Symbolae Philologorum Posnaniensium, 2010, nr XX/1
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Item Profesor Kazimierz Liman (1925–2010)(Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk,, 2010) Lewandowski, IgnacyThe article discusses life, scholarly and didactic activity of the late Kazimierz Liman. Additionally, a list of his publications is included.Item VIR BONUS, COGNOSCENDI PERITUS(Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk,, 2010) Bering, PiotrThe paper contains a memoir of famous Polish researcher of Medieval Latin Professor Kazimierz Liman (1925–2010) written by his scholar.Item Poemat o założeniu Uniwersytetu Poznańskiego(Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2010) Kotłowska, AnnaThe aim of the present paper is to discuss and translate in Polish the poem of Bonawentura Graszyński, written in 1919; with some remarks on author’s interests in Byzantine studies.Item Multum facetias in dicendo prodesse saepe, Cic. De or. II 227 – dowcip w retorycznej teorii i praktyce(Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2010) Nowak, MagdalenaThe article analyses and compares different passages of Cicero’s dialogue De oratore and Quintilian’s Institutio oratoria, which bring up the issue of using humour and jokes by speakers in order to gain a rhetoric victory and win the listeners over.Item Antyczne "Przemiany" i romantyczne metamorfozy. Tropami "Metamorfoz" Owidiusza w "Świteziance" Adama Mickiewicza(Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2010) Klausa-Wartacz, JoannaThe article is a new proposition in the field of philological research regarding connections between ancient and romantic literature. This paper presents an analysis of Mickiewicz’s ballad called Świtezianka as a text based on Ovid’s Metamorphoses.Item "Marcjalis wśród Wandalów". Epigram skoptyczny Luxoriosa a tradycja gatumku(Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2010) Wasyl, Anna MariaThis paper is devoted to scoptic epigrams of Luxorius, the “Carthaginian Martial” as he is of- ten named, an author active in Carthage during the last decades of the Vandal occupation of North Africa in the sixth century A.D. I focus first on the question of the genre as understood ad em- ployed by the poet, demonstrating that Luxorius can be seen as probably the first ancient epigram- matist to continue or even to return to the well-organized and disciplined variety typical of Mar- tial’s books of epigrams. Luxorius, like Martial, displays a true technical mastery in using various metrical forms; indeed, he surpasses his master employing thirteen different meters in his eighty nine poems (Martial used ‘only’ eight meters in 1,561 epigrams). Nevertheless, for both poets it is clear that the dominant meter of the epigrammatic genre must be the elegiac distich, other meters being exploitable only at certain occasions as, for example, in the opening programmatic poem for which the ‘Catullan’ Phalaecean is the most appropriate choice (see Martial’s I 1 and Luxorius’s 287 R2 Ad Faustum). Not less important is the fact that the Carthaginian author, again following strictly the rules set by his predecessor, defines his oeuvre with the term epigramma, turned into a generic label precisely by Martial, and emphasizes its satirical, indeed scoptic character (Luxorius plays with the Martialian word sal), its facilis pudor, the light morality, as well as its realism. In the second part of my paper I propose a comparative reading of a few scoptic themes by Martial and Luxorius, namely: 1) a lover of ugly girls (L. 329 R2; M. I 10, III 76); 2) an old man trying to hide his age (L. 343 R2; M. III 43, VI 57); 3) an aged woman and sex (L. 301 R2; M. X 67); 4) a blind man quite pleased with his handicap (L. 357 R2; M. VIII 51). As I show, Luxorius’s texts, if compared with Martial’s, turn out not less intelligent and not less surprising as far as the epigrammatic point is concerned. In fact, in some cases one may have the impression that it is Luxorius to invent a more ‘original’ and, indeed, more thought-provoking version of a certain motif. Drawing upon Martial’s two-verse ‘note’ that a blind man can have a lovely female partner, he creates an ingeniously amusing miniature portrayal of a lucis egenus, able to know beautiful women by touch. What is peculiar to Luxorius’s poetics is a clear preference for the figure of paradox and a kind of fascination with all that seems abnormal, distorted, ugly. Therefore his focus on sexual perverts, deformed beings, incompetent teachers or doctors, entertainers who do not entertain. As it appears, this unique “world upside down” as pictured by the Carthaginian poet reflects quite well, even though as if in a distorting mirror of course, the paradoxes of his epoch, an epoch when Carthage, two generations before taken and destroyed by the Vandals, reestablishes its position as the center of learning precisely thanks to the same Vandal rulers.Item COMMENTATIO AD LITTERAS MEDIAEVALES PERTINENS(Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2010) Liman, KazimierzItem Papieski legat na dworze cesarza Chin. Fragmenty z "Acta Pekinensia"(Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2010) Miazek-Męczyńska, MonikaIn this article the author presents a history of the papal legation of Charles Maillard de Tournon to the court of the Kangxi Imperor, which was one of the most imporant and dramatic episode of so called Chinese Rites Controversy. This legation has been described by a German Jesuit Bernhard Kilian Stumpf in a Latin manuscript entitled "Acta Pekinensia".Item Lingua Punica – lingua comica. Głos w sprawie języka punickiego w "Punijczyku" Plauta(Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2010) Rosół, RafałIn this contribution the author deals mainly with the monologue delivered by the Carthaginian Hanno at the beginning of the fifth act of the comedy Poenulus. Giving the fact that the codices transmit three completely different versions of the monologue, namely two in Punic (v. 930–939 and 940–949) and one in Latin (v. 950–960), it arises the question of which of them should be treated as the original one. The author discusses the history of research on this topic and puts forward the hypothesis that only the first Punic text existed in the comedy staged by Plautus.