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Magia i religia w świecie starożytnych Greków (zarys problematyki) 古希腊人世界中的魔法与宗教(问题论纲)
Pub Date : 2020-12-18 DOI: 10.18778/1733-0319.23.03
Joanna Rybowska
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引用次数: 0
The Etymology of Latin nimbus (and its Iranian Cognates) 拉丁语nimbus(及其伊朗同源词)的词源
Pub Date : 2020-12-18 DOI: 10.18778/1733-0319.23.01
Paul S. Cohen
After a brief review of prior etymological attempts found in the literature, a complete, rule-governed etymology of Latin nimbus ‘rain cloud, sudden downpour, etc.’ – including a precise explanation of the medial nasal – is propounded. It is based on the Indo-European reduplication process that produces nouns, as delineated by Cohen (2014; 2015; 2017), and on Latin sound laws given and exemplified by Weiss (2009).
在对文献中发现的先前词源学尝试进行简要回顾之后,提出了一个完整的,规则支配的拉丁语nimbus词源学,“雨云,突然倾盆大雨等”-包括对内侧鼻部的精确解释。它基于产生名词的印欧语系重复过程,如Cohen (2014;2015;2017),以及Weiss给出并举例说明的拉丁健全法律(2009)。
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引用次数: 0
Dlaczego walczyłem dla Kupidyna, czyli o walce o średniowieczne rymy w polskim przekładzie Carmina Rivipullensia 为什么我为丘比特而战,Carmin Rivipulensia在波兰语翻译中为中世纪押韵而战
Pub Date : 2020-12-18 DOI: 10.18778/1733-0319.23.09
M. Woźniak
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引用次数: 0
Obraz Lacedemonu i jego mieszkańców w dialogach Platona 柏拉图对话中的莱西狄翁及其居民形象
Pub Date : 2018-12-30 DOI: 10.18778/1733-0319.21.06
Anna Głodowska
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引用次数: 0
Recepcja motywów antycznych we współczesnej sztuce na przykładzie twórczości artystów: Léo Caillarda i Ayali Serfaty 在当代艺术中接受古董图案——以艺术家的作品为例:Léo Caillard和Ayala Serfata
Pub Date : 2018-12-30 DOI: 10.18778/1733-0319.21.10
A. Michalska
The objective of this article is to define place and role of antique motives in modern art and design. Due to variety of creativness in XX/XXI century, created in different trends and beyond them, considerations were limited to sculptural art and design, based on creativness of French artist Leo Caillard and Israeli designer Ayala Serfaty. Interpretation of information, which was collected based on study of artists’ works of art, lead to conclusion that, despite different approach to antique tradition, both artists strive to similar targets and their intention is not imitation, but concept based on creation of surprising or even shocking links and juxtapositions. Research of contrasts between tradition and modernity is intended to provoke and encourage viewer to deeper and conscious interpretation of works of art and reflection about position of art in modern culture. It is essential to study esthetic contexts, circumstances of creation of works of art and motivation. The most important feature of this art is to induce strong impressions. Relations between viewer and work of art have crucial meaning. Approximation and logic of thinking, which are characteristic for each research orientations in history of classic and modern art, represents theoretical background of this article. In this context, there are references to Joachim Winckelmann, recognized as creator of methodological basics for researchment on ancient art. There are references to Franz Wickhoff, Aby Warburg and Erwin Panofsky who dealt with iconographical and iconographical-iconological methods.
本文的目的是定义古董动机在现代艺术和设计中的地位和作用。由于二十/二十一世纪的各种创意,创造了不同的趋势,超越了它们,考虑仅限于雕塑艺术和设计,以法国艺术家Leo Caillard和以色列设计师Ayala Serfaty的创意为基础。通过对艺术家作品的研究收集到的信息进行解读,可以得出结论,尽管两位艺术家对古董传统的态度不同,但他们追求的目标是相似的,他们的意图不是模仿,而是基于创造令人惊讶甚至震惊的联系和并置的概念。研究传统与现代的对比,旨在激发和鼓励观众对艺术作品进行更深层次的自觉解读,反思艺术在现代文化中的地位。研究艺术作品的审美语境、创作环境和创作动机是十分必要的。这门艺术最重要的特点是给人留下深刻的印象。观者与艺术作品之间的关系具有至关重要的意义。近似性和逻辑性是古典艺术史和现代艺术史研究方向的特点,是本文的理论背景。在这种情况下,有引用约阿希姆温克尔曼,公认的创造者的方法基础研究的古代艺术。弗兰茨·维克霍夫、阿比·沃伯格和欧文·帕诺夫斯基都提到了图像学和图像学-图像学方法。
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引用次数: 0
Z badań nad pojęciem pamięci – mneme w dramacie greckim. Część II: Mneme w utworach Eurypidesa 来自对希腊戏剧中记忆概念的研究。第二部分:欧里庇得斯作品中的主位
Pub Date : 2018-12-30 DOI: 10.18778/1733-0319.21.02
K. Narecki
Study on the concept of mneme – “memory” in the plays of Euripides is a continuation of our research (based on the works of Greek tragedians), whose aim is not only to establish meanings, especially new ones, but also to define the role that this concept plays in the works of Euripides. Linguistic and literary analysis of 8 instances of a noun mneme shows that this concept reveals hitherto unknown semantic values and it also performs functions that are important for the plot. Among the meanings of mneme there are five new ones: (1) “testimony, proof” ( Suppliant Women ), whose role is a ‘media’ message to guarantee the preservation of memory about Theseus’ feats among descend­ants, (2) “account, balance” ( Heracles ), rational argument, which the hero must use in a critical situation caused by divine power, (3) specific “history”, which creates the plot ( Ion ), (4) “reason, rightness” ( Iphigenia at Aulis ), i.e. evidence of predominance of the woman over the man (in terms of character), (5) “image”, twice in this sense ( Iphigenia at Aulis ): 1. as a panorama, vivid memory of panegyric and cognitive nature (Greek expedition), 2. as scenes from Iphigenia’s childhood cited in order to change the decision of Agamemnon. In addition to the new ones, Euripides also uses known meanings: mneme with negation, i.e. the lack of “mentions, memories” (= concealment) becomes an important element of the plot of Helen , guaranteeing its happy ending; in turn mneme as Kreon’s “thought” is a tool for mastering feelings and influencing the development of stage events. All meanings defined by Euripides can be divided into two groups. The first group includes meanings that have rational value: (1) “account, balance”, (2) “thought”, (3) “reason, rightness”. In the other group there are expressive meanings: (1) “testimony, proof”, (2) “mention, memory”, (3) “history”, (4) “image”. Undoubtedly, Euripides not only broadened the semantic scope of the concept of mneme , introducing its new values, but creatively used them in his plays, whether to describe the main characters, or as an element influencing the action, or finally as a testimony of the past that is important for the plot.
对欧里庇得斯戏剧中记忆概念的研究是我们研究(基于希腊悲剧家的作品)的延续,其目的不仅是建立意义,特别是新的意义,而且是定义这一概念在欧里庇得作品中所起的作用。对名词记忆名词8个实例的语言学和文学分析表明,这一概念揭示了迄今为止未知的语义价值,也发挥了对情节重要的功能。在mneme的含义中,有五个新的含义:(1)“见证,证明”(顺从的女人),其作用是一种“媒体”信息,以保证在后裔中保存关于忒修斯壮举的记忆;(2)“叙述,平衡”(赫拉克勒斯),理性论证,英雄必须在神力造成的危急情况下使用;(3)特定的“历史”,它创造了情节(Ion),(4)“理性,正确”(Iphigenia at Aulis),即女性(就性格而言)凌驾于男性之上的证据,(5)“形象”,在这个意义上两次(Iphigeneia at Aulia):1。作为一幅全景图,生动地记忆了潘涅格里克和认知性质(希腊探险队),2。为了改变阿伽门农的决定,引用了伊菲涅尼亚童年的场景。除了新的意义外,欧里庇得斯还使用了已知的意义:否定的记忆,即缺乏“提及、记忆”(=隐藏)成为海伦情节的一个重要元素,保证了其圆满结局;而记忆作为克里昂的“思想”是掌握情感、影响舞台事件发展的工具。欧里庇得斯定义的所有含义可以分为两组。第一组包括具有理性价值的含义:(1)“账户,平衡”,(2)“思想”,(3)“理性,正确”。在另一组中有表达意义:(1)“证言、证明”,(2)“提及、记忆”,(3)“历史”,(4)“图像”。毫无疑问,欧里庇得斯不仅拓宽了记忆概念的语义范围,引入了它的新价值,而且在他的戏剧中创造性地使用了这些价值,无论是描述主要人物,还是作为影响行动的因素,或者最终作为对情节重要的过去的见证。
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引用次数: 0
Problem antycznej ekfrazy teatralnej. Część I: Postać
Pub Date : 2018-12-30 DOI: 10.18778/1733-0319.21.03
J. Czerwińska
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引用次数: 0
Recenzja książki: Gargiliusz, Lekarstwa z owoców i warzyw, przełożyła Tatiana Krynicka, ISKŚIO UWr, Wrocław 2016, (Seria Biblioteka Antyczna), ss. 172 书评:Gargiliusz,来自水果和蔬菜的药物,przełył。172
Pub Date : 2018-12-30 DOI: 10.18778/1733-0319.21.12
Magdalena Stuligrosz
The first Polish translation of Gargilius Martialis’ treatise Medicinae de holeribus et pomis ( Medicines from Fruits and Vegetables ) was published in 2016 by Tatiana Krynicka. The translation is accompanied by a valuable commentary which provides the reader with rich information on botanical, medical and dietetic issues, and shows how the 3rd-century Roman author drawn on his literary sources and how he was referred to by late antique writers.
Gargilius Martialis的论文Medicinae de holeribus et pomis(水果和蔬菜中的药物)的第一个波兰语译本于2016年由Tatiana Krynicka出版。该译本附有一篇有价值的评论,为读者提供了关于植物学、医学和营养学问题的丰富信息,并展示了这位3世纪罗马作家是如何利用他的文学来源的,以及他是如何被已故古代作家提及的。
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引用次数: 1
Problem antycznej ekfrazy teatralnej. Część II: Scenografia
Pub Date : 2018-12-30 DOI: 10.18778/1733-0319.21.04
J. Czerwińska
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引用次数: 0
Apostrofy do wód – nowe spojrzenie na cykl epigramów w czwartej księdze Marcjalisa (18; 22 i 63) 《水上的使徒》——马尔贾利斯第四本书警句循环的新视角(18;22和63)
Pub Date : 2018-12-30 DOI: 10.18778/1733-0319.21.08
Joanna Pieczonka
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引用次数: 1
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Collectanea Philologica
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