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Figures of Description in Giambattista Marino’s La Strage de gl’Innocenti in Polish Anonymous Translation
No full text(...) Wszystko i z przydatkiem/ Wzięła była Teresa po Orszuli spadkiem Stanisław Morsztyn's Smutne żale as a reception of Treny by Jan Kochanowski and Smutne zabawy by Wacław Potocki.
No full textThe Poetics of Space in Polish Adaptations of Apuleius’ “Cupid and Psyche”: Marino-Anonim, Jan Andrzej Morsztyn, Anna Olimpia Mostowska
No full textThe Image of Interpersonal Relationships in Franciszek Karpiński’s Historia mego wieku i ludzi, z którymi żyłem
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Energeia, ingenium and the Aristotelian Concept of Movement
No full textThe category of “energeia” was an essential concept of seventeenth-century aesthetics and poetics. It has its source in Aristotle’s philosophical and rhetorical writings. In his “Physics” and “Metaphysics” it is an elementary component of the conception of movement understood as a transition from potentiality to act, in opposition to the category of “dynamis” defined as act, action, and realisation of potentiality. In the Rhetoric and Poetics it becomes an element of the theory of metaphor, and means the vividness of style accomplished by means of the presentation of reality in motion and the presentation made visible (pro ommaton poiein). The formation of metaphor in Stagirite’s theory depends on poetic talent (eufuia) and mental acuity (aghinoia). In the sixteenth century, the Italian translators and commentators of Aristotle Lodovico Castelvetro and Alessandro Piccolomini combined the origin of metaphor with the action of the rapid and acute ingenium, and they defined “energeia” as the presentation of movement and action. The categories of movement and “energeia”, together with the creative “ingenium” related with movement, play a very essential role in the baroque theory of concept and metaphor. In the writings of the theorists of concepticism, Emanuel Tesaur and Baltasar Gracián, also Matteo Peregrini, the expression of movement, the concepts of energy and agility, also rapidity, swiftness, and acuity of “ingenium” are categories that determine the effectiveness of metaphor and of the process of persuasion. The baroque poetics of concept, especially in Tesaur’s version, draws on Aristotle’s theory, but he transforms and reinterprets it, adjusting the Aristotelian concept to new aesthetics
Poeta imitatore czy poeta facitore? Późnorenesansowe włoskie dyskusje o mimesis
Get PDFPoeta Imitatore or Poeta Facitore? Late Renaissance Italian Discussions about MimesisThe article presents the opposition to the imitative dimension of mimesis, one of the characteristic trends in Italian late Renaissance thought in literary theory. Examples of polemics against the traditional doctrine of mimesis (F. Patrizi i G. G. Cinzio), comments on Plato’s concept of fantastic mimesis (G. Mazzoni, G. Comanini) and the terminological decisions of XVI c. theorists, willing to use the terms fingere and fare instead of the traditional imitare, show that in literary theoretical reflection at the time of the Renaissance appeared a clear appreciation of the fictionally creative aspect of poetic work. The creative dimension of the poets’ craft, utilizing creativity and imagination, is preferred and valued incomparably higher than the copy–cat method of “creating images” at the end of the XVI c
Convention as the Source of the Avant-Garde Remarks on the Inventiveness of Poetics of the Past
No full textModern theoretical-literary treatises, defined as normative poetics, are usually connected with the dominance of the convention and normativism, with obligatory rules, canonical concepts and restrictive directives hampering originality. The present text tries to revise the conviction that convention is a dominant tendency in the development of the old theoretical thought; it tends to show the avant-garde aspects of modern poetics and to present the relations between what is conventional and what is innovative in the most original theoretical texts of the late Renaissance and Baroque. Examples of two avant-garde modern poetics – Francesco Patrizi's theory of wonder formed at the end of the 16th century and the 17th century Emanuele Tesauro's conceptistic theory – show that tradition and convention are necessary elements of inventive theories. The avant-garde of poetics of the past, contrary to the avant-garde of the 20th century, is not born from the defiance of the earlier theories, but is formed by way of modernizing and transforming them. Old inventive theories – despite all the departures from tradition – are still part of the classical paradigm. Hence, the avant-garde character of the late-Renaissance and Baroque theoretical reflection consists in a peculiar synergy of convention and novelty
On the Aesthetics of Jacopo Mazzoni. Jacopo Mazzoni, <i>Della difesa della Comedia di Dante, a cura di Claudio Moreschini e Luigia Businarolo</i>, Società di Studi Romagnoli, Cesena 2017, 641 pp.
No full textThe study examines Jacopo Mazzoni’s aesthetic thought expressed in his monumental, erudite work Della difesa della Comedia di Dante (1587). The first critical edition of the opening book of the treatise was published in 2017, with a preface, commentaries and notes by Claudio Moreschini and Luigia Businarolo. The edition includes also Introduttione e sommario—an extensive introduction to Della difesa that summarizes Mazzoni’s main aesthetic arguments, more broadly discussed in the subsequent seven books of his treatise. The paper briefly describes the genesis of Della difesa, stemming from the late 16th-century debate on Dante’s Comedy as well as Mazzoni’s main sources, and the interrelation between his aesthetic thought and philosophical ambition to create a synthesis and reconciliation of Platonic and Aristotelian traditions. Mazzoni’s poetics is based on a reinterpretation of Plato’s doctrine mixed with Aristotle’s conception of mimesis. Outlining main directions of the past and recent research on Della difesa, the paper emphasizes the most original and vanguard of Mazzoni’s positions on the nature of poetry. Firstly, the defi nition of mimetic arts in terms of creation of eidola (idoli) derived from poet’s intellect and imagination. Secondly, the ‘rehabilitation’ of sophistic art and the identifi cation of poetry with antique sophistry (in this context, Mazzoni’s reading of Plato’s Sophist is particularly important). These arguments involve a fairly novel claim that poesy derives from fantasy, which leads to the appreciation of ‘fantastic imitation’, and a re-evaluation of the Aristotelian theory of poetic probability interpreted as credibile maraviglioso, i.e. plausible and credible wonder including fantastic, imaginary elements, and even falsehood, provided that it seems probable and serves to evoke astonishment and aesthetic pleasure. Mazzoni’s insights on the imaginative nature of poetic creation—though criticised by his contemporaries (Torquato Tasso and Francesco Patrizi were the most acute adversaries of Mazzoni)—precede not only Francis Bacon’s statement about imaginative origins of poetry, but also 17th-century poetics of conceit with its liberal attitude towards poetic truth and falsehood, and furthermore, as emphasised in recent scholarship, S.T. Coleridge’s and T.S. Eliot’s views on poetry
Medytacyjno-emblematyczne źródło do poznania barokowej wyobraźni religijnej: (Rec.: Marcin Hińcza, Plęsy Aniołów Jezusowi narodzonemu, naświętszego krzyża tańce, wydała Alicja Bielak)
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