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1
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Portret idealnej królowej w antycznej powieści greckiej – w stronę modelu

100%
Cieśluk M.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2021
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vol. 31
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issue 1
43-61
EN
This article line of reasoning follows the assumption that in the period in which the ancient Greek novel was developing there already existed fixed cultural norms which thus provided for the frames of the then literary presentations of women in power. In Callirhoe by Chariton or Aethiopica by Heliodorus the reader comes across three images of queens and can consequently ponder over the most significant elements of the model of an ideal female ruler. The comparative analysis of the three heroines in question as well as the juxtaposition of their images with the remaining female characters of Greek novels thus constitutes the core of the article.
2
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Persian Riders in the Aethiopica of Heliodorus. A reliable source?

88%
SKUPNIEWICZ P., MAKSYMIUK K.
Historia i Świat
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2018
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issue 7
99-110
EN
The description of the Persian Riders in Aethiopica of Heliodorus is often regarded a reliable source to reconstruct the tactics and armament of Iranian heavy cavalry of the Sasanian period, sometimes even spread to its Roman equivalents. The conventional nature of entire text is somehow disregarded in this particular point which is not less conventional than all other depictions of the novel. The description uses fixed phrases designed to flatter the erudite reader, not to describe actual combat troops of Achaemenid era disguised in fourth century attire. The Heliodorus’ description must be treated with utmost carefulness and can be a tertiary source for reconstruction of the Sasanian heavy horse, at best.
3
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Elementy religijne w strukturze romansu Heliodora Opowieść etiopska o Theagenesie i Chariklei

63%
Dworacki S.
Język. Religia. Tożsamość
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2020
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issue 1/2(21/22)
83-95
PL
Opowieść etiopska Heliodora, utwór z gatunku starożytnej powieści greckiej, zwanej też romansem, jest dziełem o szczególnie skomplikowanej strukturze, w którą bardzo umiejętnie zostały włączone elementy i wątki religijne. Do omówienia w artykule wybrałem ich 20 najbardziej charakterystycznych dla całego utworu. Dotyczą one zachowań religijnych zbiorowych oraz indywidualnych. Do pierwszych należą między innymi: procesje, składanie ofiar, religijne uroczystości pogrzebowe, a do drugich: okolicznościowe modlitwy, wezwania do bogów czy sny z ich udziałem, a nawet nekromancja. Poza hymnem ku czci Tetydy, mającym cechy pieśni powtarzanej w określonej sytuacji, wszystkie inne miejsca, omówione w artykule jako elementy religijne, mają cechy indywidualnego zwracania się do bogów albo kontaktu z nimi w sennych widzeniach. Zagęszczenie elementów religijnych następuje pod koniec romansu, zakończonym przyjęciem przez parę głównych bohaterów urzędów kapłańskich. Ostatnim elementem religijnym jest wyznanie autora, że jego rodowód wywodzi się od Heliosa, boga czczonego właśnie w Etiopii.
EN
Heliodorus’ work Aethiopica belongs to the ancient literary genre called romance or novel today. His romance has a very complicated structure into which skillfully are inserted religious elements. Their content embraces public and private religious behaviors such as: processions, sacrificial ceremonies, occasional prayer, summing gods, a vision of gods in a dream, and even necromancy. Apart from the hymn to Thetis, which looks like a religious piece occasionally used to worship this very goddess, all other religious elements are mainly personal summing gods and deities or the contact with them takes place in a dream. The density of religious elements takes place at the end of the romance finished with receiving priestly offices by the main characters. The very last religion element is author’s confession that he derives his lineage from the god Helios, just worshiped in Ethiopia.
4
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Klęska Heliodora według Drugiej Księgi Machabejskiej a przybytek Miki w interpretacji Pseudo-Filona

63%
Laskowski Ł.
The Biblical Annals
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2011
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vol. 1
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issue 1
131-141
EN
The story of Heliodorus' defeat in 2 Macc depicts God's extraordinary victory over His enemies. The defeat of Heliodorus and his troops described as a personal work of God is an event which happened without any direct human intervention. The present article analyzes this issue in light of ancient heroes' fights with a deity. These heroes paid the penalty not so much as a consequence of their fight, but because of their revelation of a supernatural power. The juxtaposition of many ancient sources, in which we find both the fights of heroes against gods and 'crime and punishment' themes, reveals the conventionality of literary forms used by hagiographers. Pseudo-Philo's LAB is one of the works in which this tradition is present. The story about Mica's idolatrous sanctuary contains some threads which are analogous to 2 Macc, and can be examined from two perspectives. The fi rst one concerns a detailed description of punishment, whereas the second one focuses on an ironic dimension of the story. The analysis proposed in this research presents the composition of 2 Macc 3 as a certain literary convention. At the same time, it connects the rules of interpretation of this text with those relating to historical legends about theomachoi.
5
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Chińczycy w Etiopii? „Seres” w „Opowieść etiopskiej o Teagenesie i Chariklei” Heliodora

63%
Malinowski G.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2021
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vol. 31
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issue 1
141-152
EN
In the Ethiopian adventures of Theagenes and the Chariclea by Heliodorus, Seres are mentioned twice as allies of the Ethiopian king in the battle against the Persians (9, 16–18) and participants in the royal audience at Meroe (10, 25–26). They donate silk produced in their country to the King Hydaspes, so they are usually considered Chinese by commentators. However, the world presented in Heliodorus’ novel is set in the realities of the Roman era and Roman eastern trade, when African countries also participated in trans-oceanic contacts with India. The archetype of the Heliodorus’ Seres can be found in the kingdom of Chera, located in southern India.
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