Wyniki wyszukiwania - Biblioteka Nauki

1

Juniewicz redivivus. Rec.: Sławomir Baczewski, Między satyrą a katechezą. Twórczość Karola Mikołaja Juniewicza. Lublin 2007. – Karol Mikołaj Juniewicz, Refleksyje duchowne. Wydał Maciej Pieczyński. Warszawa 2009. „Biblioteka Pisarzy Staropolskich”. T. 37

100%

Kowzan J.

Pamiętnik Literacki

|

2015

|

tom 106

|

nr 1

255-262

EN

This is the review of Maciej Pieczyński’s critical edition of "Refleksyje duchowne" ("Spiritual Reflexions"), the eighteenth-century devotional poem, and the assessment of Sławomir Baczewski’s monograph on the poem’s author Karol Mikołaj Juniewicz.

2

O przyszłości w przeszłości. Perspektywa eschatologiczna w literaturze staropolskiej

100%

Kowzan J.

Prace Kulturoznawcze

|

2013

|

tom 15

135 - 147

EN

The paper is an attempt to examine the attitude towards the future in early Polish literature. According to Janusz Tazbir, there was scarce interest in the future in old Polish culture. However, I would like to challenge this statement by taking into consideration the eschatological perspective. My point is twofold. First, I present an early Polish visionary account of the hereafter. The story of Piotr Pęgowski described in an anonymous vision in verse attempts to predict future events both in an individual and a universal perspective. In addition, the vision is also an example of the conceptual scheme of the rite of passage described by Arnold van Gennep and Victor Turner. Next, I argue that the literary treatment of the virtue of Prudence (phronesis) is strongly connected with the future of human existence. In Zbigniew Morsztyn’s epigram as well as in other European emblems of that time Prudence plays an important role in the ethical system, especially as circumspection with regard to future matters.

3

Prudencja, luneta i rzeczy ostateczne. Wokół Emblemu 96 Zbigniewa Morsztyna

100%

Kowzan J.

|

nr 3(32)

PL

Prudence, telescope and eschata. Around Emblem 96 by Zbigniew MorsztynThe paper is an attempt at analysis and interpretation of Emblem 96 by Zbigniew Morsztyn. The author presents the text against a broad comparative background and argues that the work is a particular study of the virtue of prudence, for which anticipating future (or more strictly speaking: last) things is a key issue. To date, the ninety-sixth emblem by Zbigniew Morsztyn, although relatively frequently studied by scholars of old-Polish literature, has not yet been comprehensively interpreted. Models of such analyses are provided in articles by Janusz Sławiński or Maria Renata Mayenowa on Emblem 102, complemented by the works of Janusz Pelc and the recent studies in the subject of emblems by Radosław Grześkowiak and Jakub Niedźwiedź. In the beginning, the author shortly outlines the history of the notion of the virtue of prudence in classical and biblical aretology as well as in Thomas Aquinas’s Summa Thaeologiae, which significantly influenced the definition of the virtue of prudence in Christianity. Later, in a detailed analysis of Morsztyn’s text the author tracks references to various elements of Prudence. It seems that (according to Morsztyn) the most important element of this virtue among those distinguished in aretology is providence, that is, the ability to anticipate future things, since this is what the posthumous fate of a man’s soul depends on. Morsztyn illustrated sensible providence using the metaphor of a telescope. This optical instrument, apparent in the iconographical schema of the original print as presented by Morsztyn, supports the cognitive abilities of man and allows him to discern future things that are crucial for his salvation, that is the last things, which he often forgets when carrying on his worldly matters. In order to show the uniqueness and originality of Morsztyn’s presentation of the subject, the author compares his works with emblem XIV from book I of Herman Hugon’s Pia desideria in the translation of Aleksander Teodor Lacki, the adaptation of Mikołaj Mieleszko and the English version of Hugon’s emblems by Francis Quarles. All these variants differ from each other in that they contain differently detailed deliberations on prudence and the last things, as well as in diverse application of the telescope metaphor. Thus Quarles shaped his emblem as a dialogue between Soul and Body in which Soul is trying to convince her interlocutor of the superiority of the telescope over the prism in the thoughtful cognition of the truth about eschata. Mieleszko, by contrast, built his emblem on the concept of a telescope that is turned over and so distances the eschatological vision. Lastly, in the subscription of Hugon-Lacki’s emblem there is no mention of the telescope whatsoever. Such comparative juxtaposition of Morsztyn’s emblem with other adaptations of the Belgian Jesuit’s work exposes not only the artistry of the synthetic presentation of the subject by the old-Polish poet, but also his aretological awareness.