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1
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Mak hieroglifem zapomnienia

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Koźluk M.
Acta Universitatis Lodziensis. Folia Litteraria Romanica
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2013
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issue 008
19-36
FR
Dans les cultures de l’Antiquité et de la Renaissance, la fleur du pavot (papaver sommniferum / papaver lethaeum) est avant tout un symbole ou mieux, si l’on emprunte le terme aux dictionnaires des symboles et aux recueils d’emblèmes du XVIe et du XVIIe siècles, un hiéroglyphe de l’oubli, identifié avec le sommeil et la mort. L’attribut de deux frères jumeaux, Hypnos et Thanatos, fils de la Nuit (Nyx) et frères de l’Oubli (Lethe), le pavot, dans la médecine ancienne et renaissante, reste classé parmi les plantes à propriétés somnifères dont on tirait un remède prisé dans toute la pharmacopée classique, l’opium. Le pavot est aussi un symbole de l’oubli propre à l’amour. Placé dans la main de Vénus (Venus Verticordia), la déesse qui fait tourner le cœur des amoureux, le pavot visait à enflammer les cœurs des amants insensibles ; fleur principale de la couronne posée sur la tête d’Éros (Amor Letheus), le pavot passait aussi pour être un remède efficace qui apportait du soulagement à tout amoureux souffrant d’un amour non partagé. La double nature du pavot, somnifère ou mortelle, se prêtait tout naturellement à diverses interprétations symboliques dont profitaient non seulement les littératures antique et renaissante mais aussi de nombreux dictionnaires des hiéroglyphes ainsi que l’art emblématique du XVIe et XVIIe siècles.
2
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L’hypotypose dans les Métamorphoses d’Ovide

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Koźluk M.
Acta Universitatis Lodziensis. Folia Litteraria Romanica
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2016
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issue 11
9-24
PL
Metamorfozy Owidiusza stanowią doskonały materiał do badań nad figurami retorycznymi, a w szczególności nad hipotypozą (euidentia). Występująca bowiem często w towarzystwie innych figur (enumeratio, accumulare res, comparatio, gradatio) hipotypoza, odgrywa wyjątkową rolę w owidiańskiej narracji, a zwłaszcza w momencie kluczowym dla każdej przemiany, jakim jest płynne przejście jednego bytu w drugi. W niniejszej pracy zostały prześledzone głównie fragmenty, które zarówno w sposób dokładny (perspicuitas), jak i przekonujący (persuasio) ukazują zmieniające się ludzkie ciało z punktu widzenia fizjonomii i anatomii. Historie Dafne, Myrry, Ocyrhoé, Aglauros czy Niobe, to tylko niektóre przykłady, które posłużyły do analiz w celu zbadania, na czym polegała istota hypotypozy w momencie przemiany. Celem artykułu było również ukazanie, w jaki sposób łaciński poeta korzystał z tej silnej pod względem natury figury retorycznej (figura ad delectandum), aby wzbudzić u czytelnika jak najgłębsze przeżycia (mouere).
EN
Ovid’s Metamorphoses are an excellent text for the study of figures of speech, and in particular over hypotyposis (euidentia). Often hypotyposis, occurring in the company of other figures (enumeratio, accumulare res, comparatio, gradatio), plays a unique role in ovidian narrative form, especially at the key time of change – metamorphosis, which is the passage of one being to another. This article has traced mainly fragments that accurately (perspicuitas) and convincingly (persuasio) show the change of the human body, from the point of view of physiognomy and anatomy. Stories of Daphne, Myrrh, Ocyrhoé, Aglaulus or Niobe, are just some examples that were used for analysis to investigate what is the essence of hypotyposis at the time of change. The main aim of this article was to show the way, which was used by Ovid, the Latin poet, to stir in the reader the strongest of feelings (mouere).
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Les paradoxes de la mélancolie d’après le "Problème XXX " d’Aristote

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Koźluk M.
Acta Universitatis Lodziensis. Folia Litteraria Romanica
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2012
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issue 007
9-17
EN
One cannot examine the paradoxes of melancholy without turning again to one of the founding texts of the medical and philosophical tradition that remained alive until the XVIII century, a tradition that sought to account for the phenomenon of melancholy. The text ‒ Problem XXX, from the Pseudo-Aristotelian treatise (Problemata physica, XXX, 953a-955a), is at the origins of a series of other texts dealing with melancholy that have attracted the interest of a number of historians of ideas. Problem XXX initiated on the question of excesses of the human soul, an intellectual revolution of similar importance to the one achieved by Hippocrates on the subject of epilepsy. In the Problem, Aristotle attempted, for the first time, to give an account of vague and hard to define psychological states strictly in medico-philosophical terms. Our purpose is to analyse the manner in which this celebrated problem has given its orientation to medical thought three paradoxes concerning the theory of melancholy, the nature of the black bile and the nature of genius.
PL
Przedmiotem artykułu jest jeden z podstawowych dla tradycji medycznofilozoficznej tekstów, uznawany aż po osiemnasty wiek, który próbuje objaśnić zjawisko melancholii. Traktat ‒ Zagadnienia przyrodnicze (XXX 953a-955a) Pseudo-Arystotelesa – rozpoczyna w dziejach ludzkości obszerny cykl tekstów traktujących o melancholii i stanowił już niejednokrotnie obiekt naukowych badań dla historyków myśli. W rozprawie tej Arystoteles dokonuje w sposobie myślenia o melancholii intelektualnej rewolucji porównywalnej do przewrotu, do którego niegdyś doprowadził Hipokrates w sposobie myślenia o epilepsji. W tym tekście również po raz pierwszy Stagiryta próbuje za pomocą terminologii naukowej wyjaśnić wszelkie ulotne i trudne do zdefiniowania z psychologicznego punktu widzenia stany ludzkiej duszy. Celem artykułu jest wykazanie trzech paradoksów czysto medycznych w studium Arystotelesa: niejasnych podstaw teoretycznych zjawiska melancholii, natury czarnej żółci oraz fizjologicznych przesłanek geniuszu.
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Representing the Phlegm: the Portrait of the Phlegmatic in Cesare Ripa’s Iconology

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Koźluk M.
Studia Ceranea
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2022
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vol. 13
491-505
EN
This article is the second in a series of works which aims to contribute to documenting the success of the medical theory of individual complexions, derived from the theory of the four humours, through the major work which constitutes the Iconologia of the Italian humanist Cesare Ripa (1555–1622). We analysed here the figure of the phlegmatic and undertook to determine the reasons which governed the choice of the attributes retained by Ripa (portliness, pallor of the skin, coat in badger furs, tilted head and girded with a black headband, turtle) to offer poets, painters and sculptors the archetype of a character dominated by cold and damp phlegm. To this end, we have been interested in the medical and iconographic sources on which the author was able to rely and have tried to identify the attributes which are part of tradition and those which testify to an inuentio of the author in the iconographic art.
5
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Fobie w szesnasto- i siedemnastowiecznym dyskursie medycznym we Francji

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Koźluk M.
Acta Universitatis Lodziensis. Folia Litteraria Romanica
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2022
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vol. 17
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issue 2
137-149
EN
From the point of view of the ancient medicine, apprehension, which is a feeling of fear and uncertainty regarding the probable outcome or consequences of something, significantly tormented the soul rather than the human body. Altogether with anger, hatred, and yearning, it was classified into the serious diseases, called by the physicians “perturbations of spirit” (perturbationes animi). The regimina sanitatis genre provided all the information about them. In this article, we presented a type of the apprehension which today we would term a phobia and describe it as a neurotic disorder. Firstly, we concentrated on the place of the apprehension amongst the other sicknesses of the soul. Secondly, we investigated two kinds of fear, its sources, and its peculiar symptoms. Finally, we depicted a few cases of phobia (musophobia, ailurophobia, hydrophobia, batophobia, etc.) rarely mentioned in the sixteenth- and seventeenth-century medical discourses.
FR
La crainte – état d’angoisse ou d’incertitude quant aux résultats de quelque chose – affligeait, selon l’ancienne médecine, plutôt l’âme que le corps humain. À l’instar de la colère, de la haine et de la tristesse, les médecins comptaient la crainte parmi les graves maladies appelées « perturbations de l’âme » (perturbationes animi). Les régimes de santé (regimina sanitatis) fournissent nombre d’informations sur ces affections. Dans cet article, nous nous sommes penchées sur cette crainte que nous qualifierions aujourd’hui de phobie et définirions comme une perturbation du système nerveux. D’abord, nous nous sommes concentrées sur la place de la crainte parmi les autres perturbations de l’âme. Ensuite, nous avons analysé deux genres de crainte, leurs causes ainsi que leurs symptômes respectifs. Enfin, nous avons rapporté quelques cas de phobies (musophobie, ailurophobie, hydrophobie, batophobie, etc.) dont les médecins parlent rarement dans leurs discours médicaux aux XVIe et XVIIe siècles.
6
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Se garder de la tyrannie de la peste en France (XVIe-XVIIe siècles)

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Koźluk M.
Acta Universitatis Lodziensis. Folia Litteraria Romanica
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2022
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vol. 17
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issue 2
261-277
EN
Extending current research on pandemics in Europe and in particular in 16th and 17th century France, we have proposed to examine in this article the medical recommendations that aimed to protect patients from plague epidemics. Based on health regimes and plague treatises of the time, we analyzed the instructions offered by doctors, surgeons and apothecaries, to lead a healthy, virtuous life and preserved from disease. In the first part, we reminded contemporary reader of the foundations and theories of ancient medicine which, based on a complex and coherent system, favored the “middle ground” and sobriety. In the second part, we have grouped together the various prophylactic prescriptions relating to the six unnatural things, focusing on eating and drinking, movement and rest, the evacuation of superfluous humors and the control of passions.
FR
Prolongeant les recherches actuelles sur les pandémies en Europe et en particulier dans la France des XVIe et XVIIe siècles, nous nous sommes proposés d’examiner dans le présent article les recommandations médicales qui visaient à protéger les patients des épidémies de peste. En nous appuyant sur les régimes de santé et sur les traités de pestes de l’époque, nous avons analysé les instructions proposées par les médecins, chirurgiens et apothicaires, pour mener une vie saine, vertueuse et préservée de la maladie. Dans la première partie, nous avons rappelé au lecteur contemporain les fondements et théories de l’ancienne médecine qui, sur la base d’un système complexe et cohérent, privilégiait le « juste milieu » et la sobriété. Dans la seconde partie, nous avons regroupé les diverses prescriptions prophylactiques relatives aux six choses non-naturelles en nous concentrant sur le manger et le boire, le mouvement et le repos, l’évacuation des humeurs superflues et la conduite des passions.
7
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Représenter la flaua bilis: le portait du colérique dans l’Iconologia de Cesare Ripa

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Koźluk M.
Studia Ceranea
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2022
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vol. 12
633-650
EN
Representing the flaua bilis: the Portrait of the Choleric in Cesare Ripa’s Iconology. The theory of the four humours (blood, phlegm, yellow bile and black bile) forms the basis of ancient medicine. Coming from the Hippocratic corpus and completed by Galen of Pergamum (129–216 AD) in his De Temperamentis by means of individual complexions (blood, phlegmatic, angry, melancholic), this theory is essential in modern Europe after more than two thousand years of transmission, development and practice of medicine. Our article aims to examine its fortune in the Iconology of the Italian scholar Cesare Ripa (1555–1622). Starting with the Roman edition of 1603, he enriched his famous allegorical repertoire with a complex entry encoding the four temperaments: Collerico per il fuoco, Sanguigno per l’aria, Flemmatico per l’acqua, Malenconico per la terra. We work here only with the Choleric and undertake to determine the reasons which governed the choice of the attributes retained by C. Ripa (youth, nudity, sword, shield adorned with a flame, lion, fury in the gaze) to offer poets, painters and sculptors the archetype of a figure dominated by yellow, hot and dry bile. To this end, we analyze the medical, literary and iconographic sources on which the author relies, considering also the richness and complexity of the medical discourse he had at his disposal and the very purpose of his Iconology.
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Reading and Annotating Galen between 1515–1531: on some Latin Galen Editions in the Library of the Carmelites in Cracow

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Koźluk M., Sowińska J.
Studia Ceranea
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2019
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vol. 9
279-300
EN
Copies of early-printed books have been of interest to to-day’s collectors and researchers not only for their material aspects (names of publishers and places of printing, fonts and composition, number of known copies etc.), but also because they bear signs of their often erratic history following their publication. The path followed by a particular copy of an early-printed book is reflected in its general state as an object (for instance the state of its binding), but also in its internal aspect. On the pages of a copy of an early-printed book, annotations, drawings doodles or graphics testify to the intimate relationship that its owners entertained with it. To better understand how owners dealt with copies of the books they possessed, this paper examines the annotations found in copies of some books that belong to the Carmelite convent in Cracow. We hope to bring to the attention of scholars, copies of works of Galen housed in this library, and primarily to set a perspective on how books were read by cultured individuals of in the 16th century period. To do so, we analyse copies of the 1507 Venice edition of the Articella and a copy of Latin edition of Galien (Iuntae, Venice, 1531). We attempt to identify the intellectual perspectives from which cultured readers approached such texts in the 16th century.
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