1,720,966 research outputs found
André Motte (1936–2021). Belgijski przyjaciel poznańskich filologów i filozofów antycznych
Full text linkThe author briefly presents the life and work of André Motte (who died 28 November 2021), who was a professor of ancient philology and philosophy at the University of Liège, and details his longtime cooperation with the ancient philologists and philosophers of the Adam Mickiewicz University in Poznań.The author briefly presents the life and work of André Motte (who died 28 November 2021), who was a professor of ancient philology and philosophy at the University of Liège, and details his longtime cooperation with the ancient philologists and philosophers of the Adam Mickiewicz University in Poznań
Funeral epigrams of Klemens Janicki (1516–1543)
Full text linkIn the paper above 20 funeral epigrams by Klemens Janicki were investigated. The author of the paper focussed his attention on the richness of topics, egregious and their ancient and recent examples
A POLISH TRANSLATION OF AURELIUS VICTOR'S LIBER DE CAESARIBUS 1-3 (Zarys biografii cesarzy Aureliusza Wiktora. Przeklad rozdzialów 1-3)
No full textA Polish version of the first three chapters of 'Liber de Caesaribus' by Aurelius Victor, preceded by an introduction discussing the literary genre, the life of the author and the form and contents of his work on the Roman emperors
Elegia Solona w „Chronicon regum Poloniae” Erazma Glicznera ze Żnina
Full text linkIn this commemorative article, the author presents the Latin translation of one of Solon’s elegies (27W) which was placed in Chronicon regum Poloniae (from Lech until Mieszko I), a 16th-century chronicle by Gliczner, who was a theologian and pedagogue born in Żnin. In addition, mentions of the Polish studies and contemporary translations of that elegy were made, and based on the Latin translation, a Polish translation was produced in prose poetry.In this commemorative article, the author presents the Latin translation of one of Solon’s elegies (27W) which was placed in Chronicon regum Poloniae (from Lech until Mieszko I), a 16th-century chronicle by Gliczner, who was a theologian and pedagogue born in Żnin. In addition, mentions of the Polish studies and contemporary translations of that elegy were made, and based on the Latin translation, a Polish translation was produced in prose poetry
GAIUS VALERIUS MAXIMUS, OR THE MORALISING HISTORY, ITS FATES THROUGHOUT THE PAST CENTURIES AND THE POLISH TRANSLATION OF BOOK IV 1-15
Full text linkG. Valerius Maximus, a roman author living in the times of Augustus and Tiberius, wrote somewhat singular volume entitled Factorum et dictorum memorabilium libri novem. Its intention was to supply teachers of schools of rhetoric with historical material that they were to use in teaching and resuscitating mores maiorum as well as in drafting moralising speeches. Nine books demonstrate over 950 examples taken from history of Rome (exempla domestica) and foreign nations (exempla externa). Valerius took the generally well-know historic figures, their fates, events and sayings, adopted from various historians and writers and arranged them according to virtues and vices. His historiographic method relied on the Cyceronian concept which was founded on two canonical premises: “historia magistra vitae” and “historia opus oratori magnum maxime”. The introductions to almost every chapter, whose number exceeds 90, are the most original fragments. Facta et dicta memorabilia, with its air of Roman tradition, patriotic and humanitarian notions and feelings enjoyed great popularity throughout the ages, as a reference work on general history of antiquity and handbook of Latin. That students were able to learn moral values on actual examples was even more important. In Poland, Valerius’ work was known since the times of Wincenty Kadłubek (12th/13th cent.); in the 15th-17th century the volume is discussed at lectures at the Academy of Cracow, is referenced or quoted in the writings of Polish historians and writers (Paweł of Krosno, Marcin Bielski, Stanisław Iłowski, Krzysztof Opaliński and others). 1609 saw the publication of a somewhat peculiar translation by Andrzej Wargocki, in which the translator not only omitted certain parts, but also extended the text by examples taken from the history of Poland. The author of the paper argues that a new Polish translation of the antique monument be made and himself translates fragments 4, 1, praef., 1-15.Based on Facta et dicta memorabilia by Valerius Maximus, the author discusses a type of moralising history in the ancient times and selected examples of its fates in Antiquity, the Middle Ages, Renaissance and Baroque periods in Europe, Poland in particular. The quoted translations of excerpts from Book IV indicate the need to effect a Polish translation of the text.919721812Studia Europaea Gnesnensi
„Sbigneis” Mikołaja Kotwicza ze Żnina, czyli niedokończone dzieło epickie o prymasie Zbigniewie Oleśnickim
Full text linkMikołaj Kotwicz of Żnin (c. 1440–1507) studied law at the Jagiellonian University and probably graduated in Bologna, where he earned a doctor’s degree. Having returned to his country, he was ordained a priest and found employment at the court of Zbigniew Oleśnicki, the Primate of Poland. In Renaissance Italy, where the works of ancient writers drew much scholarly interest, he acquired a wide knowledge of ancient history and literature, as well as mastered Latin and learned poetic art. His command of the latter is evident in his unfinished work “Sbigneis”. It was the only epic poem in medieval Poland, unfortunately made only as an exposition, with the narrative cutting off at the mid point of the hexameter. The poem, modeled on ancient epics such as Greek Iliad by Homer, Roman “Punica” by Silius Italicus, or “Pharsalia” by Lucan, was supposed to narrate a long-standing armed conflict between the related houses of Oleśnicki and Gruszczyński. The idea to embark on such an interesting social issue, albeit touched upon in an exposition only, attests to Kotwicz’s considerable talent and unusual poetic art. The conflict and the composition are clearly outlined; the Latin lan - guage and dactylic hexameter are impeccable. The style of the narrative and the rhetorical figures featured therein are well suited to the epic genre. Only an elaboration of the topic and the ending are missing. The talented author would probably have finished the poem if it had not been for the unfortunate external circumstance following the real-world death of the main character (Zbigniew Oleśnicki), a difficulty that Kotwicz was unable to surmount. Therefore, the epic muse Calliope did not spread her wings in the Polish Middle Ages, even though she was on the right way thanks to a poet from Żnin.Mikołaj Kotwicz of Żnin (c. 1440–1507) studied law at the Jagiellonian University and probably graduated in Bologna, where he earned a doctor’s degree. Having returned to his country, he was ordained a priest and found employment at the court of Zbigniew Oleśnicki, the Primate of Poland. In Renaissance Italy, where the works of ancient writers drew much scholarly interest, he acquired a wide knowledge of ancient history and literature, as well as mastered Latin and learned poetic art. His command of the latter is evident in his unfinished work “Sbigneis”. It was the only epic poem in medieval Poland, unfortunately made only as an exposition, with the narrative cutting off at the mid point of the hexameter. The poem, modeled on ancient epics such as Greek Iliad by Homer, Roman “Punica” by Silius Italicus, or “Pharsalia” by Lucan, was supposed to narrate a long-standing armed conflict between the related houses of Oleśnicki and Gruszczyński. The idea to embark on such an interesting social issue, albeit touched upon in an exposition only, attests to Kotwicz’s considerable talent and unusual poetic art. The conflict and the composition are clearly outlined; the Latin lan - guage and dactylic hexameter are impeccable. The style of the narrative and the rhetorical figures featured therein are well suited to the epic genre. Only an elaboration of the topic and the ending are missing. The talented author would probably have finished the poem if it had not been for the unfortunate external circumstance following the real-world death of the main character (Zbigniew Oleśnicki), a difficulty that Kotwicz was unable to surmount. Therefore, the epic muse Calliope did not spread her wings in the Polish Middle Ages, even though she was on the right way thanks to a poet from Żnin
Wątki religijne w twórczości i życiu Klemensa Janickiego (1516-1543)
Full text linkKlemens Janicki (1516-1543), arguably the greatest Latin poet in Poland, is little known to the people of our times. He was a citizen of Greater Poland, born in Januszkowo near Żnin. In each of the genres practiced by him, be it elegy or epigram, complaint or satire, or wedding song, not to speak of the paraphrase of the psalms of David, we fi nd minor or major references to religion. What did the author convey in them? Beautiful images of faith in God the Father, the humanity of Christ, the powerful intercession of the Most Blessed Virgin Mary; depictions of the holy Polish martyrs, Adalbert and Stanislaus; the author’s own attitude to historical and his contemporary representatives of the Church. These images give preeminent evidence of the Catholic profi le of the faith professed by Janicki. The occasional critical words do not pertain to the truths of faith as such but to inadequate obedience of them in everyday life, so the criticism indicates the poet’s intellectual and emotional support of those truths and his concern for an explicitness of people’s attitudes irrespective of their social status. Lutheran infl uences are scarce in his works, though noticeable in some utterances. He was strongly opposed to Islam which was then spreading through armed invasion. Being versatile in the philosophy and spirit of the ancient world he did not identify with it in questions of faith and morality. Janicki’s faith – as can be gathered from the presented themes – was the mature Catholic faith of a renaissance intellectual and not that of a meek and humble son of a peasant from Januszkowo near Żnin.Klemens Janicki (1516-1543), bodaj największy poeta łaciński w Polsce, dla ludzi naszych czasów jest postacią mało znaną. Wielkopolanin, urodził się w Januszkowie pod Żninem. W każdym gatunku jego twórczości, czy to będzie elegia, czy epigram, czy skarga i satyra, czy pieśń weselna, nie mówiąc o parafrazie psalmu Dawidowego, znajdziemy mniejsze lub większe nawiązania do religii. Co w nich autor przekazał? Przepiękne obrazy wiary w Boga Ojca i Syna Bożego, w człowieczeństwo Chrystusa, w potężne wstawiennictwo Najświętszej Bogarodzicy Dziewicy, namalował wzory świętych polskich męczenników, Wojciecha i Stanisława, nakreślił swój stosunek do historycznych i aktualnych przedstawicieli Kościoła. Obrazy te zdecydowanie świadczą o katolickim profilu wyznawanej wiary. Pojawiające się w nich niekiedy słowa krytyczne nie dotyczą samych prawd wiary, lecz przestrzegania ich w praktyce codziennego życia, i wskazują raczej na intelektualną i emocjonalną sympatię dla nich oraz na troskę poety o jednoznaczność ludzkich postaw niezależnie od społecznego statusu. Luterańskie wpływy na niego były niewielkie, chociaż widoczne w niektórych wypowiedziach. Z całą mocą natomiast występował przeciw islamowi szerzącemu się w Europie przez zbrojne najazdy. Znając na wylot filozofię i ducha starożytnego świata, nie identyfikował się z nim w kwestiach wiary i moralności. Wiara Janickiego bowiem – jak to wynika z przedstawionych wątków – była dojrzałą katolicką wiarą renesansowego intelektualisty, a nie cichego i pokornego syna chłopa z Januszkowa pod Żninem
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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