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Dramatyczność w antycznej teorii narracji i wybranych gatunkach narracyjnych epoki cesarstwa

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Bartol K.
Przestrzenie Teorii
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2008
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issue 9
29-38
EN
The concept of dramaticality, re-emerged after Aristotle as a topic of rhetorical interest in the classification of narrative which extends beyond the forensic. The essential point of the Hellenistic grammarians' tripartite division of narrative was the category which comprises 'made-up events which nevertheless could have happened'. In Greek this category is often called plasma ("invention") or dramatikon. It seems to suggest that this type of narrative was a literarily elaborated and emotionally charged account of actions and characters invented by the writers, and approximated to our idea of fiction. Dramatically oriented presentation of plots was useful first of all to novelists of the Imperial period. The stress on producing a narrative sustained dramatical pattering and imagery, is also to be found in the epistolary and biographical genres of this time.
2
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Adesp. 741 K.-A. Some Aspects of Comic Stylistics

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Bartol K.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2021
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vol. 31
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issue 1
29-34
EN
This article explores the thematic and stylistic function of the anaphora in the anonymous fragment of Old Comedy (741 K.-A.). It also analyses an interpretation of Plutarch’s comment on these lines.
3
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Wypędzić poezję, wygnać poetów. Współczesne interpretacje Platońskiego postulatu

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Bartol K.
Poznańskie Studia Polonistyczne. Seria Literacka
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2012
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issue 19
13-30
EN
This article is a critical review of the most important modern interpretations of the Platonic postulate of expelling poets from the polis, formulated in two works of the thinker, the Republic and the Laws. The reflections presented in the article focus on two fundamental questions, namely the reasons behind Plato’s refusal to allow poets into his ideal state and, secondly, the aim he was going to attain by expelling artists from the community of citizens. To try to explain the reasons behind these statements, so embarrassing to present-day readers of Plato, involves considerations of Plato’s concept of the nature of poetry (art as flawed, defective and secondary reflection of the sensual world), as well as of ethical questions (art as a perfidious tool to facilitate malevolent designs towards human characters). Any investigation as to the intentions of the philosophers that preceded the formulation of the postulate concentrates thus inevitably on his vision of utopian realism. It further aims to provide sufficient arguments that Plato, oscillating in his presentation between authoritarian diagnosis and protreptic provocation, makes recipients redefine the mutual relationship between literature and philosophy.
4
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Was Calypso Able to Make Odysseus Immortal?

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Bartol K.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2017
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vol. 27
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issue 2
5-16
EN
The article, focusing primarily on the Odyssey 5. 135–6, offers a set of remarks designed to foreground the qualities that make the Calypso episode not only interesting as an example of how the epic poet exploits traditional themes and phrases, but exciting as a story of a man’s desire.
5
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Elegijne nastroje: wczesna elegia grecka i nie tylko

100%
Bartol K.
Poznańskie Studia Polonistyczne. Seria Literacka
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2011
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issue 18
11-22
EN
This article explores the relationships and correlations between early Greek elegy (7th-5th c. BC) and the elegiac mood of a poem understood today as a nostalgic and melancholic attitude of the subject evoked in a poem. The known surviving ancient texts prove the thematic heterogeneity of the elegiac genre at its early stage of development, while this elegiac emotionality is by no means a distinctive feature of this particular poetical category within the archaic parental context even though it does occur in some works composed in distichs that are traditionally labeled as elegiac (e.g. works of Archilochus and Mimnermus). Elegiac attitude, within modern understanding of the term, is also to be fund in the melic poetry of early Greek poets (such as Sappho, Anacreon and Simonides of Ceos) which were, in fact, considered by ancient theoreticians as non elegiac as far as their genre was concerned. The attribution of the elegiac character, not linked genetically with any of genres, to one poetical category is thus a result of multilayered processes of cultural interaction and the reception of the early Greek literature rather than the substance of the genre.
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