survived in urbanism of the sites. This dense network of small sacral structures on a relatively small territory and their apparent legibility in the historic territorial composition demonstrates its inter- regional significance.

14

Podróż kardynała von Hessen-Darmstadt z Rzymu do Wrocławia i jej artystyczna oprawa

88%

Wojtyła A.

Italica Wratislaviensia

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2014

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nr 5

107-121

XX

The aim of this paper is to present the report on the journey of Cardinal Friedrich of Hessen-Darmstadt from Rome to Wrocław, undertaken in 1676 to assume governorship of Silesia and real power over the diocese of Wrocław. The report, published in this city soon after the completion of his journey, is now preserved in the Old Prints Department of the Wrocław University Library. This source contributes new facts from the biography of the cardinal – the founder of the famous St. Elisabeth Chapel alongside the Cathedral of Wrocław, decorated with statues sculpted in Rome. During his journey to Silesia, Friedrich of Hessen-Darmstadt stayed with his retinue in Loreto, Verona and Trento, entertained everywhere with great pomp and ceremony. Then he went to Vienna, where he took part in imperial audiences and was granted the title “Durchlauchtigst”. At the end of his journey he went to Nysa and from there to Wrocław. From the art history point of view this travelogue contributes information about the “occasional architecture” and the decoration of the churches in Nysa and Wrocław, liturgical vestments and vessels, and about costumes and vehicles of Silesian dignitaries. From the literature on the subject we know that on the occasion of the arrival of the cardinal to Wrocław three new doors to the local cathedral were founded. The main entrance doors were decorated with relief depicting Jacob’s Dream and Joseph in a Well. In the light of the appropriate biblical quotations and commentaries on them these scenes illustrate the idea of the gate to the heavenly Jerusalem as well as the symbolical transition from the sphere of death to the realm of life.

15

Jak zostać dworzaninem Maryi…, czyli Samuela Brzeżewskiego Zaciąg dworzanów na kurię Najświętszej Królowej nieba i ziemi na kazaniu w dzień Jej narodzenia

87%

Dybek D.

Poznańskie Studia Polonistyczne. Seria Literacka

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2017

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nr 31

295-318

EN

Samuel Brzeżewski is a long-forgotten Polish Baroque preacher. He left behind three written sermons, of which two take on Marian themes. Among those is Zaciąg dworzan.w na kurię Najświętszej Kr.lowej nieba i ziemi […] – „The recruitment of courtiers to the curia of the Blessed Queen of heaven and earth at a sermon on the day of her birth” (transl.), written in 1644 and published in 1645. It came into existence on the occasion of the anniversary of the birth of the Mother of God and has an interesting sermon-concept form. In spite of the fact that the author reached for the expression „queen”, from time immemorial applied with reference to Mary, he combined with it an interesting fictional plot by portraying the process of the recruiting of courtiers for the court of the queen (it is one of the few Old Polish texts referring to the manner of recruitment for the court of a monarch). Closer study of various desirable features of courtiers (beauty, education, bravery) leads Brzeżewski to arrive at the conclusion that the greatest opportunities for admission to the service of the Mother of God are gifted to „bandits” (i.e. hardened sinners rejected by all) and „agonizantes” (viz. the dying) – those to whom Mary shows her kindness and magnanimity.

16

Form and Function in Baroque Architecture

76%

Botica D.

Poznańskie Studia Slawistyczne

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2017

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nr 13

PL

The paper presents relations between form and function in the architecture on few selected examples of theoretical texts. Interrelation of form and function is analyzed on examples of the most important types of baroque architecture – the castle and the church. Baroque castle has a key role in the creation and validation of the power of rulers, enfilade rooms and ceremonial staircase have function of stage on which the ruler displays himself and his power, but also at the same time, reflects strictly hierarchical social system of baroque. In religious architecture, relations between form and function are more regulated. In Instructiones… (1577) of the Council of Trent, the emphasis in the design has been placed on the fulfillment of the functions of post-Tridentine liturgy, from the layout of plan to the new meaning of the triumphal arch. However, the regulations are most clearly expressed at the end of the 18th century, in demand for functionality as the primary goal of a sacred space. Following the adoption of Enlightenment ideas in Central Europe, churches are build according to claim that their design should be “useful and purposeful”, according to the request of Joseph II.

17

Ogrody barokowego Wrocławia

75%

Brzezowski W.

Architectus

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2003

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tom Nr 1-2(13-14)

69--82

PL

Nowe tendencje w sztuce ogrodowej, które zapanowały w Europie pod wpływem sztuki Włoch i Francji w XVII i XVIII w. nie od razu spotkały się z szerszym odzewem wśród, w większości protestanckich, mieszkańców Wrocławia, kierujących się purytańskimi zasadami. Na przeszkodzie stały także ograniczenia przestrzenne wynikające z zamknięcia miasta pierścieniem fortyfikacji i znacznego zagęszczenia zabudowy. Potrzeba posiadania ogrodu ozdobnego nie była ani możliwa do zrealizowania, ani początkowo powszechna. Na przeszkodzie stały także przepisy budowlane zakazujące tworzenia nawet namiastek ogrodów. Ordynek budowlany z 1668 roku kategorycznie odnosił się do kwestii sadzenia drzew: nikomu nie wolno przed swym domem sadzić ani hodować drzew, ale wszędzie ma to być zniesione Niechętnie przystawano nawet na hodowanie roślin doniczkowych ustawianych przed oknami: Nikt także nie ma przed oknem żelaza robić, naczyń i skrzynek z roślinkami i kwiatkami na nie stawiać, chyba że będą w solidnie zamocowanych żelaznych okratowaniach [5, s. 18]. Na fasadach frontowych domów stosowano się do tych nakazów, ale już przy bocznych uliczkach i w zaułkach licznie występowały owe "żelaza", czyli metalowe wsporniki służące zarówno do opierania na nich drewnianych pomostów pod uprawy, jak i rozciągania między nimi sznurów do suszenia bielizny. Idąc za nakazem przepisu wykonywano także okratowania. Ich przykłady zachowały się do dzisiaj w kilku domach przy Jatkach, ale niegdyś stanowiły wraz z całym systemem żelaznych wsporników nieodłączny element mniej eksponowanych fragmentów miejskiej zabudowy.

EN

Gardens in Wroclaw, renowned far beyond Silesia, came into being as early as the 16th century. Later, 17th century realizations referred to the late-Renaissance trend popularized mainly by the treatises of Joseph Furttenbach. Considerable fame was gained by the water garden of Wolfgang Scharschmidt, which existed in the last quarter of the 17th century and was located in the area of the former garden of Lau-rentius Scholtz. Here, a variety of over one hundred so-called "water tricks" was found, their conceptions being taken from the treatises of Georg Andreas Bockler. In the 18th century this garden was changed, once again, by its new owners. According to the tendency in this period, Count von Lam-berg had the garden arranged in the manner of French solutions. Together with the garden of the Maltzan counts it belonged to the most imposing examples of Baroque gardens in Wroclaw. Due to restrictions resulting from lack of space within the town walls in the 18th century, numerous decorative gardens came into being in the suburbs. One of them was the garden of Caspar Wilhelm Scultetus, in the Świdnicka Suburbs. Apart from the gardens belonging to the burghers, imposing garden arrangements were found in suburban granges belonging to the clergy. The most imposing came into being in the fourties of the 18th century, by the summer residence of Cardinal von Sintzendorf. However, just as grand were such gardens as those belonging to the Canons Regular in Brochów, the Knights of St John of Jerusalem in Krzyki, and the Premonstratensians in Mokry Dwór. Unfortunately, none of these gardens have preserved to the present. Only rare descriptions and iconographie presentations inform us of their configuration.

18

Architektura w dziejach teologii

75%

Liszka P.

Colloquia Theologica Ottoniana

|

2015

|

nr 2

163-174

EN

Architecture has always been a means of expressing world viewpoints that are governing in a given society. Gothic architecture expressed man’s desire to come closer to divine infinity. Gothic cathedrals would combine two worlds separated by an infinite metaphysical distance. Baroque architecture attempted to include in the vertical scheme the whole heritage of the passing and the temporal: aspects of nature, human existence and the richness of human spirituality. All this in a temporal, diachronic aspect, an aspect subjected to constant change, an aspect full of energy, dynamics and motion. The 20th century introduced trends that attempted to unite the visible world with the divine. Matter was divine and the divinity was material. This pantheistic interpretation of nature was reflected in architecture. Will Christian architecture come to an end or will it triumph? Will architecture be a stumblingblock or a spring-board for the Christian faith? This triumph will not be achieved by looking for new arguments in the never-ending debate, but through a better understanding of Christian Revelation, which is known but superficially, both by Christians and their adversaries. That is the reason why architecture contains and expresses merely a general outline of Christian doctrine. Ideas expressed in other architectural styles also have a superficial influence.

19

Рецепция французской версии традиционного сюжета об Амуре и Психее в поэме И. Ф. Богдановича «Душенька» (1783)

75%

Kotaridi Y.

Przegląd Wschodnioeuropejski

|

2019

|

tom 1

325-335

EN

The subject of this paper is the transformation of poetics of Cupid and Psyche plot in its national and historical modifications in French and Russian literatures of the 17th–18th centuries. The methodology of the analysis is based on mythological studies (K. Levi-Strauss, J. Frazer, A. N. Veselovsky, A. F. Losev) and genre studies (M. M. Bakhtin, S. S. Averintsev, E. M. Meletinsky, etc.). This paper examines the genre of J. de La Fontaine’s and his follower Ippolit Bogdanovich’s versions of the plot and the interrelation of various literary styles in their poetics. The genre of the French and Russian versions absorbs the elements of Classicism, Baroque and Rococo which are combined in syncretic unity. The transformation of the tale of Cupid and Psyche leads La Fontaine and Bogdanovich to the creation of a hybrid genre in which the initial version of the plot is exposed to travesty and revaluation.

20

Tendencje epoki oraz indywidualny rys w kształtowaniu bohatera literackiego w romansopisarstwie Wacława Potockiego

75%

Woron J.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2012

|

tom 18

|

nr 4

33-41

EN

The subject of the article is the study of the formation of the literatery hero in the baroque novel written by Waclaw Potocki. The aim of the work is the establishing the following questions: Did the the poet realise general tendences obligatoring in baroque romances? Or did he depart from the arisen rules and thus his characters were named by individual feature? The periphrasis of the following questions like the look of the character, personality, the model of love and the docere function realised by some heros help in solving the problem. Six lyrics Judyta, Tressa and Gazela, Wirginia, Syloret, Argenida and Lidia attributet to Potocki were this way analysed.