Krystyna Bartol - Academia.edu (original) (raw)

Papers by Krystyna Bartol

Festiwal "Misteria, Inicjacje" : dyskusja panelowa / Krystyna Bartol, Jerzy Danielewicz, Jacek Dobrowolski, Ireneusz Guszpit, Wiesław Juszczak, Tomasz Kubikowski, Włodzimierz Lengauer, Czesław Robotycki, Richard Schechner, Włodzimierz Staniewski, Zbigniew Taranienko, Lech Trzcionkowski

Elegia grecka z perspektywy wykonawczej

Meander, 2005

Ten, kto pierwszy wynalaz∏ uczt´ "na ryj krzywy", ludziom wielce ˝yczliwym by∏-sàdz´-facetem. Eub... more Ten, kto pierwszy wynalaz∏ uczt´ "na ryj krzywy", ludziom wielce ˝yczliwym by∏-sàdz´-facetem. Eubulos, fr. 72 Kassel-Austin (ap. Ath. VI 239 a) Popularna w greckich komediach postaç paso˝yta (parasitos), cz∏owieka ˝yjàcego na koszt innych, pogardzanego przez szanujàcych si´ obywateli natr´tnego g∏odomora, który wszystkie swoje dzia∏ania podporzàdkowuje jednemu celowi-zdobywaniu darmowego jedzenia 1 , zosta∏a-zdaniem ˝yjàcego w II wieku p.n.e. znawcy dramatu, Karystiosa z Pergamonu (FHG IV 359 ap. Ath. VI 235 e)wprowadzona do tego gatunku przez Aleksisa, przedstawiciela komedii Êredniej z prze∏omu IV i III w. p.n.e. Pami´taç jednak˝e nale˝y, ˝e w czasach archaicznych s∏owo parasitos oznacza∏o cieszàcego si´ szacunkiem spo∏ecznym cz∏onka wspólnoty, wype∏niajàcego w jej imieniu pewne obowiàzki religijne zwiàzane z przygotowaniem jedzenia spo˝ywanego przez uczestników uroczystoÊci w akcie rytualnej konsumpcji 2. Cytowany przez Atenajosa leksykograf Krates, ˝yjàcy w I w. p.n.e. autor traktatu o dialekcie attyckim (FGrHist. 362 F 7 ap. Ath. VI 235 b), stwierdza, ˝e paso˝ytami nazywano tych, którzy zostali wybrani, by gromadziç Êwi´te ziarno, i podaje, i˝ w sanktuariach znajdowa∏y si´ specjalne pomieszczenia, gdzie rezydowali paso˝yci spe∏niajàcy swà religijnà pos∏ug´ zwiàzanà z przygotowaniem rytualnej uczty. Pogardliwy wydêwi´k tego okreÊlenia pojawia si´ dopiero w komedii, a podkre-Êlany jego etymologià zwiàzek z jedzeniem 3 zacz´to odnosiç do niechlubnej dzia-* Autorka artyku∏u jest stypendystkà Fundacji na Rzecz Nauki Polskiej.

The Intertextual Transformation of Simonides' Dictum in Plutarch's "Moralia". Considerations on the Value of Some Theoretical Ideas for the Interpretation of Classical Texts / Krystyna Bartol

Symbolae Philologorum Posnaniensium Graecae et Latinae

The article presents a new proposal to supplement v. 12 of the anonymous hexametric piece contain... more The article presents a new proposal to supplement v. 12 of the anonymous hexametric piece containing, most likely, the lament of Ariadne abandoned by Theseus on Naxos. The suggestion offered here (οὐκ or, better, οὐδ’ αἰδ]ὼς ἐν ὀνείρωι instead of δήλ]ωσεν ὀνείρωι or ὡς ἐν ὀνείρωι developed by other scholars) allows us to guess that the piece may have expressed Ariadne’s contradictory feelings and her moral dilemma.

Autoprezentacje pasożytów w cytowanych przez Atenajosa urywkach greckiej komedii średniej i nowej

Meander

Saffo e Dika (Sapph. 81 V.)

Quaderni Urbinati Di Cultura Classica, 1997

Paideia poetów / Krystyna Bartol

Reseña del artículo In the borderlands between genres: Notes on a recent volume of studies on greek iambus and elegy

The Importance of Appropriateness

Philologus, 1998

The passage placed at the very beginning of the sixth chapter of the Ps.-Plutarchean treatise On ... more The passage placed at the very beginning of the sixth chapter of the Ps.-Plutarchean treatise On Music is seen as one of the most important ancient sources providing the definition of nomos. On the grounds of what is said there scholars have persisted in considering nomoi to be compositions governed by strict rules and possessing a determinate, unvarying τάσις. The scope of this invariability has given scholars, however, a great deal of trouble. Consequently, the question of the correct understanding of Ps.-Plutarch's passage has not definitely been solved yet. In this article I shall attempt to find an interpretation of the seemingly incoherent beginning of ch. 6, the immediate concern of which is with the history of citharody in general, not only as the majority of investigators are now prone to think with the generic outlook of nomos. To achieve this aim, I propose to look at the context of the nomos' definition, since some words and expressions used within sentences which precede and follow it, are in my opinion of crucial importance for a proper understanding of the definition itself. Moreover, one should remember that the definition does not, by any means, form a separate or autonomous statement. The definition is obviously part of the argumentation carried out within the train of sentences, an example supporting the point just being made by the author. In ch. 6 (1133 Β) of Mus. we read: To δ' όλον ή μεν κατά Τέρπανδρον κιθαρωδία και μέχρι της Φρύνιδος ηλικίας παντελώς άπλη τις ούσα διετέλεΐ' ού γάρ έξήν τό παλαιόν οΰτω ποιεϊσθαι τάς κιΌαραιδίας ώς νυν, ουδέ μετριφέρειν τάς αρμονίας και τους ρυθμούς· έν γάρ τοις νόμοις έκάστψ διετήρουν την οί,κείαν τάσιν. διό και ταύτην έπωνυμίαν είχον νόμοι γάρ προσηγορεύθησαν, έπειδή ουκ έξήν παραβήναι καθ' εκαστον νενομισμένον είδος της τάσεως.

Ferimus

The Classical Quarterly, 2004

Cicero seems to have avoided the first-person plural of the present indicative of fero and of its... more Cicero seems to have avoided the first-person plural of the present indicative of fero and of its compounds: a search on the PHI Latin Texts CD 5.3 (1991) shows only one occurrence of ferimus, none of adferimus, auferimus, conferimus, or similar compound forms. Since fero and its numerous compounds are common words, this is unlikely to be coincidence. Of course, some forms will be rare because an author will have had little occasion to use them; Cicero may, for instance, have wanted to say ‘let us endure’ or ‘we shall endure’ more often than ‘we are enduring’. The table below (which compares words with similar meanings) suggests that this is not the explanation for the extreme rarity here.1

Instytut Filologii Klasycznej Uniwersytetu im. A. Mickiewicza w Poznani - stan badań i perspektywy rozwojowe (2000-2003)

Anaxandrides’ Fr. 16 K.-A. and the Criticism of New Music and Musicians

The article offers a new interpretation of Anaxandrides’ comic fragment (16 K.-A), preserved at A... more The article offers a new interpretation of Anaxandrides’ comic fragment (16 K.-A), preserved at Athenaeus 14.638c-d as a part of an extended discussion of the authors of disreputable poetry and the decline of music. It has been argued that in this fragment – in fact the only remaining from Anaxandrides’ play entitled Heracles – the spotlight is focused not, as has been hitherto assumed, on the comparison between a musically talented person and an unskilful one, but rather on the complaint about the musical style represented by pieces composed and performed by a certain Argas and artists of his ilk. The point of the ironic “praise” of the unnamed musician, presumably refect-ing the taste of the audience, is to sarcastically treat him as an artistic nobody.In Anaxandridis fabulis multa invenias, quae simul ad comoediae mediae ac novae materiam proxime accedunt. Inter ea, quae naturae et indoli mediae comoediae congruunt, sunt opiniones ad musicam eiusque cultorum ingenium et mores spe...

Taniec z tradycją jak z wazą François : rozmowa o Gardzienicach i "Metamorfozach" / Krystyna Bartol, Anna Wyka, Zbigniew Benedyktowicz, Jerzy Danielewicz, Jacek Dobrowolski, Ireneusz Guszpit, Dariusz Kosińki, Tomasz Kubikowski, Włodzimierz Lengauer, Czesław Robotycki, Tomasz Rodowicz, Zbigniew Ta...

Konteksty : polska sztuka ludowa : antropologia kultury, etnografia, sztuka, 2001

The Song for Demetrius Poliorcetes (CA 173) and Generic Experimentations in the Early Hellenistic Period

The Song for Demetrius Poliorcetes (CA 173) and Generic Experimentations in the Early Hellenistic Period, 2016

Exemplaria classica: journal of classical philology, 2017

Paideia poetów / Polska Sztuka Ludowa - Konteksty 2001 t.55 z.1-4

Hymnos i Nikaja. (, XV 169 - 422)

Elegy

A Companion to Greek Lyric