Epidemie dalekie i bliskie: mór pod piramidami i w wiejskiej chacie w XVI wieku – Mikołaja Krzysztofa Radziwiłła „Peregrynacyja do Ziemi Świętej…" i „Victoria deorum” Sebastiana Fabiana Klonowica – konwencje opisu na tle literatury klasycznej

2021 ◽  
Vol 16 (11) ◽  
pp. 128-152
Author(s):  
Michał Kuran ◽  

The aim of the article is to present outlook specificity to the topic of epidemics process described in two works Mikołaj Krzysztof Radziwiłł’s “Peregrination to the Holy Land” and “Victoria deorum” of Sebastian Fabian Klonowic on the background of Thucydides, Lucretius, Ovid and Boccacio. As the contexts are summoned relations of Homer and Virgil. Elements creating convention are following: description of symptoms, treatment attempts, medics’ hopelessness, mass death of population, consequences of social stratification during the plague, an increase of religious worship or escape into hedonistic use of life, loosening moral principles, population migrations, families’ fall, lack of respect for bodies and mass burials. Radziwiłł describes, from a distant perspective, a several-year dynamics of the epidemic’s development largely omitting conventions, Klonowic focuses on its process among the poorer classes, only partially taking up well known plots. Referring to literary tradition, he introduces new ones.

PsycCRITIQUES ◽  
2008 ◽  
Vol 53 (21) ◽  
Author(s):  
Andrea Blanch
Keyword(s):  

2014 ◽  
Author(s):  
Hanne M. Watkins ◽  
Simon M. Laham

2018 ◽  
Vol 1 (1) ◽  
pp. 43-45
Author(s):  
Michael Clunn

Foundationalism states that philosophy must begin from basic building blocks and construct arguments based on these. The axioms of existence, consciousness, and identity are three primary axioms which cannot be denied without being self-defeating. These axioms are also common to all human life. This paper explores ways to construct moral principles and virtues from these foundational cornerstones.


2014 ◽  
Vol 11 (2) ◽  
pp. 125-136 ◽  
Author(s):  
Roland Verwiebe ◽  
Laura Wiesböck ◽  
Roland Teitzer

This article deals mainly with new forms of Intra-European migration, processes of integration and inequality, and the dynamics of emerging transnational labour markets in Europe. We discuss these issues against the background of fundamental changes which have been taking place on the European continent over the past two decades. Drawing on available comparative European data, we examine, in a first step, whether the changes in intra-European migration patterns have been accompanied by a differentiation of the causes of migration. In a second step, we discuss the extent to which new forms of transnational labour markets have been emerging within Europe and their effects on systems of social stratification.


2019 ◽  
Vol 26 (2) ◽  
pp. 227-252
Author(s):  
Deborah Solomon

This essay draws attention to the surprising lack of scholarship on the staging of garden scenes in Shakespeare's oeuvre. In particular, it explores how garden scenes promote collaborative acts of audience agency and present new renditions of the familiar early modern contrast between the public and the private. Too often the mention of Shakespeare's gardens calls to mind literal rather than literary interpretations: the work of garden enthusiasts like Henry Ellacombe, Eleanour Sinclair Rohde, and Caroline Spurgeon, who present their copious gatherings of plant and flower references as proof that Shakespeare was a garden lover, or the many “Shakespeare Gardens” around the world, bringing to life such lists of plant references. This essay instead seeks to locate Shakespeare's garden imagery within a literary tradition more complex than these literalizations of Shakespeare's “flowers” would suggest. To stage a garden during the sixteenth and seventeenth centuries signified much more than a personal affinity for the green world; it served as a way of engaging time-honored literary comparisons between poetic forms, methods of audience interaction, and types of media. Through its metaphoric evocation of the commonplace tradition, in which flowers double as textual cuttings to be picked, revised, judged, and displayed, the staged garden offered a way to dramatize the tensions produced by creative practices involving collaborative composition and audience agency.


1969 ◽  
Vol 20 (1) ◽  
pp. 80-106 ◽  
Author(s):  
Monsignor David McRoberts
Keyword(s):  

2017 ◽  
Vol 47 (2) ◽  
pp. 281-297
Author(s):  
Tom Walker

Allusions to other texts abound in John McGahern's fiction. His works repeatedly, though diffidently, refer to literary tradition. Yet the nature of such allusiveness is still unclear. This article focuses on how allusion in The Pornographer (1979) is depicted as an intellectual and social practice, embodying particular attitudes towards the function of texts and the knowledge they represent. Moreover, the critique of the practice of allusion that the novel undertakes is shown to have broader significance in terms of McGahern's whole oeuvre and its evolving attempts to salvage something of present value from the literature of the past.


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