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Ἀργὼ πᾶσι μέλουσα, παρ᾽ Αἰήταο πλέουσα – greckie źródła literackie do poznania mitu o Medei i wyprawie Argonautów po złote runo od VIII w. p.n.e. do III w. p.n.e.

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Dworniak J.
Studia Europaea Gnesnensia
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2019
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issue 19
9-30
EN
The myth of Medea and the Argonauts’ voyage to the faraway Colchis in search of the Golden Fleece belongs to the earliest legends of ancient Greece. The narrative elements of the tale would change over time. For almost thirteen centuries, from Homer to the late-antique poem Argonautica Orphica, which yet again retold the heroes’ expedition to Colchis, the legend of the Colchian sorceress and the fifty brave men fascinated ancient poets, historians and tragedians. Hence the paper focuses on the Greek literary sources which conveyed the tale. A detailed discussion of the works aims to highlight the diversity and multiplicity of the myth’s versions as well as outlines the evolution of the legend, whose most celebrated and recognized literary variant is found in Argonautica by Apollonius Rhodius.
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Medea w tradycji przedeurypidejskiej

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Budzowska M., Łódzki U.
Collectanea Philologica
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2004
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vol. 08
LA
Materia dissertationis nostrae sunt fabulae et opera sriptorum Gracorum ante Euripidem, quae ad personam Medeam perinent. Implicandum fabulas cum rebus gestis nationis Minyadum, qui Argonautae putantur, signatur. Primum tamen mutatio aspectus Medeas in litteris Graecis notatur.
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JAN HOROWSKI, FILOLOG KLASYCZNY – UCZONY I PEDAGOG. WSPOMNIENIE UCZNIA W CZTERDZ IESTĄ ROCZNICĘ ŚMIERCI

100%
Lewandowski I.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2016
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vol. 26
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issue 2
167-175
PL
The author’s scope is to briefly present the life and the area of scientific interest of Jan Horowski, an outstandingscholar, especially in the Greek literature and school didactics of Latin.
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Philicus’ “novel composition” for the Alexandrian grammarians: initial lines and iambe’s speech

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Danielewicz J.
Classica Cracoviensia
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2015
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issue 18
137-149
EN
The Hymn to Demeter (SH 676-80) by Philicus of Corcyra can be viewed as a combination of new and traditional features. It contains a proclamation of novelty, but, at the same time, it is rooted in the hymnic tradition; the traceable characteristics of the conventional hymn, however, are considerably modified by Philicus and practically require redefinition. What seems particularly worth emphasising is the poet’s receptiveness to other than hymnic modes of expression as well as intertextual allusions ranging in time from the archaic period to the present day. Philicus’ poem (dw#ra) is “brought” to the grammatikoi, a specific group of recipients whose opinions must have counted so much that the poet decided to address to them his hymn on par with the gods. Although it is a truism to say that the ancient hymn composers took into account two communicative settings, one formally adopted (the author/performer – the god) and one resulting from the circumstances of their performance (the author/performer – the audience/readers), it is Philicus’ merit to state explicitly what the other poets used to leave implicit. The innovativeness of Philicus’ hymn is clearly visible also in Iambe’s speech, quoted in the last part of the preserved text (SH 680.56-62). The author of the article highlights the witty contrast between her suggested uneducatedness and refined poetic diction. In Iambe’s protests can be heard the Homeric mh' ba;llete kou#roi ] Acaiw#n (Il. 3.82), the Pindaric [Ella;dov e/reisma, kleinai' Ὰya#nai (fr. 76.3) or the Hippocratean, highly technical di;aita tw#n a]nyrw;pwn (De aere, aquis et locis 1.19), comically applied to the deer. In addition, there can be found a thematic echo between Philicus and Callimachus, compare bota;nh ... e]la;fou di;aita in Philicus and mh#la ... bota;nhn ne;moito in Callimachus (Branchus, fr. 229.4 Pf.)
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Un Demostrato e un Antimaco in un papiro laurenziano (PL III/112): nuovo frammento storiografi co o hypomnema erudito?

88%
Del Corso L., Pintaudi R.
Eirene. Studia Graeca et Latina
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2013
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vol. 49
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issue 1-2
135-146
EN
This paper comprises an edition of a short papyrus fragment in the Biblioteca Medicea Laurenziana (Florence), containing literary texts on both faces. The text on the front contains references to a certain Demostratos, very probably the 5th century BC Athenian demagogue who promoted intervention in Sicily, and to a certain Antimachos, who may be the Athenian politician of that name for whom we have epigraphic testimony: we may therefore hypothesize that this text comes either from a lost historiographical work or from an erudite commentary on the work of a historian. The text on the back, written by another hand, is even more fragmentary, but, due to the mention of a certain Hellanikos, it was probably a work of erudition, maybe related to early Athenian history, as the traces of other words seem to suggest.
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Etyczno-antropologiczne aspekty aborcji w świetle wybranych dzieł antycznej literatury Grecji i Rzymu

75%
Kołosowski T.
Seminare. Poszukiwania naukowe
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2013
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vol. 33
251-262
EN
The article presents the view of the ancient Greeks and Romans on abortion from the ethical and anthropological point of view. The author analyses selected literary works of ancient Greek and Roman authors. The analysis leads to several conclusions. In ancient Greece and Rome children were considered a divine blessing and a treasure, while sterility was regarded as a misfortune and a divine punishment, but the killing of children in their mothers’ wombs was practiced, and even born children were put to death for eugenic reasons. This view was represented by Plato and Aristotle, despite their notion that the fetus was animated as early as the mother’s womb. The Stoics who claimed that the fetus was merely a part of the mother did not see any problem with abortion at every stage of pregnancy. Thus, abortion was practiced, but it also drew condemnation from society. It was perceived as a crime deserving of divine and human punishment, as testified by the works of Aeschylus, Cicero, Ovid, and Juvenal.
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Pajdeutyczny wymiar postaci mitologicznych w literaturze greckiej i komentarzach scholiastów

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Czerwińska J., Uniwersytet Łódzki W. F.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
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2015
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vol. 08
PL
W artykule zostaje podjęty problemem typu bohatera i antybohatera wykreowanego w literaturze przez antyczną kulturę grecką. Z uwagi na to, że problem ten w aspekcie diachronicznym jest bardzo szeroki, dlatego, chcąc dokonać jego pogłębionej analizy, konieczne jest zawężenie pola badawczego. Artykuł podejmuje zatem omawianą kwestię w eposie Homera, przy czym zostają w nim zestawione stworzone przez epika paradygmaty postaw bohaterów mitologicznych z postaciami wykreowanymi przez Eurypidesa. O wyborze tym zadecydował fakt, że utwory obu poetów możemy uznać za reprezentatywne dla ukazania świata wartości epok, w których tworzyli, oraz to, że u wymienionych poetów te same postacie mitologiczne podlegają niekiedy zupełnie odmiennej waloryzacji.
EN
The paper discusses the types of heroes and anti-heroes established in literature by ancient Greek culture. In order to provide a full treatment of the subject, which in its diachronic aspect is very broad, the field of research has been limited. As a result, the present paper analyzes examples of mythological figures in the epic poems of Homer in juxtaposition with those found in Euripidean drama. The two authors have been chosen in view of the fact that their works are model representations of the values of their times as well as of the noticeable differences between them in evaluating the same mythological figures.
8
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Metafora i piękno w Iliadzie Homera

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Grzybowski W.
Nurt SVD
|
2017
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issue 1
309-324
PL
Iliada Homera jest wielowarstwową opowieścią o heroicznej przeszłości achajskiej arystokracji. Choć skażeni winą, ate, choć zaangażowani w niesprawiedliwą, łupieżczą wojnę, bohaterowie achajskiej historii dosięgają wzoru cnoty, arete – męstwa połączonego z mądrością. Wina zarówno Achajów – Achillesa i Agamemnona, jak i Trojan – Parysa i Hektora, przesłania oraz odbiera im część chwały, jaka winna wypływać z mądrego męstwa połączonego z szacunkiem dla zwyciężonych. Wina zrodzona z pokusy, której nie mogą się oprzeć jako śmiertelni, paradoksalnie obarcza ich odpowiedzialnością za zło, nad którym nie panują. Jednak spadająca na nich kara staje się ekspiacją i aktem odzyskania heroicznej cnoty. Znaczenia te zawarte są w przenośniach zastosowanych przez Homera, a także w złożonej strukturze Iliady. Zarówno homeryckie metafory, jak i przedstawianie postaci oraz narracja budują kompozycję znaczeń i harmonii, która w sposób naturalny poddaje się wytłumaczeniu za pomocą scholastycznych pojęć proportio, integritas i claritas, trzech podstawowych cech piękna. Tak pojęta kompozycja Iliady stanowi ważny krok w tworzeniu antycznej tradycji wyznaczonej przez kalokagathię, poszukiwanie prawdziwego piękna i dobra.
EN
The Illiad, traditionally attributed to Homer, is a multilayered story about the heroic past of the Achaean aristocracy. Though engaged in an unjust war and plunder, thus contaminated by guilt, ate, the Achaeans strive for the very model of virtue, arete – courage and wisdom paired with respect shown towards the defeted enemy. The glory of arete is compromised on both sides of the conflict, the Acheans (Achilles and Agamemnon) and the Trojans (Paris and Hector). Their guilt, born of temptation which they – as mortals – cannot resist, paradoxically makes them responsible for the evil they have no power to contain. Their punishment thus becomes their atonement for their wrongdoing and their chance to redeem their discredited heroism and virtue. All these ideas are conveyed by the metaphors employed by Homer throughout his complex masterpiece. His way of presenting the protagonists and narrating their stories creates a brilliant composition of meanings and harmony, which the European scholastics many centuries later described as the constituent elements of beauty: proportio, integritas and claritas. The Illiad marks an enormously important stage in the development of the ancient search of the true goodness and beauty, kalokagathia (Ancient Greek: nobility, goodness, from kalos: beautiful, kai: and, agathos: good).
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An Unwelcome Aspect of Life: the depiction of Old Age in Greek Vase Painting.

63%
Gorzelany D.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2014
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vol. 24
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issue 2
153-177
PL
The subject of old age is rarely addressed in Greek vase painting and usually appears in scenes from mythology or daily life. Older men in these representations are Homeric heroes, esteemed as kings, leaders and sages who have rendered great services to society; older people are also present in scenes of everyday life – usually as fathers or child supervisors. depending on the technique of decoration, these figures were characterised mostly through hair colour (as well as thinning hair and baldness in the case of men), a stooped and frail frame or an obese one. Besides, on red-figure and white-ground vessels it was possible to render facial wrinkles. These features apply predominantly to the images of men, because due to the social ideal of kalokagathia Athenian women were usually depicted as timelessly young. The article contains an analysis of selected depictions of the elderly in vase painting in terms of their iconography and the types of scenes in which they appear, including references to the written sources.
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Metaforyka śmierci i archetyp niezniszczalnego życia

63%
Czerwińska J.
Roczniki Humanistyczne
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2014
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vol. 62
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issue 3: Filologia Klasyczna
005-027
PL
Deliberations concerning the Greek metaphor of death and the archetype of indestructible life functioning in the Greek literature are the subject of the article. Their close correlation is most completely expressed by the graus methyse—anus ebria topos. For a proper understanding of the wealth of its meanings and symbols the cultural context is shown, in which the topos was created. In the article the phenomenon of the old age in Greek literature is analyzed in two basic aspects. The first one is perceiving the old age as contrasted with the worship of beauty and youth worked out by the antiquity; and the other one is showing it in the context of death, especially as compared with the symbolic image of Hades. The latter is accompanied by visions of overcoming the death that function in the Greek culture and are recorded in literature. One of them is presented in the symbolic image of graus methysē—anus ebria that is connected with the state of intoxication with wine and its benevolent giver, Dionysus.
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