Symbolae Philologorum Posnaniensium Graecae et Latinae
Not a member yet
294 research outputs found
Sort by
Cud i antyjudaizm. Łacińska inskrypcja z kościoła Bożego Ciała w Poznaniu (Miracle and Anti-Judaism. A Latin Inscription from the Corpus Christi Church in Poznań)
Full text linkOne of the longest Latin inscriptions in Poznań can be found on a marble plaque in the Corpus Christi Church. It dates from the second half of the 17th or the beginning of the 18th century. Its text is the so-called ‘legend of the three hosts’, which were allegedly bought and desecrated by Jews living in Poznań in the Middle Ages. The legend therefore features strong anti-Jewish content. The purpose of this article is to present the inscription, its translation into Polish, and a commentary.One of the longest Latin inscriptions in Poznań can be found on a marble plaque in the Corpus Christi Church. It dates from the second half of the 17th or the beginning of the 18th century. Its text is the so-called ‘legend of the three hosts’, which were allegedly bought and desecrated by Jews living in Poznań in the Middle Ages. The legend therefore features strong anti-Jewish content. The purpose of this article is to present the inscription, its translation into Polish, and a commentary
Intertextual Echoes or Cultural Universals? Reassessing the Influence of Ancient Greek Poetry in The Mighty Thor series (issues 363–6)
Full text linkThe purpose of this article is to reexamine the interpretation of comics 363–6 in Marvel’s The Mighty Thor series as a retelling of the Hellenistic mock epic poem Batrachomyomachia, a view expressed by scholars such as Nicholas Newman in his paper entitled The War of Frogs and Rats. The Batrachomyomachia in Marvel’s The Mighty Thor. The article proposes an alternative approach to reading these comics outside of the antique context, interpreting the similarities between the two works through the lens of cultural universals theory.The purpose of this article is to reexamine the interpretation of comics 363–6 in Marvel’s The Mighty Thor series as a retelling of the Hellenistic mock epic poem Batrachomyomachia, a view expressed by scholars such as Nicholas Newman in his paper entitled The War of Frogs and Rats. The Batrachomyomachia in Marvel’s The Mighty Thor. The article proposes an alternative approach to reading these comics outside of the antique context, interpreting the similarities between the two works through the lens of cultural universals theory
Epitafium nagrobne biskupa Andrzeja Szołdrskiego z katedry poznańskiej w świetle jego testamentu (Bishop Andrzej Szołdrski’s Tombstone Epitaph from the Poznań Cathedral in the Light of His Will)
Full text linkThe Latin tombstone inscription dedicated to Andrzej Szołdrski, the bishop of Poznań (c. 1583–1650), mainly commemorates the work of rebuilding the cathedral destroyed in a fire in 1622, as well as his generous donations for church and charity purposes. A comparison of the inscription with the bishop’s will reveals many similarities between both texts. The fact that the authors of the inscription were also the executors of the will greatly influenced the content of the epitaph, as well as the entire appearance of the chapel. Both texts contain typical Baroque concepts related to the passing of time (vanity, theatrum mundi). However, while the bishop downplays the role of his earthly achievements in the will, the epitaph, according to the tradition of this epigraphic genre, belongs to enkomion (laudatio).The Latin tombstone inscription dedicated to Andrzej Szołdrski, the bishop of Poznań (c. 1583–1650), mainly commemorates the work of rebuilding the cathedral destroyed in a fire in 1622, as well as his generous donations for church and charity purposes. A comparison of the inscription with the bishop’s will reveals many similarities between both texts. The fact that the authors of the inscription were also the executors of the will greatly influenced the content of the epitaph, as well as the entire appearance of the chapel. Both texts contain typical Baroque concepts related to the passing of time (vanity, theatrum mundi). However, while the bishop downplays the role of his earthly achievements in the will, the epitaph, according to the tradition of this epigraphic genre, belongs to enkomion (laudatio)
Seneca’s Phaedra 406–430 and the E-branch of the MS Tradition
Full text linkThis paper aims to revise previous findings concerning lines 406–430 of Seneca’s Phaedra. Referring to the manuscript tradition, it demonstrates that the heading before 406 and the marginal notation used to identify speaking characters may have been misinterpreted as a result of this notation having been erased from codex Etruscus, the main representative of one of the two branches of the manuscript tradition of Seneca’s plays. Next, it argues that because of the formal consistency of this codex reading (E) – as contrasted with the inconsistencies in A – and the fact that E makes satisfactory sense here, the reconstructed reading of Etruscus should be taken into consideration in future editions of Seneca’s drama.This paper aims to revise previous findings concerning lines 406–430 of Seneca’s Phaedra. Referring to the manuscript tradition, it demonstrates that the heading before 406 and the marginal notation used to identify speaking characters may have been misinterpreted as a result of this notation having been erased from codex Etruscus, the main representative of one of the two branches of the manuscript tradition of Seneca’s plays. Next, it argues that because of the formal consistency of this codex reading (E) – as contrasted with the inconsistencies in A – and the fact that E makes satisfactory sense here, the reconstructed reading of Etruscus should be taken into consideration in future editions of Seneca’s drama
Metody eksterminacji gryzoni w przekazach antycznych agronomów (Rodent Extermination Methods in the Accounts of Ancient Agronomists)
Full text linkIn ancient times, rodents were a major problem causing economic losses and an epidemiological threat due to the bacteria and parasites they carried. Ancient authors primarily mentioned field mice and house mice, which ate the grain, contaminated the land and food intended for humans and animals, and caused damage within the house and farm buildings. Most of the advice preserved from those times was on how to exterminate rodents, with only few texts providing recommendations on how to protect farm buildings and grain from mice. Ancient poison formulas primarily relied on poisonous plants and were usually served in cake form or added to food. There are some differences within the recommended poisons. More toxic substances were used in the farmyard and outbuildings than in the houses, which probably has to do with the risk that these poisons, due to their composition, posed to people and especially children.In ancient times, rodents were a major problem causing economic losses and an epidemiological threat due to the bacteria and parasites they carried. Ancient authors primarily mentioned field mice and house mice, which ate the grain, contaminated the land and food intended for humans and animals, and caused damage within the house and farm buildings. Most of the advice preserved from those times was on how to exterminate rodents, with only few texts providing recommendations on how to protect farm buildings and grain from mice. Ancient poison formulas primarily relied on poisonous plants and were usually served in cake form or added to food. There are some differences within the recommended poisons. More toxic substances were used in the farmyard and outbuildings than in the houses, which probably has to do with the risk that these poisons, due to their composition, posed to people and especially children
„Carmen de triumpho Christi” Macaria Muzia (‘Carmen de Triumpho Christi’ by Macario Muzio)
Full text linkThis article presents one of the most famous Renaissance Latin epyllions dealing with the motif of the Harrowing of Hell – Carmen de Triumpho Christi by Macario Muzio (a. 1440–a. 1523), a nobleman from Camerino. Written at the end of the 15th century, the work gained popularity and was eagerly imitated by other humanists (including Erasmus of Rotterdam and Eobanus Hessus). The epyllion, constructed according to the rules of ancient epic, is an example of the Christianisation of classical genres in the Renaissance. The article presents the life of the author and his views on Christian poetry, as well as a thorough analysis of the work. It provides the Latin text of Carmen, accompanied by similia, and its Polish translation, supplemented by a commentary.This article presents one of the most famous Renaissance Latin epyllions dealing with the motif of the Harrowing of Hell – Carmen de Triumpho Christi by Macario Muzio (a. 1440–a. 1523), a nobleman from Camerino. Written at the end of the 15th century, the work gained popularity and was eagerly imitated by other humanists (including Erasmus of Rotterdam and Eobanus Hessus). The epyllion, constructed according to the rules of ancient epic, is an example of the Christianisation of classical genres in the Renaissance. The article presents the life of the author and his views on Christian poetry, as well as a thorough analysis of the work. It provides the Latin text of Carmen, accompanied by similia, and its Polish translation, supplemented by a commentary
„Quae tibi quaerebam (…) dona Tomitanus mittere posset ager” – o pewnym podarunku znad Pontu (Wokół „Ex Ponto” III 8)
Full text linkAmong the topics discussed by Ovid in Tristia and Epistulae ex Ponto, there is also the topic of gifts. The poet plays the role of both the recipient and the person who can give something to his addressees. In the vast majority of cases, the gifts mentioned are not specific objects, but have an intangible value: the poet perceives the life left to him in terms of a gift, as well as the memory and consolation shown to him by his relatives. He himself wishes to repay the favours received and promises his correspondents eternal fame by including their names in his songs. The Ex Ponto III 8 elegy is unique in this topic. First, Naso notifies the addressee about a material gift sent to him, and secondly, the very gift he decided to offer to his friend is remarkable: a quiver filled with poisoned arrows. Such a gift also played a double role: on the one hand, it reflected the conditions in which the poet found himself, it was, according to his message, the only thing that could be found in Tomis and sent to Rome; on the other hand, it was to serve the recipient to defend himself against his personal enemies. The source texts testify that the arrows dipped in a specific poison were used by the Scythians. The frequency and nature of the mention of this doubly dangerous weapon in both collections of Ovid’s exile poetry, and finally the decision to make it the only material gift sent to the capital, prompted the author of this text to propose a thesis about Ovid’s peculiar fascination with Scythian poisoned arrows.Among the topics discussed by Ovid in Tristia and Epistulae ex Ponto, there is also the topic of gifts. The poet plays the role of both the recipient and the person who can give something to his addressees. In the vast majority of cases, the gifts mentioned are not specific objects, but have an intangible value: the poet perceives the life left to him in terms of a gift, as well as the memory and consolation shown to him by his relatives. He himself wishes to repay the favours received and promises his correspondents eternal fame by including their names in his songs. The Ex Ponto III 8 elegy is unique in this topic. First, Naso notifies the addressee about a material gift sent to him, and secondly, the very gift he decided to offer to his friend is remarkable: a quiver filled with poisoned arrows. Such a gift also played a double role: on the one hand, it reflected the conditions in which the poet found himself, it was, according to his message, the only thing that could be found in Tomis and sent to Rome; on the other hand, it was to serve the recipient to defend himself against his personal enemies. The source texts testify that the arrows dipped in a specific poison were used by the Scythians. The frequency and nature of the mention of this doubly dangerous weapon in both collections of Ovid’s exile poetry, and finally the decision to make it the only material gift sent to the capital, prompted the author of this text to propose a thesis about Ovid’s peculiar fascination with Scythian poisoned arrows
Cyfrowe metamorfozy, czyli słów kilka o Owidiuszu w serwisie YouTube. Rekonesans
Full text linkThe article is an attempt to classify and analyse videos dedicated to Ovid on YouTube. This text can be treated as a broad introduction to research on Greco–Roman heritage in the space of social media. The review of the materials presented here clearly shows that YouTube has three basic functions in this context: 1) as a space for publishing and sharing materials about the poet from Sulmona; 2) as an educational or quasi–educational platform; 3) as a place for the reception of the work and life of Ovid. In addition, these examples not only supplement the traditional knowledge about the author of Metamorphoses, but also an important point of reference, one of the artifacts responsible for the changes that take place in the understanding and perception of ancient culture in the postmodern world.The article is an attempt to classify and analyse videos dedicated to Ovid on YouTube. This text can be treated as a broad introduction to research on Greco–Roman heritage in the space of social media. The review of the materials presented here clearly shows that YouTube has three basic functions in this context: 1) as a space for publishing and sharing materials about the poet from Sulmona; 2) as an educational or quasi–educational platform; 3) as a place for the reception of the work and life of Ovid. In addition, these examples not only supplement the traditional knowledge about the author of Metamorphoses, but also an important point of reference, one of the artifacts responsible for the changes that take place in the understanding and perception of ancient culture in the postmodern world
‘Patria ruens.’ Ruining and Overcoming Evil – the Example of Selected Poems by Claudian
Full text linkThe paper focuses on longer poems by the court poet Claudian that depict a State ruined by evil forces or the state of harmony. This poet from late Antiquity uses a vocabulary related to death and destruction. Evil, above all barbarians and political opponents, is also presented appropriately by the poet. Their characters function in the poems as disaster, ruin and ignominy. To depict these evil forces, their repeatability and how they are overcome on different levels, the poet uses the motive of the upward and downward movement, describing a dead character‘s way up to heaven and down to the underworld. Destruction rises from this movement of evil to the upper world, while the movement down to the underworld carries liberation and peace. Nevertheless, the poet implies, that the state of harmony is never definitive. Destruction and ruin repeat and recur in different forms in the poems, from the mythological past up to the present. In this sense, the characters in these poems function within a time loop and the story world presents the poet’s view on history and how it works on the divine and human level.The paper focuses on longer poems by the court poet Claudian that depict a State ruined by evil forces or the state of harmony. This poet from late Antiquity uses a vocabulary related to death and destruction. Evil, above all barbarians and political opponents, is also presented appropriately by the poet. Their characters function in the poems as disaster, ruin and ignominy. To depict these evil forces, their repeatability and how they are overcome on different levels, the poet uses the motive of the upward and downward movement, describing a dead character‘s way up to heaven and down to the underworld. Destruction rises from this movement of evil to the upper world, while the movement down to the underworld carries liberation and peace. Nevertheless, the poet implies, that the state of harmony is never definitive. Destruction and ruin repeat and recur in different forms in the poems, from the mythological past up to the present. In this sense, the characters in these poems function within a time loop and the story world presents the poet’s view on history and how it works on the divine and human level
Staram się być niewidoczny. O sztuce przekładu z profesorem Marianem Szarmachem rozmawia Barbara Bibik
Full text linkThe interview about the art of translation with Prof. Marian Szarmach by Barbara Bibi