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1

Na pograniczu kultur: emblematyka i antyk jako główne pierwiastki konstruujące hybrydyczne XVII-wieczne dzieło Sphinx Samosonica…

100%

Drzewiecka E.

Terminus

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2012

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vol. 14

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issue 25

191-217

EN

In 1628, pupils and professors of Jesuits college in Rawa Mazowiecka presented to a bride and groom a poem called “Sphinx Samsonica…” - a unique book, full of allusions and references to the emblem of classical antiquity. The poem was created during the thriving baroque period which relished in abundance and variety. It was the perfect time to publish works which had bountiful contents which were as diverse and hybrid as “Sphinx Samsonica…”.The poem, in the fabric of which a few literary genres coexist, is a perfect example of an erudite Jesuit rhetoric full of parallels and with clear citations of many ancient writers. Thus showing that one of the main pillars of the poem is the theme of antiquity. The second pillar is its emblematic character as the multiple layers of this work are visible not only in the verbal area, but also in the pictorial. The emblems are one of the innovative tendencies of this work, tendencies which had just started to appear on the pages of printed panegyrics and which would become a part of panegyric literature in the 17th century. “Sphinx Samsonica…” is original in this area not only because of the presence of emblems in the poem, but also because of the “baroque”, ornamental construction of the work in which words and pictures are woven together in a unique way. Although Sphinx Samsonica… figured in many listings and was also mentioned in the bibliography of emblematic printouts written by Paulina Buchwald-Pelcowa, presenting basic information about this work, it has gone unnoticed for a long time. It is not mentioned in monographs devoted to modern epithalamiums, and it was marginally mentioned in monographs devoted to emblems. The dust of oblivion was finally wiped by Jadwiga Bednarska, who discovered the dormant potential of the pages of the Jesuits work in the first part of her book about Polish panegyric illustrations. In the second part, she considers the relationship of this work with Dutch emblems. Therefore, the work has been thoroughly researched from the point of view of the history of art. However, meticulous attention has not been lavished upon it, both from the philological point of view and also regarding the correlation between words and pictures. No research has been undertaken regarding its genre diversity and the work has been neither published, nor translated from Latin into Polish. However, the philological level is also important because it allows the research and discovery of what is hidden inside Latin comments and epigrams full of allusions to antiquity. This knowledge allows an explanation to the exact sense and meaning of the emblems, which very often are not clear and understandable at first sight. As a result, this article makes an attempt to enlighten the reader of the philological level of this work, and the foundation of the article is a presentation of the opulence of antique allusions which regularly appear in the whole text in a chosen fragment of “Sphinx Samsonica…” . Emphasis is also put on the unique and uncommon structure of the work, the main element of which is the emblems. The rich use of these two elements; their coexistence; and their complementation makes “Sphinx Samsonica…” a remarkable piece of literature.

2

The classical culture in the modern World

75%

Stabryła S.

Classica Cracoviensia

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2015

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issue 18

349-362

EN

The author discusses the impact of classical antiquity on the modern culture, particularly in Poland. He tried to point out that ill-considered and harmful educational reforms have reduced or even eliminated the classical education from the school system in Poland, as in several other countries. Now we are witnessing the decline and collapse of classical humanism. But on the other hand it is difficult to imagine that the viivifying stream of ancient culture woluld dry up finally in our times. We believe that our world of western civilization does not want and cannot renounce the values that have created and shaped the ancients.

3

Pourquoi les Athéniens ont-ils lamentablement échoué là où les Romains ont brillamment réussi?

45%

Pałuchowski A.

Res Historica

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2023

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issue 56

23-44

EN

The study is comparative and focuses, essentially, on classical antiquity, it means both its major centers that are, on the one hand, Athens, the city-reason of chaotic imperialism, and, on the other hand, Rome, the city-world of pragmatic and fully assumed imperialism. First of all, but still, from a comparative perspective, it begins with Near Eastern much older imperialist background, such as the micro-empire set up by Sargon of Akkad or the Assyrian empire during the reign of Shalmaneser III. However, the main aim is to answer the question about why Athenian imperialism fell, despite the obviousness of the lost Peloponnesian War and in contrast to the dazzling success of Roman imperialism. Narrative as well as epigraphic sources are comparatively analysed and one takes advantage of the network theory.

FR

L’enquête se veut comparative et se focalise, avant tout autre chose, sur l’Antiquité classique et ses deux centres majeurs qui sont, d’un côté, Athènes, cité-raison d’impérialisme chaotique et, de l’autre, Rome, cité-monde d’impérialisme pragmatique et pleinement assumé. D’abord est brièvement abordé, toujours dans la perspective comparative, le contexte proche-oriental, à entendre le micro-empire mis sur pied par Sargon d’Akkad et l’empire assyrien sous Salmanasar III. L’objectif premier est cependant d’apporter une réponse à la question de savoir pourquoi l’impérialisme athénien a essuyé un échec cuisant et ceci malgré l’évidence de la guerre du Péloponnèse perdue, à l’opposé de la réussite fulgurante de l’impérialisme romain. On aura recours à l’analyse d’une sélection de sources tant narratives qu’épigraphiques ainsi qu’à la théorie des réseaux.

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Na pograniczu kultur: emblematyka i antyk jako główne pierwiastki konstruujące hybrydyczne XVII-wieczne dzieło Sphinx Samosonica…

The classical culture in the modern World

Pourquoi les Athéniens ont-ils lamentablement échoué là où les Romains ont brillamment réussi?