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1

Próba semiotycznej analizy kompozycji i przestrzeni elegii Vidi te in somnis (II 26A) Propercjusza

100%
Kopek W.
Roczniki Humanistyczne
|
2018
|
vol. 66
|
issue 3: Filologia klasyczna
147-167
EN
The article describes the undertaken semiotic analysis of space in elegy II 26a of Properius both at the level of textual events (narrative) and at the level of poem composition. Referring to the Propertian inspiration by visual arts (M. Hubbard), the author uses the concept of an ekphrastic technique of space composition to show the function of the “border” motif in a liminal and transgressive space model as well as interpersonal relations. In result the author concludes that the above-mentioned levels of poetic images and the composition of the text are connected by a transgressive figure of the subject, able to cross the boundary created between the “story of a dream” and the narrator–reader (or listener) relationship. This leads to the argument that elegy II 26a is a form of monodrama with the central figure of the subject–actor, who, like a angellos in the drama, simultaneously operates in the “stage” space of the narrator–recipient relation and the space of textual fiction.
PL
W artykule została podjęta semiotyczna analiza przestrzeni w elegii II 26a Propercjusza na poziomie wydarzeń tekstowych (narracyjność) oraz na poziomie kompozycji utworu. Odwołując się do malarskich inspiracji poety (M. Hubbard), autor posługuje się koncepcją ekfrastycznej techniki kompozycji przestrzeni do ukazania funkcji motywu „granicy” tak w liminalnym i transgresyjnym modelu przestrzeni, jak i relacjach interpersonalnych. Ostatecznie autor konkluduje, że powyższe poziomy obrazów poetyckich i kompozycji tekstu łączy transgresyjna postać podmiotu, zdolnego do przekraczania wykreowanej w strukturze tekstu granicy między „opowieścią o śnie” a relacją narrator–odbiorca. Prowadzi to do postawienia tezy, że elegia II 26a jest formą monodramu z centralną postacią podmiotu–aktora, który niczym postać angellosa w dramacie, funkcjonuje jednocześnie w „scenicznej” przestrzeni relacji narrator–odbiorca i fabularnej przestrzeni opowieści.
2
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Koncepcja artysty i konflikt pokoleniowy w "Liście do Pizonów" Horacego. Glosa do antycznej krytyki literackiej

100%
Kopek W.
Colloquia Litteraria
|
2016
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vol. 21
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issue 2
117-144
PL
This paper, taking as a starting point Horace’s “Epistle to the Pissos”, its form and structure, approaches the Horatian problem of an artist involved in the Roman social issues, dominated by such categories as pietas and dignitas, both in relationship to the poet himself and to the social position and role of the profession of an artist (dichotomy: otium – negotium). Moreover, the role of a literary critic is discussed. A literary critic, by imposing certain rules and constraints on the artist, himself is not free of the social pressure being the result of the client/patron dependence. Writing in this context becomes an art of a compromise of values, between social and legal solutions founded in Rome’s traditional ‘community of citizens’ and the aesthetic limits and needs of the new generation of creators and their audiences.
3
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The Concept of an Artist and the Conflict of Generations in “Epistle to the Pissos” by Horace. A Gloss on Ancient Literary Criticism

100%
Kopek W.
Colloquia Litteraria
|
2018
|
issue 5
EN
his paper, taking as a starting point Horace’s “Epistle to the Pissos”, its form and structure, approaches the Horatian problem of an artist involved in the Roman social issues, dominated by such categories as pietas and dignitas, both in relationship to the poet himself and to the social position and role of the profession of an artist (dichotomy: otium – negotium). Moreover, the role of a literary critic is discussed. A literary critic, by imposing certain rules and constraints on the artist, himself is not free of the social pressure being the result of the client/patron dependence. Writing in this context becomes an art of a compromise of values, between social and legal solutions founded in Rome’s traditional ‘community of citizens’ and the aesthetic limits and needs of the new generation of creators and their audiences.
4

Elements of the Mime in Horace’s Epode “Quid tibi vis, mulier”

100%
Kopek W.
Roczniki Humanistyczne
|
2019
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vol. 67
|
issue 3: Filologia klasyczna - Selected Papers in English
45-61
EN
The Polish version of the article was published in Roczniki Humanistyczne vol. 61, issue 3 (2013). The aim of this article is to discover the literary context for Horace’s Epode 12 by juxtaposing it with Herondas’ mimes, particularly Mime 5, titled The Jealous Woman. The description of the relationship between these works is based on the ancient theory of rhetoric and on elements of Horace’s Ars poetica. It has been established that Epode 12 has numerous features of the literary mime: it is an apparent dialogue (sermocinatio, παρῳδή) recited by a single performer (mime), most probably in the scenery of an ancient feast. A participant in the feast becomes an actor, who first performs the role of a male lover (iuvenis) and then the role of a superannuated female lover (mulier). These character types are typical of both Old and New Comedy styles, but the whole dramatic setting seems to bear the greatest resemblance to Mime 5, in which the same literary protagonists are found in a scene analogous to a lovers’ quarrel. On the one hand, specific rhetorical figures (imitatio / μίμησις) indicate that the literary original was used in a creative manner. On the other, Mime 5 can also be used in the interpretation of Epode 12. This interpretation can be built on the processes of liberation and subjugation as part of the lovers’ relationship (actual subjugation in Mime 5 and metaphorical—financial—in Epode 12, where the iuvenis is the mulier’s “kept man”).
5
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Bellum civile, bellum externum. Ambiwalencja obrazów wojny w twórczości Horacego

100%
Kopek W.
Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria
|
2015
|
vol. 15
3-14
PL
Bellum civile, bellum externum. Ambivalence of war images in Horace’s works The article aims at illustrating and explaining the ambivalence of images of just, external war (bellum externum) and civil, fratricidal war (bellum civile) in relation to the ancient literary theory and criticism, the phenomenon of political and cultural ‟patronage” and the political events of Augustan period. By analyzing the odes II 7 and III 2, epode 9 and ode I 37 the author argues that Horace’s initial litterary concept of presentation of civil and external war conventions as fas/nefas changes under the patronage. However, the poet himself, trying to preserve the poetic autonomy and meet the requirements of the ancient literary theory and criticism includes a new political and social situation in the sphere of his work. Key words: Horace; criticism; war; patronage; autonomy;
6
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„...dum Capitolium scandet cum tacita virgine pontifex”. Funkcja figury pochodu w pieśni III, 30 Exegi monumentum Horacego

100%
Kopek W.
Roczniki Humanistyczne
|
2021
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vol. 69
|
issue 3
63-93
EN
This article contains a semiotic analysis of the “dancing procession” motif in Carm. III 30 Exegi monumentum (vv. 7–14) in the perspective of the topos of a meeting with a deity in the Horacian lyric, that was defined as a form of a rite of passage. The author also sought to answer the question of the function of the said motif in the composition of the text and in shaping the figure of the author’s subject, shown as a “poet” (vates). The posed research problem required the use of a semiotic definition of the text and forced an approach to the topos of a meeting with a deity as a cultural text. Which, in turn, bear in on reference to anthropology (the concept of ritual) and cultural studies (κῶμος, χορός), as well as linguistics in terms of semantics and the aspect of a verb. After the analysis the author concluded that the “dancing procession” motif in the ode Exegi monumentum is shown in two phases as a cyclical, ritual χορός, which became a sign of the one-time κῶμος. In this sense, the motif was shown as a figure of memory, referring to the fact that Horace combined Aeolian meters with Roman literature. In reply to the question regarding the figure of the subject, the author indicated that on the basis of the above figure of memory the vates was deified and as such he took the place of the deity in the literary transformation of the topos of the meeting with a deity, aspiring to a role analogous to the figure of “Anacreont” in Anacreontic poetry.
PL
Celem artykułu jest semiotyczna analiza motywu „pochodu tanecznego” w Carm. III, 30 Exegi monumentum (w. 7-14) w perspektywie toposu spotkania z bóstwem w liryce Horacjańskiej, rozumianego jako forma rytuału przejścia. Autor poszukuje również odpowiedzi na pytanie, jaką funkcję pełni przywołany motyw w kompozycji tekstu oraz w ukształtowaniu figury podmiotu odautorskiego, ukazanego w roli „poety” (vates). Postawiona problematyka wymagała odniesienia się do semiotycznej definicji tekstu oraz ujęcia toposu spotkania z bóstwem jako tekstu kultury. To z kolei wpłynęło na odniesienie się do badań antropologicznych (pojęcie rytuału) oraz kulturoznawczych (κῶμος, χορός), a także językoznawczych w zakresie semantyki i aspektu czasownika. Po przeprowadzonej analizie autor doszedł do wniosku, że motyw „pochodu tanecznego” w pieśni Exegi monumentum został ukazany dwufazowo jako cykliczny, rytualny χορός, który stał się znakiem jednorazowego κῶμος. W tym sensie motyw ten został ukazany jako figura pamięci, odnosząca się do faktu połączenia przez Horacego miar eolskich z literaturą rzymską. W odpowiedzi na pytanie o konstrukcję podmiotu autor wskazał, że na bazie powyższej figury pamięci nastąpiło ubóstwienie wieszcza, który w przeformułowanym toposie spotkania z bóstwem zajmuje miejsce samego bóstwa, aspirując do roli analogicznej do figury „Anakreonta” w poezji anakreontejskiej (Carm. Anacr. 1 W, 1-3, 11-17).
7

Elementy mimu w epodzie Horacego „Quid tibi vis, mulier”

100%
Kopek W.
Roczniki Humanistyczne
|
2013
|
vol. 61
|
issue 3: Filologia Klasyczna
5-20
EN
This article aims at discovering the literary context for Horace’s Epode 12 through juxtaposing it against Herondas’ mimes; in particular against Mime V, entitled Jealous. The description of the relationship that obtains between these works relies on the ancient theory of rhetoric and on elements of Ars poetica by Horace. The research helped determine that Epode 12 reveals numerous features that are characteristic of the mime: it is an apparent dialogue (sermocinatio) recited by a single performer (mime), most probably in a scenery of an ancient feast. A participant of the feast becomes an actor, who first performs the role of a male lover (iuvenis), and then he plays an elderly female lover (mulier). These protagonists are typical of old and new comedy styles. Nevertheless, the whole dramatic setting seems to bear the semblance of Mime V, in which the same literary protagonists can be found in the scene of a row between lovers. Specific rhetorical figures (imitatio) indicate, on the one hand, that the literary original was used in a creative manner. On the other, Mime V can also be used in the interpretation of Epode 12. This interpretation can be built on the processes of liberation and subjugation as part of the lovers’ relationship (actual subjugation in Mime V, and metaphorical - financial in Epode 12, where iuvenis is mulier’s “kept man”).
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