Symbolae Philologorum Posnaniensium Graecae et Latinae <p class="oczasopismie"><strong>OPIS CZASOPISMA</strong><br>„Symbolae Philologorum Posnaniensium Graecae et Latinae” powołano do życia w roku 1973 w ówczesnej Katedrze Filologii Klasycznej UAM jako pismo periodyczne poznańskiego środowiska naukowego filologów klasycznych, otwarte również dla innych ośrodków filologicznych w Polsce oraz dla przedstawicieli pozostałych dyscyplin naukowych, zajmujących się antykiem greckim i rzymskim. Założycielem czasopisma i redaktorem pierwszych tomów był prof. Jan Wikarjak. Redaktorami prowadzącymi „Symbolae” byli i są stale profesorowie filologii klasycznej UAM. Artykuły w SPhP są drukowane w języku polskim, a także, od samego początku, część z nich ukazuje się w językach zachodnioeuropejskich oraz w języku łacińskim. Pojawiają się także autorzy z zagranicznych ośrodków naukowych. Wszystkie artykuły zaopatrzone są w abstrakty oraz summaria w językach obcych. Drukowane są tylko prace oryginalne, które przejdą pomyślnie proces recenzji.</p> <ul class="oczasopismie"> <li class="show"><a href="/index.php/sppgl/about">POLITYKA FUNKCJONOWANIA CZASOPISMA</a></li> <li class="show"><a href="/index.php/sppgl/issue/view/3">AKTUALNY NUMER</a></li> <li class="show"><a href="/index.php/sppgl/issue/archive">ARCHIWUM</a></li> </ul> <div class="oczasopismie"><strong>INDEKSOWANE W:</strong> <p>CEJSH; INDEX COPERNICUS; WorldCat; Google Scholar; CEEOL, ERIH PLUS</p> </div> <div class="oczasopismie"><strong>WSKAŹNIKI OCENY CZASOPISMA: </strong> <p><img src="/public/piotr/ikonki/gs_2.png" alt=""><br><br><strong>MNiSW: 13 punktów (do 2018 roku)</strong><br><br><strong>Index Copernicus</strong> IVC 65,8 (2017)</p> </div> <div class="oczasopismie"><strong>DOI: </strong>10.14746/sppgl</div> <div class="oczasopismie"><strong>ISSN: </strong>0302-7384</div> <div class="oczasopismie"><strong>PRACE PUBLIKOWANE W CZASOPIŚMIE DOSTĘPNE SĄ NA LICENCJI CREATIVE COMMONS:</strong></div> <div class="oczasopismie"><strong>Od 2016 r. do 09.2020 r. <a href="" rel="license">Uznanie autorstwa - Bez utworów zależnych 4.0 Międzynarodowe</a>.</strong><br><a href=""><img src="/public/piotr/cc/cc_4_by_nd.png" alt="CC_by-nd/4.0" border="0"></a></div> <div class="oczasopismie"><strong>Od 10. 2020 r.&nbsp; publikowane na <a href="" rel="license">licencji Creative Commons Uznanie autorstwa 4.0 Międzynarodowe</a>.</strong></div> <div class="oczasopismie"><a href="" rel="license"><img style="border-width: 0;" src="" alt="Licencja Creative Commons"></a><br><br></div> pl-PL <p><a href="" rel="license"><img style="border-width: 0;" src="" alt="Licencja Creative Commons"></a><br>Ten utwór jest dostępny na <a href="" rel="license">licencji Creative Commons Uznanie autorstwa 4.0 Międzynarodowe</a>.</p> <p>&nbsp;</p> (Monika Miazek-Męczyńska, Marlena Puk) (Pressto) nie, 15 gru 2019 00:00:00 +0000 OJS 60 Czysta propaganda, czy wielka sztuka, patriotyzm i obywatelskie zaangażowanie – jak Ajschylos oraz Eurypides używali swoich fabuł, by wspomóc Ateńską politykę wobec sojuszników <p>In this article I would like to focus on one research topic: how ancient tragedians manipulated their drama plots (based on Greek mythology) so as to use them for influencing Athenian “international policies.” Those were not any mistakes or airs of nonchalance on the part of the Athenian tragedians; it was just their carefully premeditated strategy of creating persuasive messages to function as pure propaganda. I am chiefly directing my attention to the topic of how the Athenians established their relations with the allies. Meaning the closest neighbours as well as some of those who did not belong in the circle of the Hellenic civilization. I have decided to devote all of my attention to Aeschylus’ and Euripides’ works, as both of them were obvious supporters of the democratic faction. I focused my attention on the texts: Aeschylus: The Suppliants, Oresteia; Euripides: Heracleidae, Andromache, Archelaus,Temenos.</p> Olga Śmiechowicz Copyright (c) 2019 nie, 15 gru 2019 00:00:00 +0000 Sacrum słowem sławione – terminologia religijna w twórczości Owidiusza <p>The article investigates Ovid’s use of religious terminology and imagery, in particular in the Fasti and the Metamorphoses. As an educated Roman citizen, Ovid was conversant with Roman ritual practices and frequently drew on facets of the Roman religious experience in his writing, exploring topics such as ritual performance, religious nomenclature, festivals, customs and traditions. In the article, I argue that Ovid’s treatment of religious material is deliberately uneven. The poet, well-versed in the Roman ritual nomenclature, nevertheless flaunted his technical competence only in the rite-oriented Fasti: in his other works, above all in the myth-laden Metamorphoses, he abandoned drier technical details for artistic flair and poetic imagery, unconstrained by traditional practices of Roman piety. The mythological setting of the latter poem gave Ovid a chance to comment upon universal truths of human nature, espousing the prevailing Roman belief that maintaining good relations with the gods (pax deorum) through collective piety would win Rome divine favour in all her initiatives.</p> Idaliana Kaczor Copyright (c) 2019 nie, 15 gru 2019 00:00:00 +0000 Uwagi o Owidiuszu i złotym wieku Augusta <p>Publius Ovidius Naso was an outstanding poet of the Augustan age who after a period of successful activity was suddenly sent to exile without a formal judicial procedure. Ovid wrote frivolous poems but inserted into his works also the obligatory praises of Augustus. The standard explanation of his relegation to Tomis is the licentious content of his Ars Amatoria, which were believed to offend the moral principles of Augustus. However, the Ars had been published several years before the exile. The poet himself in his Pontic writings mentions an unspecified error and a carmen, pointing also to the Ars, without, however, a clear explanation of the reason for his fall. The writer of the present contribution assumes that the actual reason for the relegation of the poet without a trial were the verses of his Metamorphoses and especially the passage about the wicked stepmothers preparing poison. That could offend Livia who, according to gossip, used poison to get rid of unwanted family members. Ovid was exiled, but the matter was too delicate for a public justification of the banishment. When writing ex Ponto the poet could not explicitly refer to the actual cause of his exile.</p> Adam Łukaszewicz Copyright (c) 2019 nie, 15 gru 2019 00:00:00 +0000 Owidiusz i Stacjusz, Tebaida 6.54–78. Aluzje konieczne czy metapoetycki dialog? <p>Statius’ description of the funeral games held in honor of the baby Opheltes contains several utterances reminiscent of Ovid. The paper aims to show that these should not be read as the so-called necessary allusions, but rather as the poet’s complex dialogue with his predecessor.</p> Damian Pierzak Copyright (c) 2019 nie, 15 gru 2019 00:00:00 +0000 Pandarus cytuje Owidiusza w pierwszej księdze „Troilusa i Criseydy” Geoffreya Chaucera <p>The medieval epic poem Troilus and Criseyde by Chaucer describes the history of unhappy love with the Trojan War in the background. The story is constructed in the convention of courtly love, and the author draws abundantly from a range of plot motifs preserved in the ancient literary tradition. The article discusses the way of intertextual use of Ovid’s Heroides 5 in the course of events told in Book One of the poem.</p> Antoni Bobrowski Copyright (c) 2019 nie, 15 gru 2019 00:00:00 +0000 Parodie horacjańskie. Przekład siedmiu pieśni Macieja Kazimierza Sarbiewskiego <p>The paper proposes the translations into Polish of the following Latin odes composed by Mathias Casimir Sarbiewski: I 19 Urit me patriae decor, II 14 Diva, ventorum pelagique praeses, II 18 Reginam tenerae dicite virgines, I 26 Aurei regina, Maria, caeli, III 2 Cum tu, Magdala, lividam, IV 7 Iessea quisquis reddere carmina, IV 31 Vides, ut altum fluminis otium. All of the texts included in this collection are strongly related to imitating of Horatian lyrical discourse (parodia Horatiana). A short introduction and the most significant references to Horace’s odes and notes have been provided.</p> Wojciech Ryczek Copyright (c) 2019 nie, 15 gru 2019 00:00:00 +0000 Puszkin i Owidiusz <p>Alexander Pushkin knew what he shared with Ovid. Both were exiled, having enjoyed a splendid life, both were highly gifted, and not too shy of erotic adventures – of which they speak amply in their poetry. The Russian formalist Tynyanov pointed at such similarities, inventing the literary genre of ‘docufiction’.</p> Gerson Schade Copyright (c) 2019 nie, 15 gru 2019 00:00:00 +0000 Dlaczego Owidiusz? Postmodernistyczne biografie alternatywne wielkiego poety <p>Article analyses a literary portrait of Publius Ovidius Naso in the novels Naso the Poet (1969) by Jacek Bocheński, An Inexplicable Story or the Narrative of Questus Firmus Siculus by Josef Škvorecky (1998) and The Last World. A Novel with an Ovidian Repertory by Christoph Ransmayr (1988).&nbsp;</p> Anna Gawarecka Copyright (c) 2019 nie, 15 gru 2019 00:00:00 +0000