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Some Remarks on Aerarium Saturni

100%

Loska E.

Studia Prawnicze KUL

2013

issue 4 (56)

37-41

Main vault of Rome was located in the Temple of Saturn. Stored in it were the material goods of the Roman people, as well as the text of laws and their projects, the senatus consulta and military insignia. The use of the temples for purposes other than the worship had a practical dimension. Choosing the Temple of Saturn as the place of aerarium could have also symbolic meaning, associated with the role attributed to this deity in mythology.

Główny skarbiec Rzymu ulokowany był w świątyni Saturna. Przechowywane były w nim zarówno materialne dobra ludu rzymskiego, jak i teksty ustaw oraz ich projekty, a także senatus consulta oraz insygnia wojskowe. Wykorzystanie świątyń bóstw do celów innych niż sprawowanie kultu miało wymiar praktyczny. Wybór świątyni Saturna na siedzibę aerarium mógł mieć jednak także charakter symboliczny, związany z rolą przypisywaną owemu bóstwu w mitologii.

Основное хранилище Рима было помещено в храме Сатурна. Хранились в нем как материальные добра римского народа, так и тексты законов и их проекты, а также senatus consulta и военные эмблемы. Использование храмов божеств в других целях кроме осуществление культа имело практическое измерение. Выбор храма Сатурна на местонахождение aerarium мог иметь однако также символический характер, связанный с ролью этого божества в мифологии.

Obraz czarnego słońca w wybranych utworach francuskich i polskich romantyków (rekonesans).

70%

Śniedziewski P.

Prace Polonistyczne

2015

vol. LXX

199-215

The article’s goal is an inquiry into the main contexts, in Polish and French Romanticism, for the metaphor of black sun; the metaphor belongs with images and themes clearly marked by the experience of melancholia. There was also a significant impact of astronomical fantasies which, perhaps surprisingly, were very popular in Romanticism. Another important reference point for the present text analysis is the Biblical tradition (related mainly to Old Testament books and The Revelation). However, it must be stressed that the popularity of the metaphor of black sun, both in France and in Poland, was undoubtedly fostered by the popularity of Dürer’s print Melancholia I, and Jean-Paul Richter’s famous Speech of the Dead Christ. In works by selected authors, who represent the two language areas under discussion (including Gautier, Nerval, Słowacki, and Krasiński), it is possible to notice significant differences, which allow for asserting the existence of a different model of dissemination of the image of black sun. Inasmuch as French Romantics mostly approach the image in aesthetic and existential terms, the Polish authors clearly focus on metaphysical and historiographical approaches. It is also important that contrary to Biblical sources, where the image of black sun was often related to God’s wrath or his intervention in earthly order, as in Last Judgement, and contrary to astronomical sources, which eliminated individual perspective and clearly strived for objective approach, the metaphor of black sun in texts by Romantic authors is mostly of anthropological quality; it is an image of the human being confronted by individually experienced transience (in the existential model, closer to French Romantics), or in confrontation with time of a community (historiosophic model, which dominates in texts by Polish Romantics).

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1 Prace Polonistyczne

1 Studia Prawnicze KUL

1 Loska E.

1 Śniedziewski P.

1 2015

1 2013

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Some Remarks on Aerarium Saturni

Obraz czarnego słońca w wybranych utworach francuskich i polskich romantyków (rekonesans).