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Ks. Krzysztof Burczak, Figury retoryczne i tropy w Psalmach na podstawie „Expositio Psalmorum” Kasjodora, Lublin 2004, Wydawnictwo KUL, ss. 358

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Wojtczak-Szyszkowski J.

Vox Patrum

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2003

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vol. 44

476-478

EN

review

PL

recenzja

2

Poglądy Kasjodora na temat sprawowania urzędów państwowych na podstawie XI i XII księgi Variae

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Kieling M.

Poznańskie Studia Teologiczne

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2021

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issue 40

47-64

EN

In the article the author presents the principles of ruling in various high offices on the basis of Variae by Cassiodorus – the work of great importance to historiography and the European culture. The work consists of twelve books – official documents and the royal ones from the years 489-538. On the basis of the source text, especially books 11th and 12th of Variae, the most important documents are analysed. These documents were written at the time of serving in the administration of the king of Ostrogoths, when Cassiodorus was the praetorian prefect. The paper is divided into four parts. The first point is devoted to the description and the scope of activity of the praetorian prefect, pointing to his high qualifications, integrity and responsibility for the country. In the second point the author presents the two rules that should be followed by officials: being obedient and loyal to the authority, as well as preserving the law. The next point is devoted to preferment and the payment officials received, which resulted from working in public service. The last point is devoted to combating corruption and malpractice, especially bribery, theft and breaking the law. The issues raised in this paper are still current and the principles of ruling in various high offices proposed by Cassiodorus are still of high standards for the person who holds an office in the government.

PL

W powyższym artykule podjęto tematykę zasad sprawowania urzędów państwowych na podstawie ważnego dla historiografii i kultury europejskiej dzieła Variae autorstwa Kasjodora. Pismo to składa się z dwunastu ksiąg i zawiera dokumenty urzędowe oraz pisma królewskie z lat 489-538. W oparciu o analizę tekstu źródłowego, szczególnie XI i XII księgi wyżej wspomnianego dzieła, przeanalizowano dokumenty, które Kasjodor napisał w czasie pełnienia przez niego jednego z najważniejszych urzędów w królestwie Ostrogotów – prefekta pretorium. W opracowaniu, które składa się z czterech części, wskazano na najważniejsze zasady piastowania urzędów. W pierwszym punkcie przedstawiono osobę i działalność samego Kasjodora jako prefekta pretorium, wskazując na jego wysokie kwalifikacje, prawość oraz odpowiedzialność za państwo. W drugim punkcie ukazano dwie ważne zasady, którymi powinni charakteryzować się urzędnicy: posłuszeństwo i lojalność wobec władzy oraz zachowywanie prawa. W kolejnym punkcie zaprezentowano tematykę awansów i gratyfikacji urzędników, które wynikały z pełnienia służby publicznej. Ostatni punkt został poświęcony walce z korupcją i nadużyciami, w szczególności z przekupstwem, kradzieżami, łapówkarstwem i łamaniem prawa. Tematyka powyższego opracowania jest wciąż aktualna. Zasady sprawowania urzędów, o których pisze Kasjodor, nadal stanowią wysokie standardy osoby piastującej urzędy państwowe różnych szczebli.

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Aldo Clementi musicus mathematicus

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Carapezza P. E.

Interdisciplinary Studies in Musicology

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2013

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issue 12

57-72

PL

Like that of Liszt and Stravinsky, the composers by whom he was attracted in his adolescence and early youth, Aldo dementi’s (Catania 1925-Rome 2011) musical production went through various phases, greatly changing on the surface and in appearance, though not in depth and substance. He himself suggests a division into five phases: 1. Preliminary (1944-1955), juvenile and apprenticeship works. 2. Structural (1956-1961). 3. Informal material (1961-1964). 4. Non-formal optical (1966-1970). 5. Polydiatonic (1970-2011): groups of letters indicating musical notes (for example: B-A-C H), or canti dati (modal or tonal - monodic or polyphonic - compositions of the western tradition, from the Stele of Sicilus to Stravinsky), but most often segments of melodic lines inferred from them. But - in the polyphonic counterpoint that derives from it - they are simultaneously intoned in the different voices in different tonalities: hence their superimposition restores the chromatic dodecaphonic total. Clementi himself proclaims the constitutional continuity of this development. The substance of his music consists in the direct transposition of a figurative project into a sonorous structure. Geometrie di musica: the title of the 2001 book by Gianluigi Mattietti refers first of all, as the subtitle says, to The diatonic period of Aldo Clementi, but it perfectly defines his whole musical production, all pervaded by dense polyphonic counterpoints. For Clementi construction is a goal, not a means to articulate discourse: indeed, he was even to do without discourse in his three central creative periods; and when in the fifth and latest one he has returned to it, he has enslaved it entirely to construction : he draws fragments from it, to be used as raw material, i.e. the diatonic subjects, of his dodecaphonic counterpoints. After the different phenomenology of the eruptions of sound matter of Varèse and Stravinsky, dementi’s music represents a further peak of pure construction in the sonorous space. His counterpoint however, like Webern’s, is limpid, subtly articulated, and dominated by reason: but here construction reigns supreme, and the composer in accordance with his requirements uses discursive melodic segments as raw material, as bricks (“modules” he says, and he describes them as mosaic tiles). “The idea of a construction achieved with the dovetailing of mirror-like images is also at the base of the figurative research of Escher, hinging on the concept of division of the plane, through repeated figures, mirror-like and congruent” (Mattietti). Indeed, dementi’s music is “disciplina quae de numeris loquitur” (discipline that speaks of numbers), according to the definition by Cassiodorus, rather than “scientia bene modulandi” (art of singing well), according to the definition by Augustine; and it is, more precisely, paraphrasing the famous definition by Leibniz, “exercitium arithmeticae manifestum coscientis se numerare animi” (evident arithmetical exercise of the mind aware of counting). Three compositions of dementi’s polydiatonic period are here thoroughly considered: two canons for string quartet, the very simple four-voiced Canone on a fragment by Platti (1997) and the very complex eight-voiced Tributo (1988) on “Happy birthday to you!”; and a de-collage, Blues and Blues 2, “fantasies on fragments by Thelonious Monk”, for piano (2001).

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Ks. Krzysztof Burczak, Figury retoryczne i tropy w Psalmach na podstawie „Expositio Psalmorum” Kasjodora, Lublin 2004, Wydawnictwo KUL, ss. 358

Poglądy Kasjodora na temat sprawowania urzędów państwowych na podstawie XI i XII księgi Variae

Aldo Clementi musicus mathematicus