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Znaczenie terminu „epidemia” w starożytnej literaturze grecko-rzymskiej (Próba analizy na wybranych przykładach)

100%

Iwańska J.

Seminare. Poszukiwania naukowe

2014

tom 35

nr 4

175-184

The article discusses the meaning of the term ‘epidemic’ in the literary sources of ancient Greece and Rome. It presents an attempt at tracing the semantics of the words no/soj, loimo/j and e)pidemi/a in Greek literature and illustrates various usage of e)pidemi/a before Hippocrates. It also shows what terms were used by Roman scribes to define pestilence or points out that Homer used the word in Illiad in the meaning of: “this one who liked passionately the frightening civil war”. Sophocles used ‘epidemios’ in King Oedipus referring to dissemination and propagation of the king’s fame. The authors before Hippocrates applied this term almost to any phenomenon (people, rain, war) except for disease. Hippocrates was the first one to adapt it to medical terminology. (P. Martin, E. Martin, 2,500-year …).

The Early Christians in the Face of Epidemics

100%

Kashchuk O.

Studia Ceranea

2021

tom 11

611-622

The purpose of the article is to present the reaction of the early Christians to the emergence and the spread of the great epidemics. During the early Christian ages (2nd–3rd centuries) different plagues devastated people of the Roman Empire. Christianity has already prepared some modes of activity to deal with epidemics. These were both ideological and practical means. The main conclusion is that the pestilences during which Christians might show their moral principles, the special manner of life, and activity were one of the reasons to explain conversion to Christianity.

La mortelega grande, czyli „wielkie umieranie”. Zaraza jako katastrofa (w) wyobraźni

84%

Boruszkowska I.

Konteksty Kultury

2020

tom 17

nr 3

312-327

The present paper discusses two examples of literary depictions of epidemics: the libretto Zaraza w Bergamo (1897) by Young Poland writer and critic Karol Irzykowski and the novel Palę Paryż (1928) by Polish futurist author Bruno Jasieński, with both works exemplifying the trend to use the metaphor of pestilence to create a pessimistic image of reality. The author points out that interest in disease and epidemic as a literary subject often grows in the times of radical change and crises. The narratives of pestilence, plague or other collective threat in modernist and interwar literature were examples of apocalyptic narratives. The output of Polish modernist and avant-garde writers encompassed the entire spectrum of catastrophic themes, even if the range of disasters was limited only to plagues: the Black Death, cities ravaged by the bubonic plague, and raging epidemics of deathly flu strains frequently featured on the pages of literary works produced in the 19th and the 20th century.

Artykuł omawia dwa literackie przykłady reprezentacji epidemii: libretto młodopolskiego pisarza i krytyka Karola Irzykowskiego Zaraza w Bergamo (1897) oraz utwór przedstawiciela polskiego futuryzmu – Brunona Jasieńskiego Palę Paryż (1928), które ukazują tendencje do pesymistycznego ujmowania rzeczywistości poprzez metaforę zarazy. Autorka wskazuje, iż zainteresowanie twórców chorobą i epidemią jako tematem literackim powraca w momentach przełomów i kryzysów. Narracje o zarazie, pladze czy innym powszechnym zagrożeniu będą w literaturze modernistycznej i międzywojennej reprezentowały właśnie narracje katastroficzne. Twórczość polskich modernistów i awangardzistów ujmuje bowiem całe spektrum katastroficznych tematów, nawet jeśli katastrofę zawęzić do plagi: morowa zaraza, zadżumione miasta i szalejące śmiertelne grypy goszczą na kartach literatury XIX i XX wieku.

Przepisy na leki w „Sekretach Isabelli Cortese” (Wenecja, 1561)

84%

Bela Z. , Kostyk M.

Analecta. Studia i Materiały z Dziejów Nauki

2016

tom 25

nr 1(48)

71-90

Recipes for the medications comprised in the “Secrets of Isabella Cortese” (Venice, 1561) is a set of recipes for medications, cosmetics, „alchemic” formulas (e.g. etching the silver with nitric acid), as well as all sorts of tips related to various arts and crafts (i.e. how to make a green ink, how to have the page edges gold-plated in the books, how to dye animal hides, etc.). Books of this type actually attested to one of the 16th c. publishing fads, especially in Italy, where the consummate skills of Venetian publishers simply outclassed those of their peers from other cities across the country. Nothing much is known about Isabella Cortese as a person, though. Considering that the word SECRETO just happens to be an anagram of the word CORTESE, it is quite likely that Isabella Cortese is simply a nickname. It might well be that someone from Venetian high society did not really want his aristocratic name to be in any way associated with this essentially democratic piece of work. The medications described in the “Secrets” comprise, inter alia, a scorpion oil against the plague, St. John’s wort as the treatment for the same disease, a glue to promote faster healing of the wounds, an omelette laced with a turnip juice for an ailing spleen, pills for the French disease (syphilis), etc. Most of those medications originate in the homemade variety, while others are more “learned”, i.e. the ones that were supposed to be bought in a pharmacy (e.g. Unguentum apostulorum), and the so-called empirical drugs. The properties of medicinal components (ingredients) which are specifi cally referred to in the “Secrets of Isabella Cortese”, had been characterized in the Herbarium by Marcin Siennik (Krakow 1568), because the nature of all medical matter addressed there is identical with the one in the 16th c. “Secrets”