Search results

1

Martwa Dydona

100%

Sapota T.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2016

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vol. 26

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issue 2

5-18

EN

The text is an analysis of the story of Dido as shown in Virgil’s Aeneid. The author presents pre-Virgiliansources of the history of the Phoenician queen, recounts the three principal versions of Dido’s biography andsets the Virgil’s narration against the opinions of ancient commentators (Servius, Macrobius) and other Romanwriters reminiscing about Dido’s ill-fated past. All the testimonies bring out the uncontestable claim that it wasVirgil who first wrote about the tragic love entanglement between Aeneas and Dido, a story which rapidly gainedpopularity upon the publication of the Aeneid. The article discusses Virgil’s subversive understanding ofgender and the conventional traits of national character (Roman and barbaric, as typified in Roman literature).

2

MARTWA DYDONA

100%

Sapota T.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2016

|

vol. 26

|

issue 2

5-18

PL

The text is an analysis of the story of Dido as shown in Virgil’s Aeneid. The author presents pre-Virgiliansources of the history of the Phoenician queen, recounts the three principal versions of Dido’s biography andsets the Virgil’s narration against the opinions of ancient commentators (Servius, Macrobius) and other Romanwriters reminiscing about Dido’s ill-fated past. All the testimonies bring out the uncontestable claim that it wasVirgil who first wrote about the tragic love entanglement between Aeneas and Dido, a story which rapidly gainedpopularity upon the publication of the Aeneid. The article discusses Virgil’s subversive understanding ofgender and the conventional traits of national character (Roman and barbaric, as typified in Roman literature).

3

Metaphorical Picture of Tiberius in Tacitus’s

88%

Migdał J.

Classica Cracoviensia

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2013

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issue 16

101-112

EN

The paper discusses the way of presenting Tiberius in Tacitus’ Annals; it concentrates on the analysis of diction and metaphors (Tiberius as a snake, the metaphors of clothing, of siege and of fire). Possible analogies with Vergilian metaphors of the fall of Troy are also taken into account.

4

Apollo in the Aeneid

88%

Fratantuono L.

Eirene. Studia Graeca et Latina

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2017

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vol. 53

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issue 1-2

169-198

EN

The appearances of the god Apollo in Virgil’s Aeneid have been studied with profit as individual episodes, but rarely with attention to the progress of the poet’s employment of the god in his narrative. This paper endeavors to examine all the references to Apollo in the poem, with a view to demonstrating that the god who presided over Octavian’s victory at Actium is employed by Virgil as a key figure in his account of how Rome will ultimately be Italian and not Trojan in culture and mores.

5

Adone nella poesia di Properzio

75%

Gagliardi P.

Eirene. Studia Graeca et Latina

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2018

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vol. 54

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issue 1-2

33-50

EN

The figure and myth of Adonis were brought to Rome by poets, and for this reason their “existence” in Latin culture was exclusively literary. In particular, the pathos of this story of love and death aroused the interest of the Neoteric and elegiac poets, who used Adonis as an exemplum to illustrate certain τόποι of their genre and to emphasize the originality of their poetry. Through analysis of the treatment of this figure in Propertius, it is possible to reconstruct the interesting dialogue that he conducted with other poets and undertake a study of the learned use of the exemplum in his oeuvre.

6

Rückkehr nach Arkadien: Die poetologische Dimension von Horazens Carmen IV,12

75%

Bauer M. M.

Listy filologické (Folia philologica)

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2018

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vol. 141

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issue 3-4

325-353

EN

Scholarly discussion concerning Horace’s Carmen IV,12 has long been dominated by the question of whether the addressee Vergilius should be identified with the poet Virgil or not. Comparatively little attention, in contrast, has been paid to a literary interpretation of the ode. Scholars have become increasingly aware of the literary aspects of the poem, such as its imagery and intertextuality, only in the last two decades. Taking these insights as a starting point, this paper aims to explore the metapoetic metaphors in Carmen IV,12. It can be demonstrated that by using traditional Callimachean imagery, Horace reflects both on Virgilian work and on his own poetry, and that his fellow poet Virgil is, in fact, the addressee of the ode. Thus the poem can be read both as a lament over Virgil’s death and as an apology for Horace’s own panegyric poetry, for which he imagines the deceased friend as a supporter and fellow symposiast.

7

Lipcowy upał w wierszu Venantiusa Fortunatusa (VII 8)

63%

Głombiowska Z.

Prace Filologiczne. Literaturoznawstwo

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2013

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issue 3(6) cz.2

265-274

EN

The article concerns the first part (v. 1-32) of Venantius Fortunatus’ poetic letter addressed to Lupus, a dignitary in Merovingian Gaul (VII 8). The author analyses a lengthy description of summer, which appears in this text and ultimately emerges as a simile (devoid of introductory ut) or even a metaphor (i.e. a traveller tired of the heat is a poet anxious about the fate of Lupus, while a repose in a grove involves elation over good tidings of his friend; this elation inspires a song, which justifies the creation of the second, eulogic or panegyrical part of this piece). Thus, the epic narrator transforms into the speaker of the lyric utterance. In the present article the subject and the structure of the simile is confronted with fragments of ancient poetry, with special reference to the similes in Catullus’s elegy (c. 68, 55-66) as well as to those in Vergil’s 5th bucolic.

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Tajemnicza epidemia w „Georgikach” Publiusza Wergiliusza Marona. Kilka słów komentarza

63%

Bartnik A.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2022

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vol. 32

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issue 1

41-56

EN

This article analyses an excerpt from the third song of Georgics. Virgil described a disease that attacked many animal species, including cattle, horses, sheep, pigs and humans. On the basis of the described symptoms and the number of species attacked by the plague, it should be concluded that the poet described anthrax – a zoonotic disease caused by the Bacillus anthracis bacterium.

9

Zapowiedź przyjścia Zbawiciela w IV Eklodze Wergiliusza

63%

Wójtowicz H.

Vox Patrum

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2000

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vol. 38

11-20

EN

Interpretatio Christiana eclogae IV Vergilii accipi potest. Exspectationes enim salvatońs cuiusdam inter cives Romanos saeculo primo exeunte ante Christum natum in diem percrebescebant. Rerum adiuncta in ecloga enarrata eiusdemque interpretatio Christiana, praesertim a sancto Augustino facta, quaestionem propositam de praenuntiatione Christi Salvatoris unici adveniendi comprobant.

10

Luis de León and Galicia: a close reading of Virtud, hija del cielo

63%

O’Reilly T.

Estudios Hispánicos

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2015

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vol. 23

41-54

EN

Virtud, hija del cielo es la primera de tres odas que compuso Luis de León en honor de su amigo y protector, don Pedro Portocarrero. Su tema es la virtud heroica de Portocarrero, evidente durante su estancia en Galicia, donde pasó diez años (1570–1580) como regente. El artículo analiza la oda (su tema, sus imágenes, su estructura) a la luz de su modelo clásico, el Himno a Hermias de Aristóteles. Estudia también la imagen de Galicia y los gallegos que se desprende de su lectura.

11

"De ecclesia" - centon chrześcijański

63%

Piątek M.

Vox Patrum

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2020

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vol. 75

431-452

EN

Cento "De ecclesia" is one of four Christian centos which were compiled from Virgil’s work. This article examines the cento from the formal and the theological perspective. The first part discusses the authorship and structural issues. The second part demonstrates the theological diversity of the cento, which is full of Christological, soteriological, ecclesiological and eschatological questions. The use of the philological method and analysis of selected parts allowed us to establish how the author of the cento created his poem. He was inspired by the letter, context and characters appearing in Virgil’s works.

PL

Centon De ecclesia jest jednym z czterech chrześcijańskich centonów, które powstały na podstawie dzieł Wergiliusza. Artykuł przedstawia analizę centonu z perspektywy formalnej i teologicznej. W pierwszej części omówione zostały zagadnienia dotyczące autorstwa utworu jak i samej jego struktury. Druga część prezentuje natomiast bogactwo teologiczne centonu, który obfituje w zagadnienia z zakresu chrystologii, soteriologii, eklezjologii i eschatologii. Wykorzystanie metody filologicznej i dokładna analiza poszczególnych fragmentów pozwalają również na określenie sposobu pracy centonisty, który nie jest jednorodny. Autor inspiruje się literą, kontekstem i postaciami, które pojawiają się w utworach Wergiliusza. W aneksie zostało umieszczone polskie tłumaczenie poematu.

12

Chrześcijańskie zagadnienia protologiczno-eschatologiczne wyrażone za pomocą pogańskich liter. Na podstawie centonu De Verbi Incarnatione

63%

Piątek M.

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2019

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vol. 66

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issue 4: Historia Kościoła

5-20

PL

Artykuł prezentuje kwestie protologiczno-eschatologiczne w chrześcijańskim centonie De Verbi Incarnatione. Głównym jego celem jest ukazanie w jaki sposób centonista wykorzystał słowa Wergiliusza, ażeby stworzyć chrześcijańską teologię w swoim utworze. Czy użył tylko liter? Czy wykorzystał również kontekst z Eneidy, Bukolik i Georgik? W poszukiwaniu podobieństw i różnic pomiędzy De Verbi Incarnatione i poematami Wergiliusza przeanalizowane zostały kwestie z zakresu nauki o początku i czasach ostatecznych: stworzenie i rządy nad światem, istnienie szatana, zaistnienie grzechu, jego skutki oraz eschatologia w ogólności. Centonista w swojej pracy wykorzystuje głównie warstwę leksykalną utworów Wergiliusza, w większości przypadków nie przejmując ich kontekstu. W centonie dostrzec można pewne podobieństwa między postaciami utworu chrześcijańskiego a tymi, które występują w twórczości najważniejszego poety epoki augustowskiej.

EN

The article shows Christian protology and eschatology issues in the Cento De Verbi Incarnatione. The main goal is to show how the centoner used Virgil’s words to create Christian theology in his poem. Did he only use letters or maybe also the context from the Aeneid, Bucolics and Georgics? In searching for similarities and differences between De Verbi Incarnatione and Virgil’s poems, we analyzed a few parts on teachings about the creation and the end of the world, the existence of Satan, sin entering the world, the results of sin and eschatology in general. The centoner in his work mainly uses the lexical level of Virgil’s works, though in most cases, he does not include their context. In the Cento, we can find many similarities between Christian figures in various works and the characters that appear in the works of greatest poet of the Augustian age.

13

The sense of games and undeserved suffering Some comments on Book V of Vergil's Aeneid

51%

Śnieżewski S.

Classica Cracoviensia

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2012

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issue 15: Leadership in Antiquity: Langauge - Institutions - Representations

205-221

EN

Many scholars believe that literary and artistic level of Book V of Vergil`s Aeneid is much lower than in the neighbouring books four and six. Nonetheless a detailed analysis of the contents and composition allows, in my opinion, to treat Book V as interesting and valuable. Vergil concentrated primarily on the sense of suffering which often befalls innocent people. The most vivid is the example of Palinurus whose undeserved and sacrificial death permits Aeneas to continue with his mission. The death of Palinurus and Dido is, I think, a symbolic farewell of Aeneas with the Trojan past and the wandering on the sea. The participants in the games are all secondary characters. By introducing them Vergil, I believe, wished to stress the importance of every man of Aeneas` crew in the fulfilling of the task set by destiny. The importance of fatum and fortuna increases exponentially in the instances where human strength and abilities fail.

14

Pięć stadiów żałoby w odzie I 24 Horacego

51%

Pypłacz J.

Biuletyn Biblioteki Jagiellońskiej

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2016

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vol. 66

215-222

PL

Na długo przed wyszczególnieniem przez psychologów pięciu etapów żałoby rzymski poeta Horacy instynktownie uczynił to w swojej Odzie 1.24, napisanej po śmierci przyjaciela, Kwintyliusza Warusa. W utworze tym poeta bardzo trafnie scharakteryzował kolejno stadia depresji, zaprzeczenia, negocjowania, gniewu oraz akceptacji.

EN

Long before modern psychologists classified and explained the five stages of grief, the Roman poet Horace gave an instuitive portrayal of these stages in his Ode 1 24, which was written after the death of his friend Quintilius Varus. In this poem, Horace with great accuracy describes the consecutive phases of grief, which are nowadays defined as depression, denial, bargaining, anger and acceptance.

15

Chrystologia biblijna – pogańskie litery. Na przykładzie chrześcijańskiego centonu „De Verbi Incarnatione”

51%

Piątek M. K.

Ruch Biblijny i Liturgiczny

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2019

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vol. 72

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issue 2

EN

This article presents the Christology of the cento De Verbi Incarnatione. Its main aim is to present the way in which the cento’s author makes use of fragments of Virgil’s works to create Christian theology in his poem. Does he only use the letters, or does he also use the context that appears on the pages of the Aeneid, Eclogues, and Georgics? In order to find similarities and differences between De Verbi Incarnatione and Virgil’s poems, the following four fragments that present Biblical Christology have been subject to analysis: Luke 2 : 7, Genesis 3 : 6, John 10 : 30, and John 14 : 6.

PL

Artykuł prezentuje chrystologię centonu De Verbi Incarnatione. Jego głównym celem jest ukazanie sposobu, w jaki centonista wykorzystuje fragmenty dzieł Wergiliusza do stworzenia chrześcijańskiej teologii w swoim poemacie. Czy używa tylko liter, a może korzysta również z kontekstu, który pojawia się na kartach Eneidy, Bukolik i Georgik. W poszukiwaniu podobieństw i różnic pomiędzy De Verbi Incarnatione a poematami Wergiliusza zostaną przeanalizowane cztery fragmenty, które prezentują biblijną chrystologię – Łk 2, 7, Rdz 3, 6, J 10, 30, J 14, 6.

16

Mit o Orfeuszu i Eurydyce w powieści Frenzy Percivala Everetta

51%

Wesołowska M.

Roczniki Humanistyczne

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2013

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vol. 61

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issue 3: Filologia Klasyczna

93-100

EN

This paper deals with one of the most popular ancient myths among the writers of the twentieth century—namely the myth of Orpheus and Eurydice. Percival Everett, a professor of the University of California, has brought forward a new interpretation of that myth in his novel Frenzy. The main subject-matter is the story of Dionysus based on Euripides’ Bacchae, and narrated by the god’s assistant Vlepo. The myth of Orpheus and Eurydice constitutes an interlude within that story. References to Ovid and Virgil can also be found, as Everett has added fragments of Metamorphoses and Georgica to his version of the myth. His interpretation is focused on psychological aspects of the story. Orpheus in Frenzy is a man overpowered by grief and longing. His behaviour seems to be caused by madness. This becomes especially visible when he learns of the loss of Eurydice. At the other hand, Eurydice seems to be confident of herself. She is an active person, not a passive one unlike the ancient authors have depicted her. The novel Frenzy of Percival Everett deserves attention from scholars who study the reception of antiquity.

17

The Five Stages of Grief in Horace’s Ode I.24

51%

Pypłacz J., Smycz J.

Biuletyn Biblioteki Jagiellońskiej

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2020

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vol. Special Issue

5-12

EN

Long before modern psychology classified and explained the five stages of mourning, the Roman poet Horace made an intuitive portrayal of these stages in his Ode I.24, which was written on the death of his friend Quintilius Varus. In this poem, Horace describes the consecutive phases of grief in bereavement – nowadays defined as depression, denial, bargaining, anger and acceptance – with remarkable accuracy.

PL

Na długo przed wyszczególnieniem przez psychologów pięciu etapów żałoby rzymski poeta Horacy instynktownie uczynił to w swojej Odzie 1.24, napisanej po śmierci przyjaciela, Kwintyliusza Warusa. W utworze tym poeta bardzo trafnie scharakteryzował kolejno stadia depresji, zaprzeczenia, negocjowania, gniewu oraz akceptacji.

18

[...] Odores, quos tener e terra divite mittit Arabs. Funkcja motywu wyperfumowanego i zamożnego Araba oraz wonnej i zasobnej Arabii w twórczości poetów rzymskich okresu augustowskiego

38%

Libowski Ł.

Littera Antiqua

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2019

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issue 14

5-29

EN

The purpose of this article is to determine the function of one of the minor literary motifs present in the Roman literature of the Augustan period, i.e., the motif of the perfumed and wealthy Arab and fragrant and rich Arabia. This goal is achieved here in two steps: first, the appropriate source material is compiled, and then the material is analysed and the conclusions are formulated. The source material in this case is seventeen extracts from Virgil, Horace, Tibullus, Pseudo-Tibullus, Propercius and Ovid. These fragments were divided into those, in which the respective fragrance motif was embedded in the axiological context (sixteen fragments), and those, in which the motif appears in the neutral context (one fragment). Among the first there were separated those, in which the positive axiological context is dealt with (ten fragments), and those, in which the negative axiological context is dealt with (six fragments). The fragments of the first type mention the value of a woman (four fragments), religious activities (three fragments), the Roman land (two fragments) and peace (one fragment), while the fragments of the second type express the worthlessness of wealth (five fragments) and remoteness from the loved person (one fragment). In turn, the analysis was carried out in two steps. First, it was found that Latin poets and writers of the Augustan period use the fragrance motif when they value, whether positively or negatively, people or things or situations, or activities, and that these writers use the motif discussed here to build images that appeal to the public. Secondly, it was established that the Arabic motif is expressed at the same time in a lot of different words, should all the fragments in which it appears, be taken together, and in few words, should each of the fragments should be considered separately.

Refine search results

Martwa Dydona

MARTWA DYDONA

Metaphorical Picture of Tiberius in Tacitus’s

Apollo in the Aeneid

Adone nella poesia di Properzio

Rückkehr nach Arkadien: Die poetologische Dimension von Horazens Carmen IV,12

Lipcowy upał w wierszu Venantiusa Fortunatusa (VII 8)

Tajemnicza epidemia w „Georgikach” Publiusza Wergiliusza Marona. Kilka słów komentarza

Zapowiedź przyjścia Zbawiciela w IV Eklodze Wergiliusza

Luis de León and Galicia: a close reading of Virtud, hija del cielo

"De ecclesia" - centon chrześcijański

Chrześcijańskie zagadnienia protologiczno-eschatologiczne wyrażone za pomocą pogańskich liter. Na podstawie centonu De Verbi Incarnatione

The sense of games and undeserved suffering Some comments on Book V of Vergil's Aeneid

Pięć stadiów żałoby w odzie I 24 Horacego

Chrystologia biblijna – pogańskie litery. Na przykładzie chrześcijańskiego centonu „De Verbi Incarnatione”

Mit o Orfeuszu i Eurydyce w powieści Frenzy Percivala Everetta

The Five Stages of Grief in Horace’s Ode I.24

[...] Odores, quos tener e terra divite mittit Arabs. Funkcja motywu wyperfumowanego i zamożnego Araba oraz wonnej i zasobnej Arabii w twórczości poetów rzymskich okresu augustowskiego