Search results

1

Scolacium w Kalabrii – wybrane źródła literackie do poznania historii miasta

100%

Grzelak-Krzymianowska A., Uniwersytet Łódzki Z. L. i. J. I., Assis- tant Professor of the Chair of Classical Philology at the University of Łódź. She received her doctorate in Literature at the University of Łódź in 2012 for her thesis The ethical teaching in the De rerum natura of Lucretius. Her current research interests include Lucretian and Epicurean studies v. r. t. a. a. t.

Collectanea Philologica

|

2014

|

vol. 17

EN

Calabria is a region where we may find many traces of very old settlements and the development of human civilization, because it was already inhabited during the Paleolithic Era. Its later, over two thousand years history is characterized by the influence of such ethno-cultural groups as the Greeks, the Brutti, the Romans, the Byzantines, the Saracens and the Normans. Hence, Calabria has become an infinite source of fascination for all who seek the remains of ancient times in Italy. The purpose of my article is to present the history of Scolacium – one of the ancient towns in the Italian province of Calabria basing, above all, on selected literary evidence on the issue. My studies concentrate mainly on pointing out the numerous references and allusions to its name and on the analysis of longer or shorter depictions of the town found in various Greek and Roman literary works and their application in a chronological reconstruction of the town’s past events as an example of historical processes observed on the territory of Magna Graecia.

2

Harmonia i żarliwość. O niedokonanej racjonalizacji muzyki w Wyznaniach Augustyna

100%

Koza M.

Estetyka i Krytyka

|

2014

|

issue 4(35)

127-144

XX

The article concerns the discourses about music, which can be found in Augustine’s Confessions – the work, which distinguish itself by its multi-faceted (autobiographical, philosophical, theological) character. The aim of the paper is to analyze their relation, which can be described as undone project of rationalization of the understanding of music. On the one hand, the Confessions presents explicit Greek influence, which sees music as reflection of cosmic, completely rational order and certain ethos, regulating its functioning in society. In that respect, Confessions could be compared with Augustine’s philosophical works, where that idea dominates. Augustine, as a Christian, also includes in his concepts the Hebrew tradition of understanding the music, rooted mainly in Psalms, expressing emotional and existential approach to the music. The article aims to expose the second discourse, as less known characteristic of the Augustine's thought, and to show how it questions and deconstructs the project of rationalization of music.

3

Der tödliche Nachkrampf des Schoßes. Die antik-christliche Dialektik und ihre Variabilität in Die Braut von Korinth von Johann Wolfgang Goethe und in Die Ertrunkene von Taras Schewtschenko

100%

Pilipowicz A.

Acta Neophilologica

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2013

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issue XV/2

149-163

EN

The article shows the relationship between the mothers and the doughters in the context of the Antique-Christian antagonism. The conflict caused by the belonging of the women to the adverse cultures leads to the doughters’ death that bears signs of an adjourned miscarriage.

4

Muzyka liturgii sakramentu małżeństwa w aspekcie historycznym

100%

Malec M.

Studia Ełckie

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2019

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vol. 21

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issue 4

489-506

EN

Music accompanies each celebration of the sacraments. In the liturgy of the marriage, music has a special character, because the sacrament is celebrated very solemnly. Music has accompanied rituals and wedding customs in the Church since antiquity. Until the Second Vatican Council, it survived in the rituals and piety of the people expressed in church songs.

5

Dwarfism in ancient times: from worship to rejection

99%

Grzesiak H.

Interdyscyplinarne Konteksty Pedagogiki Specjalnej

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2020

|

issue 31

PL

The objective of this paper is to outline some aspects of dwarfism in the Antiquity. The author focuses in particular on Ancient Egypt where one of the most prominent of gods – Bes – suffered from dwarfism. It was believed that little people were somehow connected to other Egyptians gods, which is why they were treated with respect and dignity. Different attitude towards little people can be seen in AncientIsrael where they were excluded from the society, as disability at the time was considered as a punishment from God. The paper also covers Ancient Greece. Aristotle was the first scholar to describe dwarfism. He noted in particular the intelligence of the little people, which according to him was not developed particularly well, compared to the rest of the society.

6

Wizjonerstwo historyczne w tekstach pisarzy innowierczych

86%

Zema V.

Studia Polsko-Ukraińskie

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2021

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vol. 8

197-211

EN

This article reviews the creation and the roots of two historical legends about the trip of Ivan Smera to Alexandria and the privilege of Alexander Macedon to Slavs. The methodology of current research is based on the comparison of historical narratives. Two versions of the legend about the trip to the Orient were composed on the ground of old Kyivan chronicle which narrates the story about the choice of religion by Kyivan prince Volodimer in the last decades of the Xth century when several ambassadors were sent to study the peculiarities of Judaism, Islam, Latin and Byzantine Christianity. During the second half of the XVI century, a new version of this tale was composed by Calvinists in Polish-Lithuanian Commonwealth. It narrates the visit of a certain person (Jolash or Ivan Smera) who arrived at Alexandria in North Africa to investigate the customs of the local Christian community. Ivan Smera found that the customs and the rite of the local community reflect the ideals of simple Christian service, without icons and church decoration. The rite of this religious community responds to the customs and the service of Calvinism. Smera has reported about the customs of Alexandria’s Christians to Volodimer but the Kyivan price ignored the ambassador’s notes and accepted Christianity in the byzantine rite. The other legend, which circulated in East and Central Europe during the Renaissance, narrates about the privilege of Alexander Macedon that was inscribed by golden letters on the tables in Alexandria. This imagined document relates that Slavic tribes arrived from the lands of Illyria and Dalmatia under the rulership of chieftains Lech, Roxolan, and Czech. It seems that both legends are rooted in Alexandria because Arianism prevailed in this city during late antiquity and Calvinism leaders supposed to establish good relations with orthodox patriarchs of this city in the second half of the XVI century. Religious life in ancient Alexandria was treated by the authors of the legend about the trip to North Africa as an example of perfect Christianity.

7

Etyczno-antropologiczne aspekty aborcji w świetle wybranych dzieł antycznej literatury Grecji i Rzymu

86%

Kołosowski T.

Seminare. Poszukiwania naukowe

|

2013

|

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.

8

The Tradition of Examining the Effect of the Natural Environment on Human Society, or Environmental Determinism in Pre-Modern History

86%

Urban M.

West Bohemian Historical Review

|

2018

|

vol. 8

|

issue 2

125-143

EN

The issue of the effect of the natural environment on human society has been (and still is being) an important topic in geographical literature since ancient times. Scholars have queried to what degree natural conditions influence the human population, its character and history, for many years and have presented various theses, theories and concepts, which they have used to try and describe this mutual relationship. The aim of this article is to present this long-standing conceptual tradition in basic outlines, from its oldest manifestation in ancient Greece to the birth of modern science at the beginning of the 19th century. Different approaches from Hippocrates, through Strabo, Ibn Khaldün to Montesquieu will be discussed. However, most geographers in pre-modern history have approached to the topic more or less deterministically.

9

E-źródła dotyczące historii starożytnej

86%

Kowalski P. B.

Folia Bibliologica

|

2009

|

vol. 51

131-138

10

Norwid’s literary “Etruscan” works

86%

Gadamska-Serafin R.

Studia Norwidiana

|

2018

|

vol. 36 English Version

217-250

EN

Norwid’s stay in Florence – the capital of the former Etruria – in the 1840s coincided with the height of European interest in Etruscan culture. In Italy, there were numerous Etruscan museums, mainly private ones, with magnificent collections from excavations. In Europe (Italy, France, Germany and Great Britain) a lot of interesting and usually richly illustrated publications on the Etruscans were published. Norwid could have become familiar with a good selection of these works at the University Library in Berlin, and also in Italy itself. It seems, however, that his Etruscan passion was born in Poland, in the paint shop of Aleksander Kokular. In the Warsaw years, the poet must have visited the magnificent Gallery of Antiquity in Wilanów (where his teacher – Kokular, produced various paintings) and as a “student” of fine arts he had to know the pioneer work (and collections) of S.K. Potocki O sztuce u dawnych, czyli Winckelmann polski, three chapters of the book were devoted to Etruscan art. Not without significance were Norwid’s contacts (domestic and Parisian) with the “Etruscan” collectors: the Potocki, Czartoryski and Działyński families. The Etruscans left their mark both in the notebooks and in the works of the author of Quidam, from his Italian period (which is obvious) to the novel Tajemnica lorda Singelworth written shortly before his death; thus Norwid’s fascination with Etruscan culture and art lasted until the end of his life. Interestingly, the notes also confirm his presence at one of the most recent archaeological sites of that time: in the presumed tomb of the Etruscan ruler Porsenna. All these facts make Norwid one of the few Polish Romantics (alongside J.I. Kraszewski) who were deeply and substantively interested in this archaeological and cultural theme. Norwid’s literary and plastic “Etruscan” works also constitutes an important – equal to the vision of British, Italian and French artists – contribution of the Polish “magician” to saving and preserving the Etruscan heritage in the culture (and awareness) of modern Europe.

11

Świat zapachów w elegiach Propercjusza według polskiego przekładu z 1839 roku. Studium wybranych zagadnień

72%

Wilk P.

Littera Antiqua

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2019

|

issue 14

44-56

EN

Man, curious about the world, learns about the surrounding reality in various ways. In exploring knowledge of reality, he uses his senses and intellect. For centuries, it was believed that all data that the intellect possesses is delivered to him through the senses. It is obvious that we receive most news from the world around us through the sense of sight and hearing. However, this does not change the fact that the other senses, that is, smell, touch and taste, play a significant role in our everyday lives and in exploring the reality around us. Following this thinking and focusing on the sense of smell, it can be concluded that we can try to learn about the world by smelling it. In the following article I describe the role of fragrances in the poetry of Propercius. For the sake of maintaining a certain methodological order, at the beginning I introduce the figure of a Roman poet. Then, I briefly comment the translation into Polish, which is my direct source for work. Next, I point to individual examples of the functioning of the fragrance category in the work of the said author. After analyzing the mentioned fragments, I allow myself to make a certain synthesis and draw conclusions.

12

РЕЛИГИОЗНО-ПЕДАГОГИЧЕСКИЕ ИДЕИ ГУМАНИСТА ЭРАЗМА РОТТЕРДАМСКОГО В ЕГО ФИЛОСОФСКОМ НАСЛЕДИИ (ХVI ВЕК)

72%

Год Б.

Педагогічні науки: теорія, історія, інноваційні технології

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2015

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issue 5(49)

67-77

EN

The article deals with religious and pedagogical ideas of humanist Erasmus of Rotterdam in his philosophical legacy. Is is stressed that the legacy of Erasmus of Rotterdam is the highest point of the development of Renaissance humanism, and not just «humanism», but «Christian humanism» – the name given to this direction, common in Northern Europe. Erasmus-teacher insisted on the importance of secular education. Sparing no effort, he promoted this idea among monarchs, diplomats, politicians, burghers and other segments of the population. The educational program of the Renaissance humanists covers a range of humanitarian knowledge – studia humanitatis (unlike studia divinitatis – the «divine Sciences»). It was the ancient classics, restored at a new level, as a result of hard work and years of searching. The main role was given to moral philosophy (ethics), which, together with other disciplines – literature, rhetoric, and history – was to form a «moral person», a worthy representative of the human race. Erasmus fought for education through education, through study of the texts of classical authors, which set out the basic tenets of morality. Traditionally, the basis of morality is a virtue, a radical in theology is called the four categories: prudence (wisdom), fortitude (courage), temperance and justice. Being a Christian and a theologian, Erasmus of Rotterdam was not particularly orthodoxy; he sharply criticized the Catholic Church, the ignorance of the clergy, the monastic institution, and so on. Humanist was a staunch opponent of dogmatism, religious fanaticism, intolerance for dissent, obscurantism. Erasmus did not oppose faith and knowledge, and sought to harmonize them. To the Scriptures, he came up as an object of scientific and philosophical reflection. If Luther considered it untouchable for the reason that Erasmus has done a great job by clearing the sacred texts from the medieval accretions and «dark places». The author concludes that the merit of Erasmus was the release of Christian doctrine its moral essence. He sought to make the ethics of Christianity the measure of everyday behavior and not the subject of scholastic debate. This experience is extremely valuable for educators, and Ministers of the Church in our time.

13

J. Krajewska, A. Głusiuk, Epidemie Księgi I i III Hipokratesa oraz w greckiej i rzymskiej historiografii od starożytności do wczesnego średniowiecza, Wydawnictwo Naukowe UKSW, Warszawa 2016

72%

Beill B.

Seminare. Poszukiwania naukowe

|

2019

|

vol. 40

|

issue 3

240-241

14

Pieniądz w Historia lausiaca autorstwa Palladiusza z Helenopolis

72%

Milewski I.

Vox Patrum

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2017

|

vol. 67

423-435

EN

The paper analyses the reports regarding money, which appear in the Historia Lausiaca by Palladius, bishop of bithynian Helenopolis and galatian Aspona. In the work of Palladius, money appears in several contexts: as a donation to a church and sums donated to charity. Amongst the most generous donors, there are: Melania the Elder, Melania the Younger and Olympias from Constantinople. In Historia Lausiaca, there can also be found some information about the prices and wages of the time. Another matter is the credibility of the reports when it comes to the amounts of money. Unfortunately, it is extremely difficult to ultimately verify their legitimacy. Other reports which give information on the prices and wages are not really helpful either.

15

Norwid’s literary “Etruscan” works

58%

Gadamska-Serafin R.

Studia Norwidiana

|

2018

|

vol. 36 English Version

217-250

PL

Pobyt Norwida we Florencji – stolicy dawnej Etrurii – w latach 40. XIX w. przypadł na apogeum europejskiego zainteresowania kulturą etruską. We Włoszech działały wówczas liczne muzea etruskie, głównie prywatne, posiadające wspaniałe zbiory pochodzące z wykopalisk. W Europie (we Włoszech, Francji, Niemczech i Wielkiej Brytanii) ukazywało się mnóstwo interesujących i zwykle bogato ilustrowanych publikacji na temat Etrusków. Norwid mógł zaznajomić się ze sporym wyborem tych prac w Bibliotece Uniwersyteckiej w Berlinie, a także w samej Italii. Wydaje się wszakże, że jego pasja etruska zrodziła się już w Polsce, w malarni Aleksandra Kokulara. W latach warszawskich poeta zapewne wizytował wspaniałą Galerię starożytności w Wilanowie (gdzie jego nauczyciel – Kokular, wykonywał różne prace malarskie) i jako „student” sztuk pięknych musiał znać pionierskie dzieło (i zbiory) S.K. Potockiego O sztuce u dawnych, czyli Winckelmann polski, którego trzy rozdziały były poświęcone sztuce etruskiej. Nie bez znaczenia były też kontakty Norwida (krajowe i paryskie) z kolekcjonującymi „etruski” rodzinami Potockich, Czartoryskich i Działyńskich. Ślady Etrusków znajdujemy zarówno w notatnikach, jak i w twórczości autora Quidama, od tej z lat włoskich (co oczywiste) aż po przedśmiertną nowelę Tajemnicę lorda Singelworth; fascynacja kulturą i sztuką etruską trwała więc do końca życia Norwida. Co ciekawe, w notatkach zachował się też potwierdzony przez samego poetę ślad jego bytności na jednym z najświeższych stanowisk archeologicznych tamtych czasów: w domniemanym grobowcu etruskiego władcy Porsenny. Wszystkie te fakty czynią Norwida jednym z nielicznych polskich romantyków (obok J.I. Kraszewskiego), którzy byli głęboko i merytorycznie zainteresowani tym archeologiczno-kulturowym tematem. Norwidowskie „etruski” literacko-plastyczne to także ważny, równorzędny wobec wizji artystów brytyjskich, włoskich czy francuskich, wkład polskiego „sztukmistrza” w ocalenie i utrwalenie dziedzictwa Etrusków w kulturze (świadomości) Europy nowożytnej.

EN

Norwid’s stay in Florence – the capital of the former Etruria – in the 1840s coincided with the height of European interest in Etruscan culture. In Italy, there were numerous Etruscan museums, mainly private ones, with magnificent collections from excavations. In Europe (Italy, France, Germany and Great Britain) a lot of interesting and usually richly illustrated publications on the Etruscans were published. Norwid could have become familiar with a good selection of these works at the University Library in Berlin, and also in Italy itself. It seems, however, that his Etruscan passion was born in Poland, in the paint shop of Aleksander Kokular. In the Warsaw years, the poet must have visited the magnificent Gallery of Antiquity in Wilanów (where his teacher – Kokular, produced various paintings) and as a “student” of fine arts he had to know the pioneer work (and collections) of S.K. Potocki O sztuce u dawnych, czyli Winckelmann polski, three chapters of the book were devoted to Etruscan art. Not without significance were Norwid’s contacts (domestic and Parisian) with the “Etruscan” collectors: the Potocki, Czartoryski and Działyński families. The Etruscans left their mark both in the notebooks and in the works of the author of Quidam, from his Italian period (which is obvious) to the novel Tajemnica lorda Singelworth written shortly before his death; thus Norwid’s fascination with Etruscan culture and art lasted until the end of his life. Interestingly, the notes also confirm his presence at one of the most recent archaeological sites of that time: in the presumed tomb of the Etruscan ruler Porsenna. All these facts make Norwid one of the few Polish Romantics (alongside J.I. Kraszewski) who were deeply and substantively interested in this archaeological and cultural theme. Norwid’s literary and plastic “Etruscan” works also constitutes an important – equal to the vision of British, Italian and French artists – contribution of the Polish “magician” to saving and preserving the Etruscan heritage in the culture (and awareness) of modern Europe.

16

Kultura klasyczna u św. Augustyna

58%

Eckmann A.

Vox Patrum

|

1986

|

vol. 10

45-60

EN

Hac in dissertatiuncula, quae tribus partibus constat, de relatione Sancti Augustini ad culturam classicam tractatur.

17

Ojcowie Kościoła a przerywanie ciąży

58%

Longosz S.

Vox Patrum

|

1985

|

vol. 8

231-273

EN

Das ist der erste Teil des Artikels, der die Abtreibung in der vorchristlichen Zeit behandelt.

18

L’expérience par procuration : l’hypotypose et la narration historique de l’Antiquité à la Renaissance

58%

Zangara A.

Acta Universitatis Lodziensis. Folia Litteraria Romanica

|

2016

|

issue 11

25-40

EN

As long as history was considered as magistrae uitae, it was necessary to give the readers the impression that they were seeing the recounted events and taking part in them, so that they could live them by proxy and gain from the experience of others. Relative to this pedagogical function of historical narrative, we will investigate the various devices of hypotyposis – the para- taxis, the entering into details and the piling them up, the disappearance of the locutor – as well as its powers of exhibition, emotion and persuasion. In order to identify the founding and problematic bound between the hypotyposis to the experience – which implies both accounting for the lived experience and passing it on – we will go behind the rhetorical definition of “figure of style” to what appears to be the first form of the art of making visible. Our aim is, simultaneously, to help clarify the complex relationship between history and rhetoric from Antiquity to the Renaissance and to offer an analysis of the contradiction attached to the name hypotyposis: a “description given in broad outlines” and a “detailled and evident description”.

FR

Aussi longtemps que l’histoire a été considérée comme magistra uitae il a fallu que ses lecteurs puissent avoir l’impression, en la lisant, d’assister et de participer aux événements racontés afin de vivre, par procuration, l’expérience d’autrui. C’est par rapport à cette fonction pédagogique du récit historique en tant que récit d’expérience que nous voudrions interroger les procédés qui caractérisent l’hypotypose (la parataxe, la précision et l’accumulation des détails, l’effacement du locuteur) ainsi que les pouvoirs (de « monstration », d’émotion et de persuasion) qui lui sont attribués. Il s’agira de revenir, en amont de la définition rhétorique de la « figure de style », vers ce qui est sans doute une matrice originaire de l’art de « faire voir » pour retrouver le lien fondateur et problématique qui relie l’hypotypose à l’expérience et à la double exigence d’en rendre compte et de la transmettre à autrui. Nous escomptons ainsi éclaircir quelques aspects du rapport entre histoire et rhétorique depuis l’Antiquité et jusqu’à la Renaissance, et analyser la contradiction qui caractérise le nom même d’hypotypose – « description à grand traits » et « description évidente » – ainsi que sa relation étrange avec son quasi paronyme : la diatypose.

19

References to Antiquity in Henry James’ novella “The Beast in the Jungle”

58%

Marcinkowska-Wajner A.

Beyond Philology: An International Journal of Linguistics, Literary Studies and English Language Teaching

|

2014

|

issue 11

141-163

EN

The paper examines numerous references to tradition of Antiquity in Henry James’ novella “The Beast in the Jungle” and draws attention to their binary nature. The binary pairs which most of the references seem to form are based on the simple opposition between reality and illusion. The story depicts the life of John Marcher, who believes himself to be destined to experience an event which will transform his life dramatically. The main protagonist is waiting for the arrival of the beast. The allusions to particular ancient texts, beliefs and architecture help to define the nature of John Marcher’s problem, by highlighting his tragic situation, the conflict within him, as well as the stagnation which characterizes his existence. The majority of the references can be joined into pairs within which one reference indicates how the protagonist falsely perceives himself while the opposing one suggests the real condition which he is not aware of. More-over, the references offer a greater understanding of the role of the second character of the novella, May Bartram, in Marcher’s life. The parallel between May and the mythical Ariadne, for instance, enables us to predict the fate of Miss Bartram in the story. The references in question are presented in the article, while their functions are thoroughly examined.

FR

Le présent article analyse les nombreuses références à la tradition de l’Antiquité dans la nouvelle « La Bête dans la jungle » d’Henry James et il tire l’attention du lecteur sur leur caractère binaire. Les paires binaires que la plupart des références semblent former sont basées sur la simple opposition entre la réalité et l’illusion. Le récit présente la vie de John Marcher, qui se croit destiné à vivre un événement qui transformera sa vie de manière dramatique. Le héros principal attend la venue de la bête. Les allusions à certains textes antiques, à certaines croyances et à certaine architecture aident à définir la nature du problème de John Marcher, en soulignant sa situation tragique, son conflit intérieur et la stagnation qui caractérise son existence. La majorité des références peuvent être mises en paires dans lesquelles une référence indique la façon dont le héros se perçoit à tort et l’autre suggère sa condition réelle dont il n’est pas conscient. De plus, les références permettent de mieux comprendre le rôle du second personnage dans la nouvelle, May Bartram, dans la vie de Marcher. La parallèle entre May et l’Ariane mythique, par exemple, nous permet de prédire le destin de Miss Bartram dans le récit. Les références en question sont présentées dans l’article et leurs fonctions sont examinées en détail.

20

Norwidowskie „etruski” literackie

58%

Gadamska-Serafin R.

Studia Norwidiana

|

2018

|

vol. 36

203-233

PL

Pobyt Norwida we Florencji – stolicy dawnej Etrurii – w latach 40. XIX w. przypadł na apogeum europejskiego zainteresowania kulturą etruską. We Włoszech działały wówczas liczne muzea etruskie, głównie prywatne, posiadające wspaniałe zbiory pochodzące z wykopalisk. W Europie (we Włoszech, Francji, Niemczech i Wielkiej Brytanii) ukazywało się mnóstwo interesujących i zwykle bogato ilustrowanych publikacji na temat Etrusków. Norwid mógł zaznajomić się ze sporym wyborem tych prac w Bibliotece Uniwersyteckiej w Berlinie, a także w samej Italii. Wydaje się wszakże, że jego pasja etruska zrodziła się już w Polsce, w malarni Aleksandra Kokulara. W latach warszawskich poeta zapewne wizytował wspaniałą Galerię starożytności w Wilanowie (gdzie jego nauczyciel – Kokular, wykonywał różne prace malarskie) i jako „student” sztuk pięknych musiał znać pionierskie dzieło (i zbiory) S.K. Potockiego O sztuce u dawnych, czyli Winckelmann polski, którego trzy rozdziały były poświęcone sztuce etruskiej. Nie bez znaczenia były też kontakty Norwida (krajowe i paryskie) z kolekcjonującymi „etruski” rodzinami Potockich, Czartoryskich i Działyńskich. Ślady Etrusków znajdujemy zarówno w notatnikach, jak i w twórczości autora Quidama, od tej z lat włoskich (co oczywiste) aż po przedśmiertną nowelę Tajemnicę lorda Singelworth; fascynacja kulturą i sztuką etruską trwała więc do końca życia Norwida. Co ciekawe, w notatkach zachował się też potwierdzony przez samego poetę ślad jego bytności na jednym z najświeższych stanowisk archeologicznych tamtych czasów: w domniemanym grobowcu etruskiego władcy Porsenny. Wszystkie te fakty czynią Norwida jednym z nielicznych polskich romantyków (obok J.I. Kraszewskiego), którzy byli głęboko i merytorycznie zainteresowani tym archeologiczno-kulturowym tematem. Norwidowskie „etruski” literacko-plastyczne to także ważny, równorzędny wobec wizji artystów brytyjskich, włoskich czy francuskich, wkład polskiego „sztukmistrza” w ocalenie i utrwalenie dziedzictwa Etrusków w kulturze (świadomości) Europy nowożytnej.

EN

Norwid’s stay in Florence – the capital of the former Etruria – in the 1840s coincided with the height of European interest in Etruscan culture. In Italy, there were numerous Etruscan museums, mainly private ones, with magnificent collections from excavations. In Europe (Italy, France, Germany and Great Britain) a lot of interesting and usually richly illustrated publications on the Etruscans were published. Norwid could have become familiar with a good selection of these works at the University Library in Berlin, and also in Italy itself. It seems, however, that his Etruscan passion was born in Poland, in the paint shop of Aleksander Kokular. In the Warsaw years, the poet must have visited the magnificent Gallery of Antiquity in Wilanów (where his teacher – Kokular, produced various paintings) and as a “student” of fine arts he had to know the pioneer work (and collections) of S.K. Potocki O sztuce u dawnych, czyli Winckelmann polski, three chapters of the book were devoted to Etruscan art. Not without significance were Norwid’s contacts (domestic and Parisian) with the “Etruscan” collectors: the Potocki, Czartoryski and Działyński families. The Etruscans left their mark both in the notebooks and in the works of the author of Quidam, from his Italian period (which is obvious) to the novel Tajemnica lorda Singelworth written shortly before his death; thus Norwid’s fascination with Etruscan culture and art lasted until the end of his life. Interestingly, the notes also confirm his presence at one of the most recent archaeological sites of that time: in the presumed tomb of the Etruscan ruler Porsenna. All these facts make Norwid one of the few Polish Romantics (alongside J.I. Kraszewski) who were deeply and substantively interested in this archaeological and cultural theme. Norwid’s literary and plastic “Etruscan” works also constitutes an important – equal to the vision of British, Italian and French artists – contribution of the Polish “magician” to saving and preserving the Etruscan heritage in the culture (and awareness) of modern Europe.

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