Search results

1

Metodologie emic i etic w badaniach kultury w zarządzaniu

100%

Sułkowski Ł.

Management and Business Administration. Central Europe

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2012

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vol. 20

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issue 1(114)

64-72

EN

The purpose of this article is to analyze the applicability of the distinction between the concepts of "emic" and "etic" methodology in management sciences. The distinction between these two approaches is significant in cultural studies, linguistics, cultural anthropology and sociology. However, this dichotomy is not too common in the sciences of management. It is also very little known in Polish management discourse. The approach exploits the terms "emic" and "etic" in relation to issues of organizational culture. This methodology tries to enlighten the concept of organizational culture and examine the possibility of its formation. The findings indicate that with the current state of knowledge on organizational culture, it is difficult to conclude which of the two concepts (emic - etic) is more effective in terms of methodology. Thus, it is useful to use cognitive and methodological pluralism in research, combining both cultural methodologies.

2

L’amitié chevaleresque dans le miroir de la littérature médiévale française

88%

Abramowicz M.

Romanica Wratislaviensia

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2017

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vol. 64

11-21

EN

The emergence in the Middle Ages of literature in the vernacular paralleled the emergence of the new, lay social elite — the chivalry. The new literature did not so much reflect as it shaped the attitudes and the axiological system embraced by medieval knights. This fact has been recognized by historians, however they seem to take atoo homogenic view of various narrative forms of vernacular literature. Thus, the article is an attempt to identify some crucial differences between how the two key literary genres of the times — chanson de geste and romance — represent the values crucial to the medieval knight. Chanson de geste praises communal values, and the tale’s hero, rather than an individual knight, is ablood-related family of which he is an integral member. His world is founded on values such as family solidarity and asense of responsibility for the family’s well-being. The romance, on the other hand, champions an individualistic hero, seen in isolation from his ancestral context. In the romance it is friendship, born of asense of shared social mission, that represents human relationships. Admittedly, friendship does play acertain role in the world of chanson de geste, and so do the ancestral ties in the romance. However, their role in either case is disproportionately smaller and, occasionally, both are represented unfavorably. Unlike chanson de geste and the romance, 13th century mystical roman in prose questions the value of both friendship and ancestral ties, unless they are founded on exemplary religiosity.

3

Dónde volver

88%

Kohan M.

Itinerarios. Revista de estudios lingüísticos, literarios, históricos y antropológicos

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2020

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vol. 32

9-21

ES

El sinsentido de la guerra de Malvinas no se debió a que fuera una guerra que no podía ganarse, sino a que fue una guerra que no convenía ganar (ganarla habría supuesto seguramente una prolongación de la dictadura militar imperante). Esa ausencia de sentido plantea un desafío visceral a las narraciones de la guerra, que se encara de maneras distintas según se trate de narraciones ficcionales o testimoniales.

4

La discorde concordia dell’animo nella riflessione antropologica e nell’epica di Tasso

87%

Dimke-Kamola J.

Studia Romanica Posnaniensia

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2018

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vol. 45

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issue 1

69-83

EN

The article reconstructs the conception of the soul that emerges from the writings of Torquato Tasso. The analysis of the Allegory of Jerusalem Delivered, of the correspondence which arose from the revision of the poem and of some fragments of other works, centres on the relationship between reason and passions. It shows that Tasso’s concept of the harmony of the soul is analogous to his concept of the epos. Both are founded on two principles: that of unity composed of opposites and that of the functional indispensability of all constitutive parts. There is a relationship of subordination and a relationship of interdependence between reason and the irrational part of the soul. Tasso has a positive view of the intense affetti, as drivers of magnificent actions and as foundations on which a person can develop his/her virtues.

5

Komediowa „Eneida”

87%

Piętka R.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2019

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vol. 29

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issue 1

EN

Piętka Radosław, Komediowa „Eneida” (Comedy in Vergil’s Aeneid).The paper deals with the references – hypothetical and/or unquestionable – to comedy and comic conventions in the Aeneid of Vergil. Taking into consideration as many comic constituents as it is possible to retrieve from the Virgilian epic text, I would also like to try to answer the general question concerning supposed influence of these very constituents on the meaning of the whole text of the Aeneid.

6

PRAWDA W DZIELE LITERACKIM Z PERSPEKTYWY GENOLOGICZNEJ

75%

Olędzki M.

Conversatoria Litteraria

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2016

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vol. 10

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issue -

13-19

DE

PL

The subject of the following article is the concept of truth understood not asan absolute or a scientific fact but the truth in the context of fictional literary world.For the purpose of these deliberations, I selected theory of fiction, originating fromAristotle and currently developed by Thomas Pavel. Information contained in a workof literature is true if is not undermined on any level, independently from the factthat truth refers only to characters existing in the given possible fictional world.Truth defined as an amalgamation of irrefutable story facts is a constitutive attributeof the world which is characteristic for drama and epic, whereby the latter is not thesole requirement since it has to be supported by an individual and objective accountof the narrator. Truth is thus a foundation of every work of literature based on principlesof drama and epic, however, in the fictional world of lyric poetry everythingcan be undermined.

7

„Dodatki” a kategoria jedności w poetyce klasycyzmu postanisławowskiego

71%

Markowska H.

Forum Poetyki

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2016

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issue 6

90-103

EN

The article deals with the theory of “epssodes” in Polish poetics in the first two decades of the nineteenth century. It offers an analysis of texts from the school of Post-Stanisław Classicism, containing guidelines concerning the introduction into a literary work of passages not connected to its main current, called digressions. For the purpose of creating a theory conditioning the functioning of these peculiar “additions,” an analysis of one of the basic aesthetic categories of that era, the category of unity, proves necessary. That analysis is connected with a theory of the perception of the work of art, popular at that time, with roots in Cartesian philosophy. Thus reflections on episodes and unity become a point of departure for testing current beliefs about the arbitrariness of classicist “rules.”

PL

Artykuł poświęcono teorii „epizodów” w poetyce polskiej dwóch pierwszych dziesięcioleci XIX wieku. Przeanalizowano w nim teksty związane z nurtem klasycyzmu postanisławowskiego, zawierające wskazania dotyczące wprowadzania do utworu literackiego fragmentów niezwiązanych z jego głównym wątkiem, zwanych ustępami. W celu odtworzenia teorii warunkującej funkcjonowanie tych swoistych „dodatków” konieczna okazała się analiza jednej z podstawowych kategorii estetycznych epoki – kategorii jedności. Zostaje ona powiązana z ówczesną teorią percepcji dzieła sztuki mającą swoje korzenie w filozofii kartezjańskiej. W ten sposób rozważania o epizodach i jedności stają się punktem wyjścia do weryfikacji obiegowych przekonań o arbitralności klasycystycznych „reguł”.

8

Czasy Ottona I z perspektywy Hroswity z Gandersheim

63%

Araszkiewicz A.

Acta Humana

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2018

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vol. 9

EN

When it is told about Hrosvit, a canoness from Gandersheim, as a writer, generally it is meant about her six dramas, which are certainly representing her best creative skills. The historical poems, especially Gesta Ottonis, which this article concerns, are much less known. The protagonist of this literally work is Otto I the Great (912-973), who was elected a king on 936 (on 962 was elected an emperor). Hrosvit lived and created primarily during his reign. The times of Otto the Great were dominated by relations with the Church and in the history he enrolled as a politician and strategist. It should be also noted, that Otto the Great used religious institutions, which strengthened his power significantly. This cooperation of Church and kingdom/empire is also noticeable in Gesta Ottonis of Hrosvit. Canoness created one of the first biography of the emperor, which testifies – to the fascination of Otto the Great and his ancestors held by contemporaries. In 1517 Leo’s hexameters Hrosvit included the picture of an ideal ruler, following the example of biblical king David, who obtained the strength from the God to fight an enemy. She presented life of Otto the Great and his father in chronological order. She wanted to create something new, which at the same time would refer to the ancient genre patterns. The work of Hrosvit clearly marked the tendency to subject knowledge of the past to constant transformations in such a way as to be able to act in the present and in the future.

PL

Kiedy mówi się o Hroswicie, kanoniczce z Gandersheim, jako o pisarce, na ogół myśli się o jej sześciu utworach dramatycznych, które stanowią niewątpliwie szczyt jej umiejętności twórczych. Zdecydowanie mniej znane są jej poematy historyczne, zwłaszcza Gesta Ottonis, których dotyczy niniejszy artykuł. Bohaterem dzieła jest Otton I Wielki (912–973), który tron królewski objął w 936 roku (od 962 roku – cesarski). Hroswita żyła i tworzyła przede wszystkim w czasach jego panowania. W historii władca ten zapisał się jako polityk i strateg, a jego rządy zdominowały stosunki z Kościołem. Należy także zwrócić uwagę, że Otton I wykorzystał instytucje religijne, co znacznie umocniło jego władzę. To współdziałanie Kościoła i królestwa/cesarstwa zauważalne jest także w Gesta Ottonis Hroswity. Kanoniczka stworzyła jedną z pierwszych biografii władcy, co świadczy o fascynacji, jaką wywierali Otton I i jego przodkowie na współczesnych. W tysiąc pięćset siedemnastu heksametrach leońskich Hroswita zawarła obraz idealnego władcy, postępującego na wzór biblijnego Dawida, który otrzymał siłę od Boga do walki z wrogiem. W porządku chronologicznym przedstawiła dzieje Ottona I, a także wspomniała jego ojca. Pragnęła stworzyć coś nowego, co jednocześnie odwoływałoby się do antycznych wzorców gatunkowych. W tekście Hroswity wyraźnie zaznaczyła się tendencja do poddawania wiedzy o przeszłości nieustającym przekształceniom w taki sposób, by umieć postępować w teraźniejszości, a także w przyszłości.

9

Famae petitor. Lucan’s Portrayal of Pompey.

63%

Pypłacz J.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2014

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vol. 24

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issue 2

97-118

PL

In spite of the fact that Lucan’s sympathies are apparently with the Republicans, his attitude to Pompey, which emerges from the Pharsalia, turns out to be rather critical. Moreover, this criticism actually comes very close to ridicule. Lucan depicts Pompey as a senile and narcissistic leader who dwells on his past success and lives in the world of his own fantasies. Trapped in the vicious circle of his delusions of grandeur, he is rather grotesque than majestic. The harder he tries to enhance his public image, the more pathetic he becomes both in the eyes of his friends and in those of his enemies. The effects of his efforts are, therefore, quite contrary to their purpose. On the one hand, the figure of the senile and deluded Pompey is the caricature of the decaying Roman Republic, whose degeneracy it obviously mirrors. On the other hand, however, Lucan’s grotesque anti-hero is the exact opposite of archetypal epic characters such as Virgil’s Aeneas. Willing yet unable to emulate his literary predecessors, he functions as the caricature of the literary paradigm of a standard epic hero.

10

Nestalnost žanrovskih granica: lažno pitanje ili suština književnog stvaranja?

63%

Milena Ilišević M.

Studia Slavica

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2013

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vol. 17

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issue 1

7-14

EN

for the centuries long theoretical researches doesn’t imply neither the precise terminology nor the unique and final definitions of fundamental concepts of literary theory. We need to look for the cause of this situation, primarily, in the fact that literature develops all the times, it accommodates to social conditions in the times it was emerging in. Literature is a result of the interaction with other areas of human creation or with other areas of arts, philosophy, psychology, religion... The literary genre is a very controversial concept in the history of the literary-theoretical thinking. These problems attract the attention of literary researchers for centuries. This article tries to answer a question of the definition of literary genres and their volatility, paying a special attention to the theoretical views of Emil Staiger and his conception of the lyric, epic and dramatical, and theory of drama of Manfred Pfister.

11

Visitors from the realm of death

63%

Pypłacz J.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2012

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vol. 22

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issue 2

61-73

EN

Ghosts play a very important role in Seneca’s tragedies. They either appear on stage and deliver the prologue or influence events from backstage. Sometimes they suddenly come to haunt living relatives as phantoms or hallucinations. Their influence on the actions of the dramatis personae is considerable and, in most cases, negative or even destructive. Thanks to the fact that Seneca chose to unleash his imagination rather than cling to the technical requirements of the ancient theatre, he could permit himself the luxury of filling his plays with supernatural beings who contribute to the atmosphere of metaphysical awe that makes Seneca’s tragedies so unique and that has become their hallmark.

LA

Constat manes mortuorum in tragoediis antiquis saepe apparuisse. Poetis tragicis Graecis necessarii erant ut fabulam formarent spectatoresque exterrerent. Seneca manibus ad eadem aliaque peragenda utitur, nam quasi omnes eius tragoediae phantasmatibus abundant. Manes prologos dicentes, ut Thyestis umbra in Agamemnone Tantalique in Thyeste non solum historiam Tantalidarum in memoriam revocant, sed etiam, ante omnia, nequitiam suam ut pestilentiam in regia propagant. Non manes igitur, sed spectra infernalia apellandi sunt. Alii manes, ut Achillis umbra in Troadibus Laiique in Oedipo, ex Erebo ad terram adeunt, sed auditoribus invisibiles sunt. Crudeles, implacabiles poenaeque avidissimi, vitam dramatis personarum male influunt. Adventus eorum a nuntiis quasi epico modo narrantur. Nonnumquam dramatis personae in Senecae tragoediis visiones repentinas familiarium mortuorum habent, qui aliis personis invisibiles sunt, ut Laius, cuius spectrum horribile Oedipum in Phoenissis aggredit, Apsyrtusve, qui Medeae se ostendit. Haec malae conscientiae deliramenta sunt. Alii autem manes simpliciter familiares suos, quibus desunt, visitant, ut Deiphobi umbra quam Cassandra in Agamemnone vidit. Simili modo Hectoris umbra Andromachae uxori quasi somnium se ostendit in tragoedia quae Troades inscribitur. Ex his omnibus constat Senecam plus ingenium suum quam conditiones theatri antiqui secutum esse quam ob rem tragoedias suas spectris, phantasmatibus et prodigiis sine ullis obstaculis implevisse. Constat etiam manes mortuorum his in tragoediis magno munere fungi, nam eas unicas aliisque antiquis poematibus tam epicis quam dramaticis dissimiliores reddunt.

12

Příběh kmene: pásmové skladby jako archiv české meziválečné avantgardy

63%

Říhová Z.

Česká literatura (Czech Literature)

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2020

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vol. 68

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issue 6

677-696

EN

In the history of the European avant-garde, zone compositions have appeared along the seams between entities. Likewise Czech avant-gardists saw Apollinaire’s Zone as a poem of transition, and it is essential to identify whence and whither, and to subsequently correct the established explanation of the Czech historical avantgarde’s attitude towards memory and the past. The early Czech avant-garde saw itself as a movement without a history, emerging from point zero, but zone compositions are substantially oriented towards the past. Memory, past and myth form an integral part of zone compositions — the forms of the modern-age epic. Within the context of the long compositions of European modernism, this study analyses Czech zone compositions as a special form of the epic, as an alternative pole of the Czech historical avant-garde.

13

How a novel The Man with White Eyes (The Bad) became the Iliad

63%

Mrowcewicz K.

Nauka

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2020

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issue 4

EN

This article talks about a famous novel by Leopold Tyrmand entitled Zły (The Bad) which was translated into English by David Welsh as The Man with White Eyes (New York: Knopf, 1959). The author claims that the novel which describes a life in destroyed Warsaw of the 1950s gradually became an epic. The author refers to a conception by Polish literary scholar and critic Kazimierz Wyka who claimed that epics are not written, but – under some circumstances, sometimes even against the will of the writers – some texts become epics. According to the author, in Zły (both in the style and in the plot) can be found the elements of brilliant epic stylization. The novel which at first was read as a thriller gradually became an epic because it described with epic accuracy a world that had disappeared, a world where a new life was born in the ruins.

14

The Concept and Purpose of Death in the Aeneid, Book 2

63%

Mianowski J., Zarzycki Ł.

Academic Journal of Modern Philology

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2013

|

vol. 2

67-73

EN

The article aims at analyzing the concept and purpose of death in the Aeneid, Book 2. In its premise, the concept of death presented within the poem reveals its ethnic, social and cultural tone. The deaths which close eight books of the Aeneid indicate the progress of a main theme: abdicate the past to defend the future. Initially, towards the closing of Book 2 Creusa dies: a loyal, affectionate wife and mother who is nevertheless to be replaced by a young bride chosen for political benefits. The modes and circumstances of the deaths elicit some immediate investigations: first, it seems meaningful that some die in the bloom of youth and others in old age; second, some must die as sacrifices to the gods; third, some are destined to die because they demonstrate furious difficulties to the completion of Aeneas’ duty. Before discussing the concept of death in Book 2 it is essential to introduce the reader into some considerations representing the structure and purpose of Book 2. The authors would like to thank professor Jakub Pigoń (Institute of Classical, Mediterranean and Oriental Studies, University of Wroclaw) for his guidance and insightful remarks throughout the process of writing of this article.

15

POTWÓR JAKO ZWIERCIADŁO HEROSA EPICKIEGO

51%

Zieliński K.

Rocznik Lubuski

|

2016

|

vol. 42

|

issue 2

167-188

PL

Przedmiotem artykułu jest kwestia wizerunku bohatera i jego adwersarza w epice oralnej. Przedstawiony został model ewolucyjnego przekształcania się wizerunku potwora w zgodzie ze zmianami funkcji i opisu herosa. Zmiany te odpowiadają wymogom struktury narracji oralnej w specyficzny sposób budującej napięcie. Przejście od eposu baśniowego do historycznego znamionuje wyrównanie sił obu walczących stron, w którym adwersarz, tracący rysy potworne, przejmuje poszczególne elementy charakterystyki herosa (począwszy od magicznych artefaktów mających wcześniej wyrównać szanse herosa w walce ze "smokiem" a na szlachetności natury skończywszy) stając się jego zwierciadlanym odbiciem.

EN

In oral epic an image of the hero and his adversary is correlated. In the article there has been presented a model of the evolutionary transformation of the image of a monster in line with changes in the function and description of the hero. These changes correspond to the requirements of oral narrative structure, which is dynamic because singer’s main task is to build tension during performance of songs. The transition from the fairytale to historical epic marks the alignment of forces of the two warring parties, in which the adversary, losing monstrous scratches, takes over the individual elements of the hero (beginning from magical artifacts, which previously were to equal opportunities of the hero in the fight against the "dragon", and on the generosity of nature ending) becoming its mirror image.

16

The Slavic Homer: From Grigorios Stavridis to Grigor Prličev

51%

Borowska M.

Colloquia Humanistica

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2021

|

issue 10

1-17

PL

W 1860 r. Stawridis-Prličev niespodziewanie wygrał konkurs poetycki Uniwersytetu Ateńskiego poematem Armatol, co spotkało się ze sprzeciwem części środowiska greckiego i nagonką w prasie. Mimo swoich deklaracji o „helleńskości serca” autor z Ochrydy nie został dobrze przyjęty na stołecznych salonach. Dwa lata później wziął ponownie udział w konkursie, na którym przedstawił, tym razem mierząc się z samym Homerem, obszerny, lecz nieskończony epicki utwór, którego bohaterem uczynił Jerzego Kastriotę Skanderbega. Artykuł, pełniący rolę wstępu do polskiego przekładu Skanderbega, zawiera obszerne fragmenty ze sprawozdań obu komisji konkursowych pod przewodnictwem Aleksandrosa Rangawisa, zwłaszcza drugiego, w którym jurorzy uzasadniali, dlaczego mimo wrażenia, jakie na nich zrobił utwór Stawridisa, nie mogli przyznać mu nagrody. Rozczarowanie chłodnym przyjęciem i niepowodzenie w konkursie przyczyniło się zapewne do radykalnej zmiany postawy słowiańskiego Homera, który nie tylko przestał „służyć Grecji”, lecz energicznie począł zwalczać wszelkie wpływy greckie w rodzinnej Ochrydzie.

EN

In 1860 Stavridis/Prličev’s poem Armatol unexpectedly won him the University of Athens poetry competition, which met with opposition from part of the Greek community and a smear campaign in the press. Despite his declarations of having a “Hellenic heart”, the author from Ohrid was not well received by Athenian society. He took part in the competition once more two years later, this time trying to match Homer himself and presenting an extensive though unfinished epic poem with Gjergj Kastrioti Skanderbeg as the protagonist. The paper, which serves as an introduction to the Polish translation of Skanderbeg, contains extensive excerpts from the reports of both competition committees, chaired by Alexandros Rangavis, especially the second one, when the judges justified why they could not award Stavridis the prize despite being impressed with his poem. His disappointment at his cool reception and his failure in the competition most likely contributed to a radical change in the attitude of the Slavic Homer, who not only stopped “serving Greece” but began vigorously eliminating any Greek influences in his native Ohrid.

17

Literární prameny o dětech a pro děti. Příspěvek ke komparaci historiografických pramenů a literatury středověku v českých zemích

45%

Dvořáčková-Malá D.

Mediaevalia Historica Bohemica

|

2016

|

vol. 19

|

issue 1

35-85

EN

The study deals with a comparison of the literary and historiographic sources of the Middle Ages in the Czech lands in relation to the life of children and conception of childhood in the written monuments. It starts from the fact that childhood has not yet been assessed in entertaining literature. The text follows the conception of childhood on several levels; the predestination of children, the reflection of the divine child and the education and way of life of children. At the same time, it makes distinctions in the individual genres and gender breakdowns, and also in the assessment of a good and bad society. Using the example of new translations form the domestic German literature and its comparison with the Latin and Old-Czech sources from the Czech lands, it proves that the literary monuments comprise a component of the source historiographic matter. At the same time, it also follows the genesis of literature for children with that, namely a comparison of the earliest evidence on the future fairy tales for children.

18

Ze země, kde zítra již znamenalo včera: Fučíkovy reportáže jako hold sovětskému experimentu

38%

Melichar B.

Soudobé dějiny (Contemporary History)

|

2021

|

vol. 28

|

issue 1

161-182

EN

Combined with Fučík’s loyalty to the current party line, participation in the resistance movement, and his martyr’s death, all of the above provided those formulating the post-war cultural policy with enough suitable material to create an unblemished Communist hero.

19

„Nie zatwardzajcie serc waszych...”. Problem sklerokardii w twórczości Wacława Potockiego (na podstawie Nowego zaciągu… i Dyjalogu o zmartwychwstaniu Pańskim). Część pierwsza: Retoryczne aspekty sklerokardii

26%

Dziemian O.

Język - Szkoła - Religia

|

2023

|

vol. 18

44-62

PL

Artykuł jest pierwszą z dwóch części studium poświęconego biblijnej problematyce zatwardziałości serca obecnej w dwóch dziełach Wacława Potockiego – mesjadzie Nowy zaciąg… (1698) oraz Dyjalogu o zmartwychwstaniu Pańskim (1676). Dyskurs niniejszego szkicu koncentruje się przede wszystkim na zagadnieniach retorycznych, na ukazaniu strategii obrazowania oraz sposobach prezentacji bohaterów dotkniętych tytułową sklerokardią (Judasz, Annasz i Kajfasz, arcykapłani i Żydzi jako zbiorowości domagające się zabicia Jezusa, żydowscy i rzymscy oprawcy), jak też wskazuje różnice i punkty zbieżne we wskazanych obszarach, występujących w odmiennych gatunkowo utworach. Wskazano najbardziej wyraziste elementy i aspekty językowej tkanki utworów, które Potocki wykorzystał w celu ukazania istoty problemu, a także techniki i chwyty retoryczne, które posłużyły autorowi do zbudowania licznych ekspresyjnych, silnie oddziałujących na zmysły odbiorcy opisów (np. porównania, amplifikacje, poetyka kontrastu, uprzywilejowanie szczegółu i konkretu). Wieloaspektową i plastyczną konstrukcję opisów poeta z Łużnej stworzył za pomocą frazeologii i leksyki pochodzących z różnorakich obszarów tematycznych (głównie z zakresu biologii, medycyny i świata natury). Animalistyczne aspekty sklerokardii – najbardziej dominujące – wespół z elementami biologizmu, naturalizmu, fizjologii i anatomii, dowodzą wysokiej wrażliwości Potockiego na pochodzące ze świata zmysłowego i materialnego bodźce oraz są świadectwem fascynacji poety sferami cielesności i zmysłowości; to zaś stanowi charakterystyczny element jego poetyckiej wyobraźni. Wizja bohaterów i rzeczywistości dotkniętych sklerokardią, obecna na kartach Nowego zaciągu… i Dyjalogu…, jest zdominowana przez fałsz, hipokryzję i kłamstwo, naznaczona skrajną brutalnością, bezwzględnością, przemocą i okrucieństwem. Brak w niej miejsca na litość czy jakiekolwiek skrupuły.

EN

This article is the first of two parts of a study devoted to the biblical issue of hardness of heart, present in two works by Waclaw Potocki – Nowy Zaciąg... (1698) and Dyjalog o zmartwychwstaniu Pańskim (1676). The discourse of this sketch focuses primarily on rhetorical issues, on showing the strategies of imagery and the ways of presenting the characters affected by the title sclerocardia (Judas, Annas and Caiaphas, the chief priests and the Jews as collectives demanding the killing of Jesus, the Jewish and Roman executioners), as well as points out the differences and points of convergence in the indicated areas, occurring in the genre-different works. Indicated are the most expressive elements and aspects of the linguistic fabric of the works, which Potocki used to show the essence of the problem, as well as rhetorical techniques and tricks, which were used by the author to build numerous expressive descriptions that strongly affect the senses of the recipient (e.g.: comparisons, amplifications, poetics of contrast, privileging detail and concrete). The multifaceted and artistic construction of descriptions was created by the poet from Łużna using phraseology and lexis from various thematic areas (mainly biology, medicine and the natural world). Animalistic aspects of sclerocardia - the most dominant- together with elements of biologism, naturalism, physiology and anatomy, both prove Potocki’s high sensitivity to stimuli coming from the sensual and material world, as well as testify to the poet’s fascination with the spheres of corporeality and sensuality; this, in turn, is a characteristic element of his poetic imagination. The vision of characters and reality affected by sclerocardia, present in the pages of Nowy Zaciąg... and Dyjalog..., is dominated by falsehood, hypocrisy and lies, marked by extreme brutality, ruthlessness, violence and cruelty. It has no room for pity or any scruples.

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