Symbolae Philologorum Posnaniensium, 2013, nr XXIII/2
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Item Peregrinos Lukiana z Samosat – szaleństwo w krzywym zwierciadle satyry(Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2013-12-30) Siwicka, MałgorzataThe work The Passing of Peregrinus by Lucian of Samosata presents a picture of a pseudo-philosopher , who under the disguise of Cynic asceticism and courageous death, hid such an extraordinary desire for fame and publicity that it took on a pathological size. This morbid craving for popularity that he acquired by any possible means finally brought Peregrinus to suicidal death, although, in fact, he did not really want it. What Lucian did not approve of his conduct was falseness, cheap theatrical claptrap, using human simplicity and warm-heartedness. Lucian damasks in a brutal way the unbound craving for publicity from which all actins of Peregrinus stemmed. By removing a tragic mask from his face Lucian pinpoints his ridiculousness and ugliness. It was the pursuit of popularity that brought Peregrinus to destruction. His self-immolation, however, was not viewed upon by Lucian as an act of heroism, but merely as a grotesque and miserable ending of an equally grotesque and deplorable life.Item Wybrane aspekty mitu w Hymnie homeryckim do Hermesa(Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2013-12-30) Jarczyk, MagdalenaThe paper discusses how the major plot elements of the Homeric Hymn to Hermes (inventing the lyre, stealing Apollo's cattle and especially slaughtering it) tie in together to instruct the (male) youth on their prospective roles as responsible, cultured family supporting adults, warriors and members in their community's cults. It thus highlights the educational and paedagogical aspects of the myths featured in the poem's narrative part.Item Furiosa libido. Ovid on love and madness.(Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2013-12-30) Bielecka, ElżbietaThis paper presents Ovid’s views on the concept of love madness. Taking Ars amatoria, in particular the distich (1.281–282) in which the poet blames woman’s love fury on her lust as its research material, the paper investigates how the notion in question has been realized in this “textbook for lovers.” There, Ovid uses the mythological figures of women who committed crimes against social rules to illustrate the said concept; the paper, in turn, juxtaposes it with the narratives in Metamorphoses (the stories of Byblis and Myrrha). Additionally, it makes use of the tale of Iphis, a story not included in Ars amatoria which can nevertheless be also treated as illustrative of how madness can overcome enamored women. The paper both contrasts the above mentioned stories with the narratives showing men’s inclinations to insanity caused by passion and examines the notion of love madness in the context and with regard to the style of Ovid’s works.Item Luctus est istic tuus,/ crimen novercae. Boskie i ludzkie szaleństwo Heraklesa na podstawie tragedii Eurypidesa i Seneki(Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2013-12-30) Karamucka, MagdalenaThe article aims to examine the tragedies: Ήρακλής μαινόμενος by Euripides and Hercules Furens by Seneca and exactly the different types of the madness, by which the main character is overcome in the above mentioned dramas. Although the article touches also on the issue of the insanity sent to the hero by Hera/ Juno, concentrates especially on the fit of madness, that is here defined as a human madness.Item On madness without words: gestures in Homer’s poems as a nonverbal means of depicting madness.(Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2013-12-30) Chruściak, IlonaThe paper discusses various ways of depicting madness in Homer’s epics based on the example of a scene from the Iliad, in which Andromache is compared to a maenad, as well as the scene concerning the feast of suitors in book XX of the Odyssey. Depicting madness by means of gestures affects the reception of the described scenes by the external and internal epic audience in a very special way. The gestures that are described invoke in the listeners associations related to their own experiences and appeal to particular emotions, whose presence affects the reception of an epic. The gestures and the nonverbal message allude to the Bacchic trance and this raises the question whether Homer and his audience were familiar with the cult of Dionysus.Item Melancholia, choroba, szaleństwo – kompleks staropolskiego poety metafizycznego: idee, inspiracje, motywy, postawy(Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2013-12-30) Fischer, JakubThis article tends to analyse the problems concerning the reception of ancient theory of melancholia, especially in renaissance and early Baroque literary studies. The melancholia as disease, habit, fear, cognition, meditation, inspiration and sin, is also very inspiring idea, allowing to understand the essence of Old Polish metaphysical poetry, in particular the complex of metaphysical poet – his behaviour, reasons, inspirations and attitudes.Item Zenon z Elei – doksografia i fragmenty(Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2013-12-30) Wesoły, MarianAfter a very general exegetical introduction, we put forward a new arrangement and translation of the major testimonies on Zeno of Elea. The few passages that are generally regarded as fragmenta verbatim are also cited in the original. The source material is presented in a reconstructive order that is somewhat different from the previous editions of Zeno. Our aim is to capture the specific problematic context of the ancient authors who refer and question Zeno’s arguments, without isolating and break up theses texts. The particular passages have been provided with thematic headings.Item Medea’s Inner Voice(Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2013-12-30) Menzi̇lci̇oğlu, çi̇ğdemThe story of Medea provides a wide range of themes to be explored and passion emerges as a frequent one. This article is based on the text Medea by the Stoic Seneca, yet in some parts comparisons will be drawn with Euripides’ tragedy of the same name as well. They treat the same theme in remarkably different ways: In the Senecan tragedy, Medea’s long soliloquies or monologues differ from Euripides’ version in that they reveal the protagonist’s inner conflict between the voices of passions and reason. This tragedy particularly focuses on the passions amor (love), ira (anger), furor (madness, insanity) and the consequent self-division. Therefore it can be analyzed from both psychological and philosophical aspects.Item La visione di mania umana e divina in Platone(Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2013-12-30) Głodowska, AnnaIn this article will be discussed the passages of the Platonic dialogues that give information about the way in which the philosopher understood the term “mania”. Particularly important is the reflection on this subject contained in Phaedrus in which different kinds of madness were distinguished and briefly characterized. Especially the essential is the concept of poetic inspiration because it takes an important place in Plato’s theoretical and literary thought. It had also a significant influence on shaping his opinions on the subject of poets and their work. The Plato’s term of poetic inspiration and connected with it the issues of literary output and its reception make the fundamental part of this article.