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Ksantypa – dobra żona Sokratesa
Pub Date : 2018-12-30 DOI: 10.18778/1733-0319.21.05
A. Marchewka
After the death of Socrates, anecdotes and distorted stories about the philosopher’s family life and the unbearable character of his wife, Xanthippe, circulated in the general quasi literary circle. These stories were willingly read in subsequent epochs. Eventually, they preserved the model of the hellcat wife in the shape of Xanthippe, to which we still eagerly refer to. But did Socrates’ wife really deserve such a bad opinion? Is it possible for such a rating to be given by the desultory information we owe to Plato (Phaed. 60a) and Xenophon (Mem. II 2, Conv. II 10)? When attempt­ing to defend the Xanthippe, an important source turned out to be a letter from Pseudo-Xenophon (vel Pseudo-Aeschines), which allowed us to look at the philosopher’s wife as his pupil, leading life according to Socrates’ teachings and surrounded by the care of his friends (Epist. XXI, Hercher 1873: 624).
苏格拉底死后,关于这位哲学家的家庭生活和他的妻子赞西佩难以忍受的性格的轶事和扭曲的故事在一般的准文学圈中流传。这些故事在随后的时代被欣然阅读。最终,他们以Xanthippe的形状保存了地狱猫妻子的模型,我们仍然热切地提到这个模型。但是苏格拉底的妻子真的应该受到这样的批评吗?我们欠柏拉图(Phaed.60a)和色诺芬(Mem.II2,Conv.II10)的零散信息有可能给出这样的评级吗?当我们试图为赞蒂佩辩护时,一个重要的来源是伪色诺芬(vel Pseudo-Aeschines)的一封信,这封信让我们把这位哲学家的妻子视为他的学生,按照苏格拉底的教导生活,并在他的朋友的照顾下生活(Epist.XXI,Hercher 1873:624)。
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引用次数: 1
Wątki epickie a malarstwo wazowe na przykładzie wybranych przedstawień motywów homeryckich: Doloneja 史诗般的线索和花瓶绘画,以荷马主题的选定表现为例:Doloneja
Pub Date : 2018-12-30 DOI: 10.18778/1733-0319.21.07
Dorota Gorzelany
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引用次数: 0
Z badań nad pojęciem pamięci – mneme w dramacie greckim. Część I: Mneme w utworach Ajschylosa i Sofoklesa 来自对希腊戏剧中记忆概念的研究。第一部分:阿和索福克勒斯作品中的主位
Pub Date : 2018-12-30 DOI: 10.18778/1733-0319.21.01
K. Narecki
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引用次数: 0
Topos starca i młodzieńca w dramacie Pescatori Raffaela Vivianiego w kontekście świata wartości kultury antycznej 古代文化价值世界语境下拉菲尔·维维亚尼的佩斯卡托里戏剧中的一个老人和一个年轻人的拓扑
Pub Date : 2018-03-30 DOI: 10.18778/1733-0319.21.09
M. Sterna
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引用次数: 0
Recenzja książki: Porfiriusz z Tyru O wegetarianizmie (Περὶ ἀποχῆς ἐμψúχων), wprowadzenie, przekład i komentarz Ewa Osek, Wydawnictwo Naukowe Sub Lupa, Warszawa 2018, ss. 460 书评:Porfiriusz Tyru论素食主义(Peri afechis empsúchon),简介、翻译和评论Ewa Osek,科学出版社Sub Lupa,华沙2018,ss。460
Pub Date : 2018-03-30 DOI: 10.18778/1733-0319.21.11
J. Czerwińska
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引用次数: 0
Julius Zeyer i Stanisław Wyspiański. Modernistyczny projekt krytycznej mitologii narodowej Julius Zeyer和Stanisław Wyspiański。批判民族神话的现代主义工程
Pub Date : 2014-01-01 DOI: 10.18778/1733-0319.17.12
J. Mielczarek
The Czech and Polish modernistic project of the critical national mythology is, in general, a form of the artist’s discussion with his own cultural tradition which was represented by the common, collective awareness. This collective awareness was, at that time, deprived of official form, due to the lack of state independence. In the works of Stanisław Wyspiański and Julius Zeyer, we can see the aspiration to achieve the recent, non-fixed look at the national tradition in its literary shape. There was the idea of tragic conflict which has been used by Wyspiański, first of all, in the cycle of his historical plays: Bolesław Śmiały and Skałka. Julius Zeyer’s most famous work, the epic poem named Vyšehrad, refers to the most important tradition of Czech romanticism, namely, to the way of the functioning of folklore in literary tradition. Zeyer also took up the discussion with the tradition of the alleged medieval manuscripts (the so-called Rukopis královédvorský and Rukopis zelenohorský) and suggested a critical using of national mythology. Critical – in this case – means: non-particular, non-provincial, opened to influence and reinterpretation.
捷克和波兰现代主义对民族神话的批判,一般来说,是艺术家与自己的文化传统进行讨论的一种形式,这种文化传统以共同的、集体的意识为代表。由于缺乏国家独立性,这种集体意识在当时被剥夺了正式形式。在Stanisław Wyspiański和Julius Zeyer的作品中,我们可以看到在其文学形态中实现对民族传统的近期的、非固定的看待的愿望。有一个悲剧冲突的概念,首先是Wyspiański,在他的历史剧Bolesław Śmiały和Skałka中使用。尤利乌斯·泽耶尔最著名的作品《Vyšehrad》是一首史诗,它涉及到捷克浪漫主义最重要的传统,即民间传说在文学传统中的作用方式。Zeyer还对所谓的中世纪手稿(所谓的Rukopis královédvorský和Rukopis zelenohorský)的传统进行了讨论,并建议对民族神话进行批判性的使用。批判-在这种情况下-意味着:非特定的,非省级的,开放的影响和重新解释。
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引用次数: 0
Osservazioni sulla etimologia e funzione di due teonimi umbri 对两个umbri的词源和功能的观察
Pub Date : 2014-01-01 DOI: 10.18778/1733-0319.17.06
Tamara Roszak
The article deals with the names of two Umbrian deities written in the Iguvine Tablets, PUEMUNE (dat. sg. m.) and VESUNE (dat. sg. f.). The author relates the Umbrian forms to the Indo-European roots *pō(i)- and *ṷes-, both of them meaning ‘to pasture’, which produce respectively: Lith. piemÂnÅ (f.) ‘shepherdess’, piemẽo (m.) ‘shepherd’, Gk. poim»n (m.) ‘id.’ and Hitt. ṷēštara- (c.) ‘shepherd’, Av. vāstar- (m.) ‘id.’. The Umbrian theonym PUEMUN- can be connected with the Lusitanian name of the pastoral goddess Poemanae (dat. sg. f.). The root ves- of the other Umbrian theonym can be compared with the root of the Lusitanian name Vestero (dat. sg. m.) ‘pastoral god’. The Umbrian noun has the suffix IE. *-H noH -, present in the Italic theonyms 1 2 (e.g. Lat. Pōmōna). Pieces of the same sheep were sacrificed to both deities, which additionally proves their pastoral function.
这篇文章涉及伊古文石碑上写的两位翁布里亚神的名字,PUEMUNE(dat.sg.m)和VESUNE(dat.sg.f.)。作者将翁布里亚形式与印欧词根*pō(i)-和*ṷes-,两者的意思都是“牧场”,分别产生:Lith。piemânÅ(f.)“牧羊女”,piemẽo(m)“牧羊人”,Gk。poim»n(m.)'id.'和Hitt。ṷēštara-(c.)“牧羊人”,Av。vāstar-(m)id。翁布里亚神名PUEMUN-可以与牧神波玛娜(dat.sg.f.)的卢西塔名字联系在一起。另一个翁布里亚神名的词根ves-可以与卢西塔名称Vestero(dat.sg.m.)的词根“牧神”相比较。翁布里亚语名词的后缀为IE.*-H-noH-,出现在意大利地名12(例如Lat.Pōmō; na)中。同一只羊被献祭给两位神,这进一步证明了它们的田园功能。
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引用次数: 0
Corpus Hermeticum XVI 赫尔墨斯文集十六
Pub Date : 2014-01-01 DOI: 10.18778/1733-0319.17.03
Aneta Tylak
This paper contains the Polish translation of Corpus Hermeticum XVI, with a short commentary.
这篇论文包含波兰语翻译的文集赫尔墨斯十六,与一个简短的评论。
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引用次数: 0
"Et in Arcadia fracta ego". Ponowoczesna entopia Toma Stopparda 等在阿卡迪亚破碎自我。汤姆·斯托帕德的现代随身听
Pub Date : 2014-01-01 DOI: 10.18778/1733-0319.17.14
Mariusz Bartosiak
The paper presents a complex analysis of “Arcadia” by Tom Stoppard as an example of the postmodern artistic strategy that reinterprets traditional myth and themes within the context of dynamical changes in the cultural discourse of the last few decades. At the same time, it applies theories of contemporary natural sciences in the construction of characters, scenery and dramatic plot. The paper argues that such artistic strategy aims at the topoi koinoi of the anthropologically conceived culture and technologically oriented civilization. The analysis of Stoppard’s drama is set within two contexts: 1) the historical bifurcations of ancient (Theocritus, Virgil) and modern (Phillip Sidney, Nicolas Poussin) interpretations of the Arcadian myth; 2) the basic notions of chaos theory that are suggested in the dialogues and, at the same time, are applied in the construction of dramatic plot and its representation (bifurcation, attractor). The notion of entopia (‘in-place’), as opposed to the pair of utopia and dystopia, which are usually connected with interpretations of the myth of Arcadia as a desirable or undesirable ‘no-place’, refers to the ‘Arcadian’ aspects and possibilities of living, and especially to the acting here and now. In this respect, the paper argues that Stoppard’s “Arcadia” provides a mental space for the recognition of anthropological and axiological (performative) determinants of contemporary ‘Arcadian’ entopia.
本文对汤姆·斯托帕德的《阿卡迪亚》进行了复杂的分析,将其作为后现代艺术策略的一个例子,在过去几十年文化话语的动态变化背景下重新诠释传统神话和主题。同时,将当代自然科学理论运用到人物、场景、情节的建构中。本文认为,这种艺术策略是针对人类学文化和技术导向文明的主题。对斯托帕德戏剧的分析是在两个语境下进行的:1)古代(泰奥克里托斯、维吉尔)和现代(菲利普·西德尼、尼古拉斯·普桑)对阿卡迪亚神话的历史解读的分歧;2)对话中提出的混沌理论的基本概念,同时应用于戏剧情节的构建及其表现(分岔、吸引子)。与乌托邦和反乌托邦这两个概念相反,乌托邦和反乌托邦通常与将阿卡迪亚神话解释为理想或不理想的“无地”有关,它指的是生活的“阿卡迪亚”方面和可能性,尤其是此时此地的行为。在这方面,本文认为斯托帕德的“阿卡迪亚”为认识当代“阿卡迪亚”乌托邦的人类学和价值论(表演)决定因素提供了一个精神空间。
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引用次数: 0
Historia leksykonu "De verborum significatu" 我的课堂故事“意义非凡”
Pub Date : 2014-01-01 DOI: 10.18778/1733-0319.17.07
K. Kuszewska
The Lexicon of Verrius Flaccus (De verborum significatu) is the first Latin dictionary which included a lot of information about the history, society, religion and topography of Rome. Unfortunately, it is only known in fragments and abridgments. The epitome of this lexicon was created by Pompeius Festus, who probably lived in the second century. His work now exists only in fragments within a single manuscript, the Codex Farnesianus. We can reconstruct this text thanks to Paul the Deacon who also abridged the work of Festus for Charlemagne. Over the years, many editions of the text have been created which consisted of the work of Festus and the epitome of Paul. Today, we have few critical editions and comments on the text. This Lexicon is an amazing source of information and is of great importance to scholars of antiquity.
Verrius Flaccus词典(De verborum significatu)是第一本拉丁文词典,其中包含了大量关于罗马历史、社会、宗教和地形的信息。不幸的是,人们只知道它的片段和删节。庞培·费斯都(Pompeius Festus)创造了这个词汇的缩影,他可能生活在二世纪。他的作品现在只存在于一份手稿中,即《法内西努斯抄本》。多亏执事保罗,我们才能重建这段文字,他也为查理曼大帝删节了非斯都的作品。多年来,许多版本的文本已经创建,其中包括非斯都的工作和保罗的缩影。今天,我们很少有批评版本和对文本的评论。这本词典是一个惊人的信息来源,对古代学者来说非常重要。
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Collectanea Philologica
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