Symbolae Philologorum Posnaniensium Graecae et Latinae
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Z polsko-łacińskiej leksykografii przekładowej. Cz. II. Bibliografia słowników z językiem łacińskim za lata 1990–2011 w układzie chronologicznym
Get PDFThe article contains a list of 405 lexicographical items (each including Latin language), published in Poland during the years 1990–2011. The bibliography, composed in chronological order. The material in question has been excerpted and catalogued on the basis of bibliographical sources, scientific publications, publishing and library catalogues, available at the time. The fact that so much bibliographical material has been collected proves that for publishers, Latin is still a prestigious language, which enjoys a high scientific and academic status. The bibliography exemplifies editorial dynamics and welcoming attitude towards Latin language on the part of national publishers and scientific centers
‘You too, my child?’ On trust and perfidy in classical literature.
Get PDFA tripartite approach is proposed in order to get hold of the complex phenomenon of trust and perfidy in classical literature. In a first part two cases of political treason are discussed: the most prominent victim of treason, Julius Caesar, who was very much surprised when he saw Brutus among his assassins, and the greatest traitor in antiquity ever, Alcibiades. Protean perfidy, however, is a gender-crossing issue, and a second part is dedicated to literary figures, in particular to women. Aeschylus’ Clytemnestra is an outstanding example of a perfidious character. Finally, a third part is concerned with words, for πίστις and fides have attracted the attention of classical scholars and structural linguists alike. At the beginning, however, Hamlet is introduced, an expert both in trust and perfidy as well as in classical literature
Dobra starość zamożnej kobiety w okresie republiki (A good old age of a wealthy woman in the Roman Republic)
Get PDFThe authors of antique literary texts referring to the Roman Republic gave their attention to women inconsiderably. They were convinced, that woman’ space , according to the ancestors’rules, was a house (domus Romana). Despite of this opinion there are some references to old women in antique testimonia, both Greek and Latin. We can find there few mentions about Veturia, mother of Coriolanus, Cornelia, mother of Cracchi, Terentia, the wife of Marcus Tullius Cicero and Caerellia, the friend of orator. These information allow us to draw an optimistic conclusion regarding to the old woman’ status in Republican Rome. Indeed, we should declare that all of them were born in the upper class (nobilitas) and their familie were wealthy. These four women live during their old age independently, without the care of their male relatives. Probably all of them were widows. Veturia and Cornelia lost sons involved in politics of Rome. Terentia supplied her son Marcus in money. Although their Male relatives were in serious troubles, women did not bear any consequences because of it. They still were living in their splendid house, run rich estate and spent leisure hours Reading books from private libraries and meeting friends.They were persons of good reputation. Most important of all, Veturia’s behaviour and Cornelia’s way of life led to build a parenetic legend about these antique heroins
Najważniejsze funkcje i gatunkowe wyznaczniki anegdoty w biografii antycznej (The most important functions and genre indicators of anectode in ancient biography)
Get PDFThe ancient biographical literature is full of anecdotes. Though anecdote as literary form was readily applied in antiquity, it was not distinguished and didn’t have its own name. The term ‘anecdote’ appeared in the 17th century but it hasn’t been described insightfully so far. We have a few modern definitions but they are unsatisfactory. In the beginning of this article author presents shortly the origin of the term ‘anecdote’, showing similarities and differences between Procopios’ Secret History (<Ane/kdota) and earlier biographical anecdotes. The next step is rejection of modern definition of anecdote by Arnaldo Momiglianoas too narrow and normative. Author focuses on description of anecdote and shows its fundamental functions examining ancient biographies. He claims that anecdotes can argue, characterize, explain, entertain and supplement.Can be also a digression. In that point it is possible to do a preliminary distinction of the anecdote as literary form and to show its characteristic features: irremovability, similarity (and differences) to diegema (dih/ghma) and chreia (xrei/a), and credibility. In conclusion there is a short survey of ancient biographies from a point of view of presence of anecdote, an attempt of definition of anecdote included as well
Platońska wizja starości. Przedstawienie osób w podeszłym wieku w Politei i Prawach Platona. (The Platonic vision of the old age. The depiction of the people of advanced age in the Plato’s Republic and Laws)
Get PDFPlato who is an excellent expert of the human nature, makes the subject of his interest the old age and the life of the people of advanced age as well. The reflection on the fate of the old people is not the main subject of deliberation in the Plato’s dialogues but appears mainly in the context of the social and political conception of the ideal state. The issues connected with the life and function of the old people in social structures are the subject of the discussion e.g. in the Laws. Plato presents not only his theoretical deliberation about the old age but also makes the old men the interlocutors in his dialogues to depict the portrait of the members of the oldest social group and to portrait their attitude to life and the passing of time. Cephalus who resigned himself to his fate in the Republic, three old men who make an effort to enact the just code of laws in the Platonic Laws, or old Socrates, who in the Crito and Phaedo waits for the death penalty, faithful to his ideals to the end of his days. These are only a few examples of the elderly people, presented by philosopher, who become embedded in the memory of the readers of the Platonic dialogues. The aim of this article is to provide the answers to the questions, how is the old age perceived by Plato and what social role the elderly people fulfill in his idealisticconception of the state. I will also consider the way in which Plato portrayed the old people who were the main characters in the Republic and Laws
Quem dii diligunt, non semper adolescens moritur – Sybilla z Kume i jej wizerunek poprzez wieki (Quem dii diligunt, non semper adolescens moritur – the Cumaean Sybil and Her Images Through the Centuries).
Get PDFThe text is focused on the ancient literary images of the Cumaean Sibil, one of the most known and mysterious figures of the Roman mythology. Described by Vergil and Ovid in their monumental epic poems, mentioned also by other Roman writers (like Aulus Gellius, Petronius, Silius Italicus) Sibil from Cumae became a symbol of longevity of Rome and of the Roman culture and a guarantee of its successful existence. According to the mythological tradition, Sybil’s appearance was changing during her thousand-year-long life from a resplendent beauty, who was desired by Apollo, to a flabby old woman, dreaming about her own death. In this context the Roman prophetess could be interpreted as a personification of the passing human nature, ruled by the cycle of the returning eras (the Gold Era, the Silver Era, the Bronze Era and the Iron Era). The tragedy of Sybil, who was mortal, but could not die, trapped in her weak human body, firstly inspired Roman poets. Later their poems became an inspiration for many painters (for example Salvator Rosa, Guercino, Domenichino, Jan Breughel the Elder, William Turner) who recreated the Cumaean prophetess, giving her a new silent life in the art galleries all over Europe. Their masterpieces correspond with the ancient tradition underlining her agelessness
Time and Age as Protagonists in Sophocles’ Oedipus Coloneus
Get PDFSophocles’ second Oedipus-play clearly relates to the first; it holds, however, a particular place in literary history, for it was the last play to be included into the canon of classical Attic tragedy. Moreover, the play shows another peculiarity: though the idea that death can be preferable to life is familiar to all Sophoclean protagonists, Oedipus was the only one allowed to get old, a process depicted quite realistically by old Sophocles. Oedipus’ self-explanation, however, that he suffered himself more than he really acted, resembles much a Catch-22 situation: if that were the case in those days, as Oedipus says that it was, he then was crazy and didn’t have to do what he did; but if he didn’t want to do what he did then, he was sane and had to do it, because the gods wanted him to do it. The proposed new reading of the play shows how time and age work on Oedipus’ frame of mind: a desire for whitewashing is acted out in a blame-game, awareness of what is to come is coupled with rather a hesitant manner as though he is slightly unsure of himself (what he is not), and eventually, being out of touch with time and fearing to be left alone make Oedipus curse, for he had been treated unjustly: Oedipus comes close to Shakespeare’s King Lear, though he does not go mad, he only becomes bad and dangerous to know
Sposoby czytania rzymskich portretów starców z okresu republiki (How to Read Roman Republican Portraits of the Old Men)
Get PDFThe portrait sculpture from the Republican era, better recognisable since the second century BC, although gaining in popularity particularly in the first century, constitutes one of the most unique portrait collections ever created. Variability of the portraits reveals combination of abstract features, expressed in an appropriate visual language, with definite physiognomic features and characteristics of persons being portrayed. A new type of portraiture was created at the time, different from the traditional Hellenistic one. Although it was the latter that was a source of the idea itself, and a provider of formal tools used to implement the idea. With this new concept the portraiture obtained an unprecedented capacity to articulate and project the interior processes of human experience. The Roman concept of portraying was most distinctive in so called veristic portraits, usually assumed to represent the essence of what was socially Roman. The collection consists mainly of the portraits of old men, frequently bold and toothless, with wry faces, full of wrinkles and scars – depicted in a stern manner, the manner that was not limited only to a persistent portraying of irregularities in physiognomies. Also emotional states were shown – almost with no exception these emaciated faces were gloomy and graceless. Looking at them might mislead viewers into assumption that they represented uncompromising images of their models. However, according to some studies, they were often just conventional types of representations, with features resulting from ideological motivation. And manipulating particular elements of physiognomy and character, these portrayed people – public images – were supposed to carry a particular message, to play desired and expected political and propaganda roles. What the role was remains a disputable issue, depending on various interpreting approaches. The papers dealing with the history of ancient art have been revealing, for the several years, various attempts made to extend interpretative interest beyond formal and stylistic interpretations of antique pieces of art and to look at these visual representations in a wider cultural and political context of their times. The study of the Republican portrait – traditionally explaining the origin of so called verism of these images in terms of the influence of the preceding realistic Hellenistic or Egyptian portraiture and images of ancestors – has been replaced by the approach promoting interpretation of these portraits as the signs existing in particular historical and political context which helps to explain their special visual expression. Such new interpretative perspectives significantly improved our understanding of forms and meanings of the portraits, although there are still several unclear issues, such as the social functioning of art. What is more, various researchers represent significantly different approaches. Thus, the portraits of the old men, especially popular towards the end of the republican era, on the one hand were interpreted as signs of protest against the contemporary reality, with which they argued, not allowing for what was approaching. While emphasising their age, the portrayed persons were supposed to emphasise their long-lasting service for the Republic, as well as the values they were devoted to, which were virtues, such as gravitas, dignitas, fides. On the other hand, these Republican portraits of old men are sometimes interpreted as efficient medium of social and cultural activities, and more precisely, as a result of relationships with authorities, and even as a tool used to build these relationships, especially if there was a patronage system functioning. In my paper, I confront various attitudes towards the portraits of old men and present the most convincing, in my opinion, interpretations, also trying to extend them
Postać ojca w rzymskiej deklamcji na przykładzie deklamacji V, VI I XVII ze zbioru Declamationes maiores Pseudo-Kwintyliana (The Figure of a Father in Three Declamations (V, VI, XVII) from the Collection of Pseudo-Quintilian\u27s Greater Declamations).
Get PDFFathers are important characters in the three controversies (declamations in form of fictional court speeches) analysed this article: in V declamation the father speaks against the son, demands from him financial support in poverty and old age (in one part of the declamation he even begs for his help); in VI declamation the speaker is also the father who is litigating with his wife about their deceased son’s right to be buried (the wife does not give her consent to the funeral because, according to her, the son had left her to rescue his father from pirates’ captivity); however, in XVII declamation the one who speaks is the son who is defending himself against his father’s accusations of him trying to commit patricide. The fathers presented in those declamations are characterized by some traits of personality resulting from the plot of each declamation, and are lead by certain motives of behaviour, which are love, kindness, respect, sympathy towards family members or reluctance or even hatred towards them. Simultaneously, in each of these pieces, the portraits of those fathers, emphasise dominating legal and economic position of fathers in families, their influence on upbringing and educating the children and on the family’s everyday life. This way of constructing the figure of the father in declamations resulted from the fact that those speaking exercises were performed by young Romans, who were to play the role of fathers (patres familias) in their future families. Working on the attitudes of the fathers in extreme and overstressed situations, young declaimers practiced making and justifying decisions regarding family members, public speaking in the role of fathers. What is also not out of the question is that the possibility of playing out the role of fathers or the possibility of publicly speaking against fathers (in both cases fathers could be presented in negative light) were a kind of safety valves allowing young Romans to give vent to frustrations evolving from their big dependence on the authority of fathers in real life
The Aporetic Method in Plotinus’ Enneads
Get PDFThere seem to be two tendencies in the Plotinian scholarship concerning spiritual method of the Enneads. First is more general and the other more specific and focused on the analysis of the text. The paper follows the second type of study and attempts to present and analyze Plotinian use of aporia as a spiritual exercise. Traditionally aporia was used as a point of departure for philosophical discussion (e.g. by Aristotle) and sometimes Plotinus follows this tradition. But at other times he uses aporia as a point of arrival – he creates a painful tension due to the fact that discursive thought is unable to know the nature of the One (or, less frequently, also Intellect). The tension becomes a sort of spiritual labor in which the contemplation is born and the tension is released. Several passages from the Enneads are analyzed to show various uses of that method