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EN
This study presents the effect of the principles of dramatic poetics with regard to the way the concept of a character in eighteenth-century opera seria was formed. Similarly to the rococo message of Antoine Watteau’s paintings, this genre of opera was characterised by melancholic sophistication, the rule of the artificiality of the presented world and an allegorical plan of reference that assumed an intellectualised strategy of reception of a work of art. The article presents the path to the formation of a model eighteenth-century-opera character, from the transformation of the principles of Aristotelian poetics due to the influence of the rhetorical and scholastic tradition and later due to that of the poetics of French classicism. Händel’s Alcina serves as an example of the superiority of ethos and pathos, i.e. of the presentation of the affects and internal states of the titular character, over other elements of the drama. It is also used to explain to what extent the project of the rococo opera, artificial and challenging the probability rule, practises the mimetic postulates of artistics presentation.
PL
In this article, an attempt is made to describe the way of ancient text elements in Frenchlanguage medical writing, prior to the publication of Dalicourt’s work. It enables to reconstruct three channels of antique medical knowledge transfer: physiological thought reflection (whose important documents in France are: the treatise On old age by Pierre du Lauriers and the textbook of surgery by Ambroise Paré), philosophical thought (Christian Neostoicism inspired by works of Seneca, Erasmus and Lipsius) and theology (which combines Judeo-Christian motifs with Greek-Roman ones through the Bible exegesis). Further, at the end of the work, a political dimension of Dalicourt’s discussion is signalled. The author, who dedicates his text to the chancellor Pierre Séguier, makes in a way reference to the antique discussions on gerontocracy.
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