LIST OF ABSTRACTS

Transcription

LIST OF ABSTRACTS

ANTIQUITY IN POPULAR LITERATURE AND CULTURE
7th International Conference on Fantasy and Wonder
Poznan, January 9-10, 2014
Faculty of Polish and Classical Philology AMU
Collegium Maius, Fredry Str 10
LIST OF ABSTRACTS
Allaba Djama Ignace
Université de Bouaké
Rezeption der Antike in der populären Kultur und Literatur Afrikas(?)
Das Formulieren selbst des vorliegenden Themas löst eine Menge Fragen aus, die mit der Grundlage der afrikanischen Literatur(en)
und Kultur(en) zu tun haben.
Ursprünglich waren die meisten (wenn nicht alle) afrikanischen Gesellschaften hauptsächlich von der Mündlichkeit geprägt bis vor
kurzem, als sich die europäischen durch die Kolonisation in den Kontinent eingedrungenen Kulturen durchsetzten. Dieses
interkulturelle Treffen zwischen Afrikanern und Europäern hat so tiefe Spuren hinterlassen, dass sich die afrikanischen
Gesellschaften ab nun durch Heterogenität bzw. Hybridität kennzeichnen lassen. Nicht nur in der Kultur kommt diese Mischform
zum Vorschein, sondern auch in der Literatur. Deshalb ist es vonnöten nach der Definition der afrikanischen Literatur zu fragen.
Aus dieser Definition könnte man nun erschließen, ob und wie eine Rezeption der Antike in der afrikanischen Literatur und Kultur
möglich sein kann. Ob diese Rezeption eine gesellschaftliche Funktion wie die Literatur und/oder Kultur hat, wird auch ferner
untersucht. Dabei werden die Konstituenten und Bereiche der afrikanischen Literatur und Kultur durchleuchtet.
Bejda Wojciech
Pomeranian University in Słupsk
Gladiator’s Pop Career. The representations in mass culture products at the beginnings of the 20th century
In my presentation I would like to analyse various forms of portraying the Roman gladiators on postcards, but also on commercial
posters, matches’ and beers’ labels, etc., mainly from the beginning of the 20th century. Particularly the postcards, as one of the first
medium of the popular culture, were not limited to the cards with landscapes and wishes, unlike in modern days. The circus athletes,
sportsmen, Roman legionaries and even children appear on the postcards in the role of gladiators, what is testified by adequate
descriptions. A gladiator comes into view as a popular character, a symbol drawn from the Roman world, which brings certain values
appreciated more at the beginning of the 20th century. It would be interesting to attempt to understand the reasons for a relatively
large popularity of a gladiator’s figure in the mass culture of that time, but also why he was surprisingly situated in the world of
values such as righteousness and honour? On the other hand, a considerable popularity of products linked by imagination or name
with a gladiator brings up a question whether there was a common denominator, which would join the two together. Have the reenactments of gladiatorial combats, particularly in France and Belgium in the beginning of the 20th century, got a deeper meaning
for the organiser and the audience than the ludic ones? The presentation will be accompanied by the PowerPoint.
Brand Scott
Universität Zürich
Alan Moores Promethea – Comics als Medium der Götter?
Bereits im ersten Band der Comicserie Promethea (America’s Best Comics, 1999 – 2005, 32 Hefte, 5 Sammelbände) nehmen die
Götter Thoth und Hermes eine wichtige Rolle ein, als sie im Jahr 411 in Alexandrien ein kleines Mädchen vor einem christlichen Mob
retten. Indem sie es in die Immateria, die Welt der Erzählungen und Fantasie, mitnehmen, wird es selbst zu einer Geschichte und
somit zur Titelfigur des Comics. Ihr Name, Promethea, ist dabei vielsagend. Ein Ziel dieser Arbeit ist es, aufzuzeigen, in welchem
Verhältnis die Figur zu ihrem beinahe Namensvetter aus der griechischen Mythologie steht und welche anderen klassischen
Einflüsse auf sie eingewirkt haben.
Laboratory of Interdisciplinary Studies in Humanities AMU – http://www.phsi.amu.edu.pl/
Institute of Classical Philology – http://ifk.amu.edu.pl/ifk/ifk/aktualnoci
Faculty of Polish and Classical Philology
Adam Mickiewicz University in Poznan
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Als personifizierte Imagination bringt Promethea zudem der Menschheit die Apokalypse, welche in diesem Comic als Offenbarung
mit anschliessendem, kollektivem Gesinnungswandel verstanden wird. Dabei wird ein neues Zeitalter eingeläutet, in dem den
spirituellen Fertigkeiten der rechten Gehirnhälfte ebenso Bedeutung beigemessen wird, wie der von Symbolen und Logik geprägten
linken Gehirnhälfte. In diesem Zusammenhang diskutiert Autor Alan Moore nicht nur die Bedeutung und Entwicklung der Sprache,
sondern auch seine eigenen spirituellen Ansichten. Dabei idealisiert er das Medium Comic, da dieses sprachliche wie auch visuelle
Botschaften parallel vermitteln kann. Er verlinkt auf diese Weise die heutige graphische Literatur mit älteren Ausdrucksformen wie
den Hieroglyphen oder Tapisserien und erklärt Comics somit zum idealen Medium für die Darstellung mythischer Figuren und
Ereignisse. Diese Hypothese, wie auch deren Darstellung in Promethea, möchte ich ins Zentrum meiner Untersuchungen stellen.
Dabei soll den klassischen Einflüssen und der Rolle der Götter in Moores Sprachtheorien, wie auch ihrer Funktion in denselben, in
dieser Arbeit besondere Beachtung geschenkt werden.
Brillowski Wojciech
Adam Mickiewicz University
Szaleństwo czy spektakl władzy? O hollywoodzkich wizjach rządów Kommodusa
There are two blockbuster movies with their action based in the times of Marcus Aurelius and Commodus, and both of them are
considered to be among the best in the genre. The Fall of the Roman Empire, the swan song of the “sword and sandal”
cinematography, and Gladiator, the very beginning of its renaissance, both offered more than just an entertainment. Ambitious
beyond the average, and put on screen in 1964 and 2000 accordingly, in key moments of modern cultural history, can be seen as
expressions of serious worries and doubts of Western societies.
It would be very difficult to analyze all these issues in the short paper, I’ve decided to focus on the way Commodus personality is
presented, as it forms one of the keystones of the plot of the films. The last of the Antonines had been a very controversial personage
already among his contemporary historians, as his complicated character didn’t fit well into the classical power discourse. One can
see the echoes of these controversies in both of the movies, even if their makers’ attitude toward history is neglectful at best.
In both cases one can see very good performances, of Christopher Plummer and Jaquin Phoenix, that convincingly show the Caesar to
be an antithesis of the main characters, Livius and Maximus. Since the latter’s motivations and behavior differ significantly one from
another, so is Commodus personality constructed accordingly, in narrative, as well as in visual. In the first case stress is put on
corruption of power and failure in fulfilling the duties of the emperor, one of the concerns of American society in the eve of Vietnam
war. In the second one, more important are the psychological, rather than social, aspect of personality, on individual choices, or even
whims – a major characteristic of the postmodern culture at the turning point of the 21 st century.
Brud Sławomira
Latinitas metallica. Kilka uwag o języku łacińskim w nazwach polskich zespołów heavymetalowych
Chmielewska Sylwia
University of Warsaw
C://Hercules in Computer Games/A Heroic Evolution
The aim of this paper is to present Hercules as the most popular model of ancient hero in the history of computer games. Over past
30 years the mythological figure of Hercules conquered the world of computer games: he had transformed from the little pixelated
creature on the screen first to the powerful and invincible hero, then to the envious avenger and finally to the mighty, unstoppable
anti-hero.
The presentation will include a short analysis of approximately fifteen games developed and released since the 1980’s, e.g.: Hercules
(1984), The Labours of Hercules (1987), Herc’s Adventures (1997), Disney’s Hercules Action Game (1997), Zeus: Master of Olympus
(2000), Invictus: In the Shadow of Olympus (2003), Rise of the Argonauts (2008) etc. Also, the author wishes to present the
protagonist of the God of War series (2005-2013) – Kratos – not only as a character deeply rooted in the mythological tradition, but
also as an unexpected, revolutionary adaptation of Heracles: at the end of the third part of the series Kratos destroys all the gods and
plunges the world into the primordial chaos.
The presentation will end with a short conclusion – possibly composed of questions – on the role of ancient heroes in computer
games in general.
Chowaniec Roksana
Wojna i zabawa. Grupy rekonstrukcyjne jako źródło wiedzy o antyku
People have always been interested in the Past. Before antiquaries and archaeology, which started being considered as a science,
knowledge of the ancient time came from written sources, oral tradition, even beliefs, legends and superstitions. The remains of
architecture, coins with “mysterious inscriptions”, fragments of statues of gods and heroes, were the validations of previous times.
Also today, the life of the ancient Greeks and Romans stimulate not only the archaeologists and historians. But, unfortunately, the
“Hollywood” productions, computer games or blogs are most often the sources of this knowledge. Rarely people use the professional
literature.
The activities of reenactment groups are the one of the modern ways of collecting and promoting knowledge about ancient culture.
These groups have received a lot of criticism; also in relation to them the term “Disneyfication” has been created. It defines also the
process of “flattening” of the Past and bringing it to only a few items, usually the most spectacular, such as battles or ceremonies. In
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turn, these aspects of ancient times are actually the most difficult to properly be reconstructed, and for this reason a large
arbitrariness in using of the archaeological sources can be seen in many reconstructions. Obviously, many of these groups visibly
reduce and commercialize the culture of antiquity, but critics do not include all. It is necessary to appreciate these presenters who
care about historical realism in own reconstructions and support them by the archaeological, iconographic and epigraphic evidences.
And then “living past” may be regarded as one of the most interesting and effective educational forms for the wide public.
Dominas Konrad
Co się zmienia, a co pozostaje niezmienne, czyli jak badać antyk w literaturze i kulturze popularnej
Dymczyk Rafał
Sacrum versus profanum – recepcja św. Góry Athos w kulturze współczesnej
Fehlmann Meret
Universität Zürich
Die Antike in der populären Kultur und Literatur. Männlich gegen weiblich – eine Deutung der Antike
Eine Rezeptionsweise antiker Stoffe deutet diese als Ausdruck eines kulturellen, sozialen und religiösen Wandels von einer
matriarchalen Kultur zu einer patriarchalen Gesellschaftsform. Die Interpretation fungiert als eine Art Master Narrative, um über die
griechische Antike zu fantasieren. Sie kam in der Wissenschaft am Ende des 19. Jahrhunderts auf. Über die Vermittlung in
Romanform konnte sie sich an ein breites Publikum richten und ist bis heute beliebt. Man begegnet ihr im (historischen) Roman oder
in Ratgebern. Reisen zu archäologischen Fundstätten sind beliebt und Blogs zu solchen Themen werden unterhalten. Auch in der
Jugendliteratur ist diese Deutung der Antike verbreitet.
Mein Vortrag untersucht diese Darstellungsweise der Antike in der populären Kultur anhand unterschiedlicher Quellen.
Flamma Adam
University of Wrocław
Wirtualny antyk. Wykorzystywanie motywów antycznych a popularne gry komputerowe i wideo
History has been one of the main inspirations developers of video games. It is generally believed that the most important role in this
aspect belongs to the Middle Ages era, but the game history shows something completely different. Antiquity was the first epoch
which, with its history and culture, was the inspiration for game developers and had a great influence on the development of
multimedia entertainment such as Civilization series, Centurion or Zeus Master of Olympus. Antique era has become the world
depicted in many games, but also proved to be a real source of ideas for the game stories and their characters. The planned speech is
to show antique culture in video games, as well as paying attention to what elements of ancient culture are used in the context of
other eras presented in the games. The analysis will include both older titles as well as the newer, including the God of War series
and the Rise of the Argonauts.
Fulińska Agnieszka
Jagiellonian University in Krakow
Ancient motifs in anti-Napoleonic propaganda
The paper will focus on the ancient topics and motifs present first of all in the British pictorial caricature during the First Empire in
France. I would like to pose the question, to what extent such motifs were the answer or purposeful allusion to the official French
propaganda during the Revolution, Directory, Consulate and Empire periods, which – in accordance with the current fashion – very
amply employed ancient imagery and topics. By the analysis of this problem I would like to show the dynamics and tensions between
the official and the popular (even if the latter be directed or inspired from by official elements), which exist in all periods of culture
and are of great importance for the functioning of popular culture.
Garufo Agnieszka
Universität Opole
Philhellenischer Bildungsdilettantatismus und Eskapismus einer Monarchin. Achill und Artemis in Poesie und Bauphantasie der Kaiserin
Elisabeth von Österreich und in der Popularisierung ihrer Antikerezeption auf Korfu
Die Kaiserin Elisabeth von Österreich (Sissi) hatte sich aus den Pflichten einer Monarchin weitgehend zurückgezogen. Sie hat eine
Reihe unlängst veröffentlichter Gedichte hinterlassen und sich mit dem Bau eines Achill-Tempels auf der Insel Korfu einen privaten
Fluchtraum geschaffen.
Die Gedichte, aber auch ihr Phantasiebauwerk belegen ihre individuelle Rezeption antiker Gestalten. Diese wurde zum einen durch
einen romantischen Philhellenismus gespeist, der unter anderem durch Rousseau und Lord Byron vermittelt wurde, zugleich
erhielten antike Gestalten im Werk der Kaiserin, man denke an Achill, eine heroische Übergröße im Geiste Friedrich Nietzsches.
Die Gedichte der Kaiserin sind vor wenigen Jahren der Öffentlichkeit übergeben worden, der Achill-Tempel, der zu nächst als
Militärlazarett und Kinderheim diente, erlebte in den letzten Jahren des Ausbau zu einen massentouristischen Erlebnisort, der zwei
Funktionen „bedient“. Er erinnert an die berühmte Kaiserin und popularisiert die Antike für ein breites internationales touristisches
Massenpublikum.
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In meinem Vortrag möchte ich zum ersten die individuelle Antikerezeption der Kaiserin und deren politische wie psychische
Funktion nachzeichnen. Zum zweiten möchte ich nachzeichnen, wie und mit welchen Strategien das private Refugium des Achillleon
auf Korfu wieder hergestellt und zu einem Erlebnisort des Tourismus umgestaltet wurde.
Sicher dienen die Ikonisierung der Kaiserin und die erlebnishafte Präsentation ihres Griechenlandbildes auch dem Aufbau eines
massenkulturellen europäischen Gedächtnisses.
Gemra Anna
Nec Hercules contra plures: what the popular culture does with antiquity (outline of the problem)
There are plenty of more or less hidden references to antiquity in popular culture texts. Myths, themes, literary and historical
characters, historical events and also the knowledge of the world represented by the then scientific works, all they are used there.
There is probably no single element of the ancient culture unexploited by contemporary artists: authors, directors, game designers
etc. Their primary aim is to entertain the audience. Most of them, therefore, approach this heritage with a great freedom, trying to
reshape it so that it becomes attractive and brings tangible (financial) benefits. And benefits are brought indeed, but with side effects
that cannot be underestimated.
Gierszewska Maria
Ancient Rome, anything goes – handling of stereotypes in BBC series Doctor Who
The purpose of this paper is to analyze functioning stereotypical ideas about antiquity in the BBC hit production 'Doctor Who'. The
series depicts adventures of a humanoid alien from the TimeLords race, called The Doctor, who travels in time and space. Besides the
stories of saving single persons and whole civilisations, the series explores cliché opinions and visions about concrete elements of
the past and the future. Among the all episodes with historic plot connections with antiquity are quite common. It shows both vivid
interest in this subject to a modern recipient and stability of some images. Fixed and easily predictable are some personages (Cesar,
Cleopatra, Nefretiti) and keyevents (conquest of Britain, volcano explosion in Pompeii). The discussed topics and themes will be
analyzed in comparison with historical facts. Then, what will be subjected to discussion will be conventional ideas about ancient
cultures and ways of their visualizing. The summary will make it possible to draw some conclusions about the reception of ancient
elements in popular culture.
Grelka Maciej
Classical tradition in anime
The author discuss the problem of the reception of the Mediterranean classical tradition in popular anime created in the last 20.
years strictly in the area of influence of Japanese culture. The paper is limited to anime of the low and middle register. The author
does not value particular productions but shows loci communes as regards the aformentioned reception: complete submission to the
rules and patterns of the particular anime genres, fluent transition between the Western classical tradition and the contemporary (or
not-ancient) reality, inspirations taken from ancient Greek philosophy, the use of secondary mythological motifs. The paper indicates
that the usage of ancient motifs in anime is relatively unconstrained (even surprisingly from the point of view of European audience),
which might be the consequence of geographical and cultural distance between Japan and Europe and in the same time the
consequence of the lack of connotations related to individual characters and stories.
Jarosz Katarzyna
Życie codzienne detektywa w todze – powieści kryminalne w starożytnym Rzymie
Detective stories, that take place in ancient Rome, have been very popular for many years,. The aim of my presentation is to present
everyday life of a Roman detective, Didius Falco, the protagonist of Lindsey Davis novels, living in the Roman Empire under
Vespasian. The author describes life in Roman Empire and historical information is very accurate. She presents different aspects of
life, starting with food, clothes, habits, finishing with politics. A walk with Falco in Rome makes us feel as if it were a very close city to
us, although none of has been to Rome of the 1st century.
Jędrzejewski Maciej
Rom, Blicke Rolfa Dietera Brinkmanna, Der Schneemann Jörga Fausera i Faserland Christiana Krachta jako współczesne odyseje
niemieckojęzycznej literatury popularnej
Homer's Odyssey is probably one of the most famous works of the literature. Inspired by the main character of Odysseus, associated
with a multiannual wandering and the literary journey motif, writers from different eras and cultures try to refer to this ancient
Greek epic.
Antiquity and the connected to it presence of ancient heritage is visible also in the German culture and popular literature, which
would I – as a Germanist – present in my speech, on the basis of three selected German books: the autobiographical book Rom, Blicke
written by Rolf Dieter Brinkmann, Jörg Fausers crime novel Der Schneemann and Christian Krachts Faserland. All three authors are
famous representatives of the German popular culture, moreover in these three books the authors conscious made reference to
Homer's journey motif.
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In my speech I would like to answer the following questions: Is the presence of ancient heritage visible in the German popular
culture? How is it presented? How the journej motif appear in Rolf Dieter Brinkmanns Rom, Blicke, Jörg Fausers Der Schneemann and
Christian Krachts Faserland? Do they refer to Homer's Odyssey or other issues related to the ancient world?
Hernik-Młodzianowska Monika
University of Zielona Góra
„Brot und Spiele“ – Die antiken Motive in der Verfilmung des ersten Teils von Suzanne Collins` „Panem“-Trilogie – „Die Hungerspiele“
Die „Panem“-Trilogie von Suzanne Collins ist ein Beispiel dafür, wie oft und gerne die Autoren der Gegenwartsliteratur auf antike
Stoffe zurückgreifen. In ihren Texten bedient sich Collins in erster Linie der griechischen Mythen, insbesondere des MinotaurusMythos, der der Idee der Hungerspiele von Panem zugrunde liegt. Des Weiteren übernimmt die Autorin den römischen Kampf auf
der Arena für ihre Romane. Die antiken Stoffe und Motive werden gleichwohl mit der äußerst modernen Problematik der
anwachsenden Popularität der stets präsenten Reality-Shows jeder Art verbunden. Aus der Allianz der klassischen, antiken Stoffe
und phantastischer Zukunftsversionen sind All-Age-Texte entstanden, die den Kampf der Jugendlichen untereinander und gegen das
mit absoluter Macht ausgestattete Regime zum Thema machen. Als Bestseller sowohl für Erwachsene als auch für Kinder wurden die
Texte relativ schnell für die Leniwand adaptiert (Teil I und Teil II der Trilogie wurden bereits verfilmt). In dem Beitrag wird der
Frage nachgegangen, wie die antiken Stoffe und Motive im Medium Film funktionieren, welche Funktionen das Antike hier erfüllt, ob
seine Bedeutung und Aussage gleich bleiben oder den zeitlichen Umständen angepasst werden. Es sollte des Weiteren darum gehen,
welche filmsprachlichen Mittel die Filmemacher einsetzen, um die populäre Version der antiken Stoffe von Collins auf das Medium
Film zu übertragen.
Kaczmarek Zofia
The Gladiatorial Games in Hunger Games by Suzanne Collins. Some Thoughts on the Antique Culture in the Modern World
The Gladiatorial Games in Hunger Games by Suzanne Collins. Some Thoughts on the Antique Culture in the Modern World
The classical Culture is still considered to be fascinating, especially mesmerizing is the way it mixes beauty and cruelty in one
attractive package. Films and TV series, like for example
Gladiator or Rome, based on antique history become very popular. Moreover, antiquity rooted itself even deeper into our culture
what is clearly demonstrated in less obvious references to antique tradition in literature and films.
Hunger Games by Suzanne Collins is a perfect example of how the Antiquity can and still does inspire modern authors. The analogies
between the Hunger Games and the gladiatorial games are numerous, what should not be surprising as the author herself admits
that in her book she referred to an updated version of munera. What can the knowledge about these analogies give to the modern
reader? By comparing the differences and similarities between the Roman and fictional games I hope to prove that the antiquity has
rooted itself deeply into our culture and, moreover, that the genuine knowledge about antiquity is necessary to creatively alter the
reality that surround us.
Kaczor Katarzyna
University of Gdańsk
Gladiator by Ridley Scott as the quintessence of ancient Rome ideas in popular cinema
The subject of this paper is to analyze and interpret the image of ancient Rome presented in the film Gladiator of Ridley Scott as a
representative of the ideas of the Roman Empire operating in popular cinema and television productions. My goal is to identify the
sources, reminiscences and ways to reinterpret themes used by wizards feature film emblematic images of the ancient world, from
the silent era paintings by Italian peplum, Hollywood blockbusters 60s Twentieth century, until for contemporary television series.
Klęczar Aleksandra
Dawna Republika i Imperium Zła. Obraz starożytnego Rzymu w telewizyjnych serialach fantastycznych
In my presentation I would like to concentrate on the image of ancient Rome and the Romans in (mainly) science fiction TV series.
The films I am about to analyse cover the perion from the 1960s to the 2010s; these are mostly British and North American (USA,
Canada) productions (Star Trek, Stargate, new and old series of Doctor Who). I am mostly interested in two problems: firstly, the
sources and origins of Rome's image as presented in these series, and secondly, the motifs, topoi and stereotypes connected with
ancient Rome that seem most prevalent and important for these representations.
Kulig Agnieszka
Ostrożność – solidność – skuteczność. Motyw konia trojańskiego we współczesnej reklamie
The main purpose of this paper is presenting how Trojan horse theme might be reinterpret in contemporary advertising. The
analyzed examples are primarily derived from foreign printed/outdoor advertisement and related to some areas: food industry,
hygiene, motorization, services and the promotion of reading.
The paper also might give an answer to question which aspects of the Trojan War are commonly used by advert designers:
appearance of a wooden structure, the inside of war machine, moment when horse gained entry to the safeguarded city or others?
Analysis of adverts will be connected with analysis of advertising layout (mise-en-scène).
The summary will be containing the types of new meanings of Trojan horse: warning of danger, reliability and efficiency.
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Kulpa Karolina
Play antiquity: About the examples of the antiquity’s reception in children’s toys
The toy industry is a significant part of the global economy, generating billions of dollars every year. The companies producing toys
outdo each other in their bids for the youngest, not rarely referring in their products to antiquity what undoubtedly influence the
formation of children’s historical knowledge of this important for Europe and the world age.
In my speech, I would like to show the spectrum of toys for children which in name and description evidently invite to play the world
of ancient Greece and Rome. Through the comparison of puppets, dolls, blocks, board games or computer games, I would like to
answer the question do those toys help kids in gaining the genuine knowledge about our past or are they rather deprived of meaning
cliché, which does not reflect the antiquity, but simply the manufacturer's marketing strategy.
Lichański Jakub
Wątki antyczne w powieściach kryminalnych. Prolegomena do analizy retorycznej
Tradycja antyczna jest, pozornie tylko, bardzo prostą badawczo kwestią. Na pozór chodzić może o przywołanie w utworze
współczesnym np. toposów związanych z literaturą antyczną (jak np. w reinterpretujących klasyczne toposy utworach
romantyków), bądź ogólne powiązanie współczesnego utworu z problemami, które mają swe źródła w kulturze Hellady bądź Romy
(rzadziej – Bizancjum; np. utwory nawiązujące do poszukiwań grobowca Aleksandra Wielkiego, czy do np. życia słynnych postaci
świata antycznego bądź wczesnochrześcijańskiego).
Odpowiadając zatem na pytanie o tradycje antyczne w powieści kryminalnej musimy oddzielić kwestie czynnościowe od
przedmiotowych i podmiotowych. Zapewne z tym pierwszym rodzajem tradycji nie będziemy mieli w ogóle do czynienia; istotna
będzie jednak odpowiedź na dwa pozostałe pytania.
Pojęcie tradycja antyczna rozumiem zatem, w sensie przedmiotowym i podmiotowym, jako poszukiwanie odpowiedzi na pytania:
jakie dobra (duchowe) z antyku podlegają przekazywaniu. Odpowiedź na pytanie o stosunek danego pokolenia do przeszłości będzie
jednak bardzo złożona, bowiem raczej będzie ekstrapolacją pewnych intuicji oraz danych liczbowym.
Tradycję antyczną rozumiem wg opinii Friedricha Augusta Wolfa: to zespół pojęć ze świata idei, które pozwalają nam porządkować
nasze doświadczeni egzystencjalne. I to jest punkt wyjścia do analizy literatury kryminalnej. Jako narzędzie będą zastosowane
metody krytyki retorycznej.
Loska Elżbieta
Cardinal Stefan Wyszyński University in Warsaw
"Death wears a mask" by Steven Saylor.
Roman law in popular literature. References to antiquity, including the Roman law, are increasingly popular in popular culture, but
many of them are contrary to the knowledge we draw from historical sources. The books by Steven Saylor make an exception,
however. The story "Death wears a mask" is partly based on the preserved speech by Cicero Pro Quinto Roscio Comoedo.
Nonetheless, it is not a story of the civil lawsuit against the actor, but a story of the death of a slave Panurgus which led to that case.
In the text Saylor provides information on Roman law, including the question of the legal status of actors in ancient Rome. It would
be interesting to compare this literary fiction to what was preserved on the subject matter in the texts of the ancient writers.
Mazela Anna
Jesuit University Ignatianum in Krakow
Antique inspirations in fashion photography based on example of Eugenio Recuenco’s photography and works of photographer Léo
Caillard and graphic designer Alexis Persanie
European civilization, which was settled in ancient Mediterranean culture, through centuries linked ancient motives with archetypes,
which decided about its identity. Antiquity was present primarily in considerations about philosophical and axiological character
and sense and aim of human life. However, nowadays it appears very often in popular culture, which in the first place serves to
entertain and satisfy consumers’ needs.
The following paper focuses on the specific part of the pop culture: hybrid, which was developed by connection of art, photography
and advertisement. Fashion photography also refers to Greek and Roman mythological motives, however, it makes it in a different
way. Comparison of aesthetically finespun Eugenio Recuenco’s photography with photographer Léo Caillard’s and graphic designer
Alexis Persanie’s provocative project enabled me to show variety of reactions, which took place in perception and utilization of
antique heritage.
Mazurkiewicz Adam
University of Lodz
Recepcja antyku w kulturze popularnej. Wstępne propozycje rozpoznania zjawiska (na wybranych przykładach)
Szukanie odpowiedzi o przyczyny nieustającej fascynacji dawną kulturą wydaje się tym istotniejsze, że antyk jest wciąż ważkim
punktem odniesienia dla współczesnych poszukiwań artystycznych. Twórcy pop-kultury odpowiadają na rynkowe zapotrzebowanie,
toteż sposób, w jaki sięgają do tradycji antycznej wiele mówi przede wszystkim o nas samych, jako konsumentach wytworów kultury
popularnej.
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Z tego względu we współczesnej pop-kulturze epoka ta funkcjonuje w szczególny sposób. Wrażenie to pogłębia nie tylko
(nad)obecność w tym obiegu motywów inspirowanych kulturą antyczną i ich kontaminacja (postacie właściwe mitologii greckiej i
rzymskiej współwystępują w ramach jednej opowieści), lecz również sytuowanie ich w różnych — często poza mitologicznych —
kontekstach, dzięki wykorzystywaniu różnych strategii artystycznych (rekontekstualizacji, reminiscencji, gier kulturowych).
McHugh Mary R.
Gustavus Adolphus College, USA
The Art of Safe Speech: Schünzel’s Amphitruo
Greek New Comedy and the Roman comedies derived from it are not generally considered vehicles for political satire. Unlike Old
Comedy, especially Aristophanes’ devastating attacks on contemporaries, there are no definitive political references in Plautine
comedy. So it is surprising to find political satire in modern adaptations of Plautus’ Amphitruo, a mythological burlesque that retells
the story of Jupiter’s seduction of Alcmena in the guise of her husband, Amphitryon.
Some claimed that Molière’s adaptation of the play (1668) criticized the affairs of Louis XIV. Amphitruo was also adapted to the
cinema screen in Nazi Germany in 1935. Reinhold Schünzel’s Amphitryon (Aus den Wolken kommt das Glück), parodied the Nazi
regime. It is possible that neither Louis XIV and his court nor the Nazi censors anticipated the use of New Comedy as a vehicle for
political subversion and thus allowed the Plautine comedy, considered innocuous, to be performed.
There are traces in classical rhetorical treatises that point to just this kind of covert and therefore safe criticism being conveyed
through drama. Among others, the rhetorician Quintilian describes strategies that allow open statements against tyrants provided
such statements could also be understood another way. (Quint., Inst. Or. 9.2.67).
An analysis of the visual style and dialogue in specific scenes of Schünzel’s film will demonstrate that the ancient authors, and
probably also Molière, were astute in their understanding of how safely to criticize the powerful.
Miazek-Męczyńska Monika
Olympus of Grzegorz Kasdepke, or the mythology for the youngest children
The Greek mythology is not for children. It does not seem necessary to comment this statement. In the myths there are so many
rapes, murders, incestous relationships, unfaithful marriages, illegitimate children and crudelity of all kinds, that any responsible
father or mather can not read them loud to children before sleeping. Even Jan Parandowski, who is an author of still the most
popular edition of the Greek mythology for the youth, decided to separate some stories and published them in his „Only for adults
mythology”. Nevertheless modern Polish writers systematically try to rewrite new versions of the myths for the youngest readers. In
my paper I would like to present two books of Grzegorz Kasdepke, entitled „Mythology for children” and his own demythologized
vision of Greek Olympus.
Miączewska Anna
Maria Curie-Skłodowska University
Gladiatrix: Who is She? Modern Presentations and Perceptions of the Ancient Female Gladiators
The presence of women fighting at the Roman munera as gladiators has long been established as fairly valid historical matter, yet
never significantly enough for a proper study of the phenomenon of female fighters at the arenas. Their existence in the history is
marginalised since it is perceived as either insufficiently proven (regardless of the literary and archaeological sources) or
inadequately significant to be treated seriously (apart from a few renowned academics). Due to the negligence on this problem, the
perception of a woman who participated in gladiatorial combats in ancient Rome is very often distorted. This paper aims to present
and further analyse examples from a complex cluster of perceptions which define an ancient female gladiator as a modern-day
gladiatrix. The examination of contemporary literature, tv shows and cinematography allows to state that the image of an ancient
female gladiator has grown in the 20th and 21st century into a vision of a woman representing excessive aggression, exaggerated
vengeful nature, and finally, exceedingly emphasised sex-appeal, despite undertaking a rather uninviting male-role as an arena
fighter. Additionally, in the media of modern culture her gender does not become an obstacle in playing her violent part, but instead,
it elevates her to a position of a super-heroic protagonist. Gladiatrix’s emphasised sensuality creates a paradox since her fighting
skills appear as a direct antithesis of her femininity and, more interestingly, she becomes represented in a strict contrast to men,
appearing invincible and much stronger than her male counterparts. The tracing of modern examples will be compared in the paper
to the ancient evidence on female gladiators and the notion of a gladiatrix will be proven to be a specifically contemporary and
artificially constructed model of a fighting woman, which stands in opposition to the ancient ideas of female gladiators.
Mikołajczak Aleksander Wojciech
Motywy antyczne w designie wiecznych piór
Mitas Adriana
Film Journeys into Archetypal Regions of Myth
The aim of the present paper is pointing to the incessant vitality of myth, in particular ancient Greek and Roman heritage, and the
need of its successive realizations within variety of plots, genres and media, which offer still new ways of reading myth in the
secularized modern world. An attempt is made to account for this vitality through analysis of the functions of myth from
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psychological-cultural and adaptationist perspective. In the main part of the paper, an overview is provided of the motifs and themes
employed in American film productions of the last decade: Troy (Wolfgang Petersen), 300 (Zack Snyder), Percy Jackson and the
Olympians: The Lightning Thief (Chris Columbus), Percy Jackson: Sea of Monsters (Thor Freudenthal), Immortals (Tarsem Singh),
Wrath of the Titans (Jonathan Liebesman), with the analysis of the motif of quest and fight for a lost or desired object, person, and
status, archetypal model of a hero, themes revolving around the relationships between gods, heroes and ordinary mortals. In
conclusion, the contemporary film creators’ and audiences’ need is acknowledged to refer to the mythological sacrum sphere, to
search for plot patterns in the mythical scenarios, which is surely at least to some extent derived from a conviction that those film renarratives and reinterpretations may – in the “mythless existence” of today – fulfil the sense-inspiring and adaptational functions of
myths.
Oziewicz Marek
University of Minnesota, USA
Antiquity is NOW: Modern Strands of the Mythical Method in Contemporary Young Adult Fantasy
In what later became the seminal essay of fantasy criticism, J. R. R. Tolkien said that one peculiar effect of immersion in a fantasy
narrative is that the reader steps outside time and may appreciate the so-created understanding as somehow blending past, present
and future. Although his own fiction was set in a supposedly pre-historical past and was radically removed from the present, which
Tolkien loathed, fantasist who came after him developed strategies of using fantasy as a framework or a thinking tool where
antiquity and the present coexist in the same space. My goal in this essay is to take a closer look at the most common uses of the
trope of antiquity in modern YA fantasy and theorize them as strands of what T.S. Eliot once dubbed as “the mythical method.” I
suggest why the “Antiquity is Now” concept emerged to become central to many works of contemporary speculative fiction and I try
to account for its continuing appeal to 21st century audience.
Perzyńska Anna
Gwiezdne wrota – Przekształcanie historii starożytnej i antycznych toposów w kulturze popularnej
Contemporary culture, including pop culture, uses history and mythology not only the Greek-Romanian, but also Egiptian and
Scandynavian. These references are visible in quasi historic culture texts (movies, books, comics) such as Troy, 300; usage of
distinctive characters (Zeus, Poseidon, Thor etc.) and symbolic connections in titles i.e. Olympus Has Fallen. In my presentation I
would like to concentrate on those references presented in scripts to the series “Stargate”. Apart from the feature films and
animations the series consists of Stargate SG1, Stargate: Atlantis, Stargate: Universe. The references to the antiquity are visible in
each of them. However, in each series there is focus on a different topoi.
Piętka Radosław
A thrill for the Latinist. Latin language in horror films
Status of the Latin language in the modern world, a language that is neither alive nor entirely dead, could itself make it perfect
protagonist of the horror stories. It seems that the authors of horror films, however, are driven by different motivations when they
refer to Latin in their works. The decisive factor in this case is the fact that Latin is still perceived as the language of the sacred (and
therefore also, which is particularly important in this context, the language used for exorcisms). With a few examples of recently
made horror movies (Lars von Trier’s The Kingdom, Fright Night, The Cabin in the Woods...) I will try to show what are the functions
the Latin language performs in the films belonging to this genre.
Radziszewski Stefan
Wyższe Seminarium Duchowne w Kielcach
Facebookowe labirynty w powieści Pigułka wolności Piotra Czerwińskiego
Pill Freedom (2012) Peter Czerwinski is a novel about the condition of modern man. In the world of the Internet's freedom became a
great illusion. The only escape indicates the desire for love, but it turns out that the fictional Pygmalion changes in anti-Pygmalion
and take mistresses are apparent: after all, this is another incarnation of Venus de Milo.
Rapp Karolina
Die Antike in der deutchsprachigen Literatur der Gegenwart – Der Odysseus – Mythos in den Werken von Perikles Monioudis
Der Beitrag befasst sich mit dem Bild des modernen Odysseus in den Werken Die Stadt an den Golfen (2004) und Land (2007) des
schweizerischen Autors Perikles Monioudis und informiert über die Tendenzen der Antikrezeption in der deutschsprachigen
Literatur der Gegenwart. Im Zentrum des Referats stehen das anhaltende Wirkungspotential der antiken Tradition und ihrer
Lebendigkeit und die Frage nach der Aktualität des Odysseus-Mythos und nach Ähnlichkeiten und Unterschieden zwischen dem
mythischen Odysseus und dem zeitgenössischen Erben des homerischen Wanderers am Beispiel der oben genannten Texten.
Im ersten Teil des Beitrags wird kurz die Rezeptionsgeschichte und Darstellungsweise der Figur des Odysseus besprochen, der als
Inbegriff des entwurzelten, orientierungslosen und als Sinnbild der Reise ins menschliche Innere wahrgenommen wird. Die
Beschreibung des homerischen Helden wird durch die Theorien von Parandowski, Stanford, Kłańska (Reinterpretation, Renarration
und Präfiguration von Mythen) und Ziolkowski (der Begriff des zentrifugalen und zentripetalen Odysseus) präzisiert.
Der zweite Teil des Beitrags behandelt das Motiv des modernen Odysseus in den Werken von Monioudis. Folgende Aspekte werden
analysiert:
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


Die Namenlosigkeit, das Niemand-Spiel und der Niemand-Status des modernen Odysseus
Die Präsenz des Meeres und des Göttlichen im Leben des modernen Odysseus
Das Problem der Fremdheit und der Sprache als genuiner Bestandteil der Identitätssuche, als Instrument der Benennung und
Kartierung der Welt des Odysseus des 21. Jahrhunderts.
Ratajczak Marta
Zu antiken Motiven in Susanne Collins’ phantastischem Roman „Die Tribute von Panem. Die Hungerspiele“
Das Anliegen des Beitrags besteht darin, die Elemente der Antike in dem 2010 erschienenen Roman von Susanne Collins unter dem
Titel Die Tribute von Panem. Die Hungerspiele narratologisch zu untersuchen und ihre Funktion in dem zu analysierenden Text zu
hinterfragen. Dass antike Motive in diesem Roman von grundlegender Bedeutung sind, unterliegt keinem Zweifel. Schon der Name
des Landes Panem, der im Buchtitel erwähnt wird, leitet sich vom Ausspruch der Autorschaft des römischen Dichters Juvenal Brot
und Spiele (lat. Panem et circenses) ab. Die Hungerspiele, die in dem Roman thematisiert werden, erlangen hier jedoch eine neue,
aktuelle Bedeutung. Im Zentrum des Beitrags befindet sich nicht nur das Nachweisen der Präsenz der einzelnen antiken Motive im
Text, sondern vielmehr die Untersuchung der ihnen traditionell und neu zugeschriebenen Bedeutungen, die in Anlehnung an die
Theorie des Mimesis Kreises von Paul Riceur, der aus drei Komponenten (Präfiguration, Konfiguration und Refiguration) besteht,
realisiert wird.
Rekowska Monika
Popular culture or popularisation of culture – Classical Antiquity and literature for children
Classical Antiquity, understood as the Graeco-Roman civilisation, is an appealing subject exploited in popular literature which can be
easily noticed in many books for adults, nota bene - it often functions as a background for mystery plots. There is also a whole array
of novels and stories inspired by Classical Antiquity addressed to younger readers. Recently, this kind of books, written by Polish
authors, were listed and shortly presented in a catalogue entitled Polish Literature for Children and Young Adults inspired by Classical
Antiquity. Its analysis indicates that the main source of inspiration is mythology. However, there is some quantity of adventure’s
stories of young fictional characters in the world of ancient Greeks and Romans – a world which the authors portray with a varied
degree of attention to detail. One might also ask whether these books present aspects of everyday life in ancient times only as an
attractive and somewhat exotic backdrop for the adventures of the main characters – an approach that reduces them to mere
elements of popular culture – or whether they can complete the mission of popularizing the heritage of Classical Antiquity to the
young recipient of culture. In order to answer this question, the paper will present examples of books whose authors reached for
aspects of the ancient reality to present the world of Antiquity to young readers. The author of the paper will refer to her own
experiences writing such a book.
Rewerenda Magdalena
Antygona (nie)popularna. Problemy z recepcją postaci dramatu Sofoklesa w Polsce po roku 1989
In my speech I will examine Polish reception of Antigone (both the drama and the character) after 1989. I will consider possible
reasons for the unification of this character's image. This immobilization has led to the paradox: even though Antigone is the most
popular ancient heroine (due to solidified anti-communist interpretation fixed before 1989 and longstanding presence in school
reading lists), she hardly ever is being re-interpreted like Medea or Electra. Antigone's existence is reduced to thought and linguistic
clichés that once had been and still are being consolidated by media as well as a school education. I will analyze the situation in
which Antigone is overloaded with popular, common (but formulaic and superficial at the same time) knowledge and social
awareness and yet it makes the reception of this figure shallow and it limits other possible interpretations.
Rudolph Andrea
Universität Opole
Ausstellungsaufbau und Antike-Popularisierung. Überlegungen zur Einrichtung eines Johann Heinrich Voß-Literaturhauses in Penzlin
Die Erschließung der an literarischen Denkmälern reichen Kulturlandschaft von Mecklenburg-Vorpommern gehört zu den
vornehmsten kulturpolitischen Aufgaben des Landes. Industriell eher von geringer Bedeutung ist es vornehmlich der Tourismus, der
dem Land zu kulturellem Ansehen zu verhelfen vermag. In diesem Zusammenhang geriet der Literat der Aufklärungszeit Johann
Heinrich Voß, Sohn der Stadt Penzlin, erneut in den Blick von Stadtvertretern und Tourismusplanern. Voß hatte die Odyssee und die
Ilias des Homer auf kongeniale Weise übersetzt und kommentiert. Noch immer drucken bekannte deutsche Verlage Homer in der
Vossischen Übersetzung ab. Noch immer bieten Hörbücher diese und andere antike Texte nach der Übersetzung von Voß, der als
erster Pädagoge in Deutschland Homer als Schullektüre eingeführt hatte. Die Stadt Penzlin richtet in Zusammenarbeit mit den
Hallenser Germanisten Prof. Hans-Joachim Kertscher, Dr. Heidi Ritter und der Oppelner Germanistin Andrea Rudolph eine ständige
Ausstellung zu Johann Heinrich Voß ein. In der eigens hierfür sanierten spätbarocken ehemaligen Lateinschule, in welcher Voß
Schüler war, wird Vossens Popularisierung der Antike eine zentrale Rolle spielen. Die Ausstellungsmacher wollen ein breites
touristisches Publikum anziehen und insbesondere mit Schulen zusammenarbeiten, um Jugendlichen Angebote unterbreiten.
Natürlich müssen dabei Probleme der Vermittlung mit reflektiert werden.
Die vielleicht wichtigste Voraussetzung jeder Ausstellungsarbeit ist die Feststellung der hermeneutischen Differenz zwischen dem
Standort der ausgestellten Person und der Standortgebundenheit des Besuchers. Die mehr als 200 Jahre umfassende historische
Differenz bringt Schwierigkeiten mit sich: in sachlicher Hinsicht mythologisches Bildungsgut; erklärungsbedürftige Fakten; in
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poetologisch/rhetorischer Hinsicht eine Differenz zum heutigen Formen- und Sprachgebrauch. Dichterische Formen wie die Idylle,
die sich noch im ausklingenden 19.Jh. einiger Beliebtheit erfreute, sind heute ebenso passee wie allgemein versifizierte Formen mit
großem Textumfang. Goethe hatte gemeint, dass Vossens homerische Verse vor allem im Vortrag ihre Wirkung entfalten. Der Vers
als Gehörgröße, eine meist als „Ohrenphilologie“ betriebene Metrik, aber auch die Betrachtung des Verses in seiner Schriftform sind
heute weitgehend vergessen. Konkreter: Weg gesunken sind mindestens zwei Bildungswelten – der protestantisch-bürgerliche
Wertekosmos, der die bürgerlichen Idyllen mit ihrer patriarchalisch-behaglichen Familiendarstellung und „Alltagsheiligung“ prägt
und die Antike. Die Antike sank im Gedächtnis der Deutschen über zwei Stufen. Einmal bewirkte die Verschiebung von der Antike zu
historisierend altdeutschen Themen im 18. und 19. Jahrhundert ihren Bedeutungsverlust, man denke an die nationale Romantik mit
ihrer Akzentlegung auf Prähistorie und Mittelalter. Zum anderen führte der Bedeutungsverlust des Neuhumanismus in den ersten
Dezennien des 20. Jahrhunderts und die Aufgabe des Lateinunterrichts seit den 1920-er Jahren an den Schulen zugunsten neuer
Sprachen (Englisch) zu einem Schwinden antiker Bilder aus der Kommunikation. Dennoch aber gehört die Antike mit ihren
Vorstellungen, Denkweisen, ästhetischen Formen zu einer wichtigen Überlieferung. Wir müssen diese in unserer Zeitgegenwart
wieder fest verwurzeln. Mit welchem Strategien und Mitteln dies im Rahmen einer ständigen Ausstellung „Johann Heinrich Voß. Ein
Grieche aus Mecklenburg“ in Angriff genommen wird, möchte mein Vortrag zeigen und diskutieren.
Sawiński Paweł, Adam Jakub Jarych
Adam Mickiewicz University, University of Lodz
Miłość w starożytnym Rzymie oczyma twórców serialu „Rzym” – fakty i mity rzymskiej sypialni.
Love and thus the relationships associated with this feeling, from the very beginning were one of the most popular literary and
movie themes. Owing to the burning passion towards the Roman courtesans, the works of Catullus, Martialis or Iuvenalisa
developed, which at several points are filled with erotic verses. In this speech, however, the main source of information about the
Roman morality, is not from poetic works but from the series "Rome," which aired on HBO from 2005-2007. Roman morality was far
different from what people have get used to in the twenty-first century. Instrumental use of slaves, trysts in disorderly houses or
homosexual relationships were the staff of live for the wealthy Romans, who were indulged in the use of the attractiveness of the
bustling capital city. The authors in many cases presented their image of Roman love based on historical sources. Even by paying
attention to the political dimension of marriage ( Pompeius - Iulia, Pompeius - Cornelia Metella). However, in order to achieve a
commercial success, in many instances, the scenes were exaggerated and far different from the Roman moral standards (for instance
the romance between Servilia and Octavia). The main purpose of this article is to present the facts and myths, which motivated the
authors of the series “Rome” during the completion of one of the best film images of the ancient Rome.
Schleich Markus
Universität des Saarlandes
Der Ikarus-Mythos in der kontemporären Popularmusik
Der Ikarus-Stoff ist, trotz oder gerade wegen seiner Kürze und offenbaren Simplizität, einer der am meisten bearbeiteten Stoffe in
der Literaturgeschichte. Eingebettet in eine significant längere und komplexere Rahmenhandlung, der des Daedalus, hat der Sturz
des Jünglings Ikarus, der mit seinen Flügeln aus Wachs zu nah an die Sonne flog, die Literatur und bildenden Künste stets beschäftigt.
Dieser Vortrag will untersuchen, wie der Popsong, ein als sehr rezent wahrgenommenes Medium – dem zumeist eine gewisse
Simplizität oder Banalität unterstellt wird – mit diesem Stoff umgeht, der literarisch und intermedial schon Jahrhunderte bzw.
Jahrtausende tradiert wird.
Wer nun erwartet, dass sich die Popmusik, ausschließlich mit der Auslegungsmöglichkeit des Stoffes von Ikarus als Verliebtem, der
an sich an seiner Leidenschaft verbrennt, ausgeht, wie sie schon seit der frühen Neuzeit bei z.B. Otto von Meen existiert, der wird
enttäuscht. Songs wie Crystallized von The XX, Flume von Bon Iver oder Icarus von White Hinterland nutzen Ikarus, um über die
Figur als Bedeutungsträger verschiedener Diskurse nachzudenken. Ikarus selbst, eine oftmals sprachlose Figur, die immer zwischen
den Extremen Wagemut und Leichtsinn oszilliert, bekommt hier eine Stimme, um über seine eigene Identität frei von
Fremdbestimmung zu sinnieren. Die Song zeigen dabei ein starkes Reflexionspotenzial auf einer Metaebene, was sich dahingehend
deuten lässt, dass Ikarus sich über seinen eigenen Mythos erhebt oder aus dem eigenen Mythos herausfällt. Gleichzeitig machen alle
drei Songs auf unterschiedliche Art und Weise deutlich, dass der Stoff bis heute nichts von seiner Aktualität verloren hat. Eben weil
diese simple Geschichte so viel mehr zu transportieren vermag, als die wächsernen Flügel ahnen lassen.
Skwara Ewa
Filmowi Latine loquentes
Wbrew przeświadczeniu, że dzisiejsze społeczeństwo jedynie w niewielkim stopniu włada łaciną, kultura popularna wcale nierzadko
ucieka się do tego języka. Często jednak robi to w ściśle określonym „pozaantycznym” celu.
Referat będzie próbą spojrzenia na sposoby wykorzystania łaciny (i przywoływania kultury antycznej) w popularnych serialach
polskich ostatnich dwóch dekad (Rodzina zastępcza, Kryminalni, Hotel 52, Blondynka, Ranczo i inne). Na wybranych przykładach
będzie można dostrzec, jakie funkcje spełnia język Cycerona w dzisiejszym filmie – nie tylko sygnalizuje epokę czy gruntowną
edukację, ale także służy stygmatyzacji i jest sygnałem społecznego nieprzystosowania.
Referat przedstawi także sposoby, w jakie przywołuje się łacinę wraz z kulturą antyczną, tak by była zrozumiała dla odbiorcy.
Historia filmu pozwala wyraźnie dostrzec, jak na przestrzeni kilkudziesięciu lat zmieniły się metody prezentowania kultury
antycznej i referat postara się zasygnalizować także ten problem.
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Skowera Maciej
Panem et circenses. Antique motifs in the novel series The Hunger Games by Suzanne Collins
Planowane wystąpienie dotyczyć będzie obecności motywów antycznych w cyklu powieściowym Suzanne Collins Igrzyska śmierci.
Postaram się stworzyć ich typologię i zastanowić się, jaka motywacja ideologiczna przyświeca aktowi włączenia właśnie tradycji
antycznej w obręb świata przedstawionego cyklu. Rozważania zostaną wzbogacone o kontekst wykorzystania wątków pochodzących
ze starożytności grecko-rzymskiej w polskiej i zagranicznej literaturze dla dzieci i młodzieży. Przyczynkiem do rozważań będzie
wydany w 2013 r. katalog Polish Literature for Children & Young Adults Inspired by Classical Antiquity powstały w ramach
międzynarodowego projektu Our Mythical Childood..., w którym uczestniczyłem. Postaram się wykazać, w jaki sposób w tej
literaturze zmienia się sposób traktowania antycznych wątków, co jest uzależnione od mód i trendów w całej popkulturze.
Sobek Adam
Über den Mord an die Macht. Zu antiken Spiegelbildern von Leidenschaften des (post)modernen Kulturrezipienten anhand Simone Tives’
Kriminalromans Die Tage des Saturn
Die Präsenz altertümlicher Archetypen und ihrer Derivate im zeitgenössischen Komplex von Kulturerzeugnissen ist bei deren
Betrachtung, auch wenn sie oberflächlich ist, augenfällig. Die Wahrnehmung der Realität über die Literatur, Werbung und breit
gefächerte Medien ist ohne antike Fabeln und Bilder nicht mehr zu denken, was auf die Universalität und den Simplizismus dieser
Motive zurückzuführen ist. In meinem Beitrag kommt es darauf an, die Attraktivität und Unendlichkeit antiker Stoffe mit deren
unzähligen Auslegungsoptionen auf der sinnlichen Ebene aufzuzeigen. Grundlage dafür bilden sowohl Geschehen und Geschichte, als
auch die Ebene des Dikurses in Simone Tives’ Kriminalroman Die Tage des Saturn (2012). Ausgangspunkt der Überlegungen ist
hierbei die Frage nach Funktionen der interpretatorischen Instrumente der „hohen Kultur“ in narrativen Texten, die der populären
Literatur und folgerichtig der populären Kultur zuzuordnen sind.
Sobolczyk Piotr
The Institute of Literary Research of the Polish Academy of Sciences
Mit o homoseksualizmie greckim między modernizmem a postmodernizmem
The paper discusses the myth of „Greek homosexuality” which in the XIX/Xxthe centuries served as a „secret sign” to introduce or
suggest homoerotic content in philosophical, literary, medical and legal discourses. With Foucault’s “History of sexuality” and David
Halperin’s “100 years of homosexuality” the possibility of applying the term “homosexuality” to ancient Greek sexual pratice was put
into question. This point is adressed by Witold Jabłoński, Polish famous fantasy writer, in his popular historical novel “Fryne Hetera”
(2008). Constatnin Cavafy serves in the novel as the figure of modernist “Greek homosexuality” and he is confronted with Fryne who
depicts Greek sexual customs (including the discussion of the myth of “the homosexual Alexander the Great”, obviously influenced by
the cinema). This allows Jabłoński to articulate his own position on contemporary discourse about sexuality, which he prefers to see
not in the separatist gay & lesbian studies terms, but queer theory terms, much like in the scientific project of Halperin.
Stróżyński Mateusz
Mit Edypa w kulturze popularnej – antyk i psychoanaliza
The paper is a attempt to analyze the reception of the Oedipus myth in popular culture, referring to the three movies: “Minority
Report” by S. Spielberg, “Matrix” by A. and L. Wachowski, and TV series “Dexter”. I will try to show that the psychoanalytic
interpretation of the Oedipus myth functions in popular culture as a medium of reception. The influence of psychoanalysis can be
seen in subjectivization and psychologization of the meaning of the myth as well as in the concentration on the father-son
relationship and its impact on the masculine identity. An open question is to what extent psychoanalysis influences social reception
and interpretation of the myth, and to what extent it reveals its universal foundations. Regardless of the answer the fact is that the
work of Sigmund Freud has irrevocably changed the sense of the Oedipus myth in the Western culture.
Śmiechowicz Olga
Aristophanes and The Art Of Comics
In my paper I would like to explore the topic of the Reception of Aristophanic Comedies in cartoon stories: Οι Κωμωδίες του
Αριστοφάνη σε Κόμικς wrtten by Tasos Apostolidis and Jorgos Akokalidis. The main aim for its authors was to familiarise children
with ancient writer but we can observe lots of interesting details readable rather for adult readers.
I am going to describe:
-
How authors of these comics shows details typical for ancient theatre and the Old Comedy?
How they are familiarising young readers with elements from Greek History and Culture? (I.a.: Socrates, agon between
poets, Peloponesian War, sex strike of Lisistrata)
How they introduce intertextual allusions to the Modern Stagings of Aristophanes? (e. K. Koun productions from The Art
Theatre in Athens).
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Taterka Filip
Egyptianising Motives in the Products of Popular Culture Addressed for Younger Recipients
The origins of the phenomenon of Egyptomania or the reception of the ancient Egyptian motives independently from their original
context, date back to the very Antiquity. Mankind has always been fascinated with ancient Egypt due to her otherness and the
atmosphere of secret and mystery surrounding her. In modern times Egyptian motives are particularly willingly introduced to the
products of popular culture which are addressed for younger recipients (kids and teenagers) like books, movies, toys as well as
various kinds of internet applications which become more and more numerous with each year.
The aim of the paper is to present the selected products of pop-culture addressed for children and youths which are inspired by
ancient Egyptian culture. The analysis of the most characteristic examples will attempt to answer the question concerning the
reasons of using pharaonic culture in this kind of products as well as the role of the legacy of Egypt in the process of intellectual
formation of modern man.
Trębicki Grzegorz
Jan Kochanowski University in Kielce
Taksonomie literatury niemimetycznej – wprowadzenie
Problems connected with the taxonomy of broadly understood „fantasy”, „fantastic literature”, or, simply, „non-mimetic” literature
have been for many years a sphere of much controversy and have risen a considerable terminological chaos. This paper attempts to
analyze this issue. It primarily distinguishes between three types of discourses on non-mimetic literature – popular (cultural),
literary-critical and genological, at the same time analyzing diverse understandings of the very term „literary genre” characterizing
the respective discourses.
Trocha Bogdan
Między kalką a spekulacyjną rennaracją. Funkcje mitycznych cytacji w literaturze popularnej
Urbański Piotr
Lucyferdek and the Muse of Poetry, or the Classical Tradition in The World According to the Kiepskis
Świat według Kiepskich jest sitcomem emitowanym od 1999 r.; dotychczas zrealizowano 431odcinków. Przedstawiany w nim obraz
polskiej rodziny z dołów społecznych, prosty humor i zabawny język to jednak tylko jedna z warstw serialu.
Celem referatu jest opisanie nieoczekiwanie pojawiającej się w nim tradycji klasycznej, a zwłaszcza podjęcia schematów i wzorców
komedii Plauta. Trop ten jest w pełni uzasadniony choćby dlatego, że główny pomysłodawca serialu i współscenarzysta, Aleksander
Sobiszewski, był przez wiele lat najlepszym aktorem komicznym Wrocławskiego Teatru Pantomimy, stąd jego doskonała znajomość
rozmaitych konwencji komediowych jest oczywista.
1.
2.
3.
4.
5.
Podobnie jak w przypadku utworów Plauta, wyraźna jest wielopoziomowość odbioru, wynikająca z adresowania różnych
jego wymiarów do odmiennych grup publiczności.
Zróżnicowany język bohaterów ma na celu stworzenie wzorowanego na Plaucie mimetyzmu formalnego języka
potocznego.
Rozmaite sceny wzorowane są na schematach i zdarzeniach obecnych u Plauta i (rzadziej) Arystofanesa.
Pojawiają się bezpośrednie nawiązania do mitologii klasycznej (Orfeusz, katabaza, Muza), które w specyficzny sposób
budują akcję odcinka, a ich znaczenie i wynikający z niego komizm są dostępne tylko dla wykształconej publiczności.
Wspomniana technika jest elementem szerokiego wykorzystywania gry z tradycją kultury europejskiej (np. przejmowanie
schematu fabularnego dzieł literackich, np. Proces Kafki i inne).
Wałowski Paweł
Zum Bild des antiken Rom im Werk von Tanja Kinkiel
Wesołowska Elżbieta
Łacina dla młodych: Makuszyński i Musierowicz
The scope of my lecture is to demonstrate the role of Latin language in the works of two authors: Małgorzata Musierowicz and her
sequel of books devoted mainly to the teenagers hic et nunc, and Kornel Makuszyński and his novels written during the two wars. In
Musierowicz Latin is an exotic thing, ant the person knowing it is stigmatized as a strange man, although similar to the ancient sage
and noble man.
In Makuszyński the contact with Antiquity was far closer, however such a man was also a special creature. In the lecture the role of
Latin aphorisms, the way of their choise, and eventually the kind of the projected reception towards the young addreesee will also be
investigated.
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Winkler Martin
George Mason University, USA
The Destruction of Pompeii: Fact, Fiction, Film
Zieliński Karol
Antyczne cytaty Marka Krajewskiego
Marek Krajewski, the popular author of crime novels, publicly declares that he is a classical scholar by profession. In his novels he
creates a bygone world in which a knowledge of classical literature and heritage of antiquity is still alive. The characters of his books
frequently use ancient sentences and quotations from classical authors.
My aim is not verifying Krajewski’s erudition but assessing the nature of these quotations in the context of disappearance of a
quotation culture oral communication.
Zinkow Leszek
Jesuit University Ignatianum in Krakow
Pop-pharaohs. Notes on the Reception of Ancient Egypt in Modern Popular Culture
The heritage of the civilization of ancient Egypt—present in the European consciousness since the times of classical antiquity—is
one of the most intriguing phenomena in the area of cultural transfers. It was included in the cultural circulation by a variety of
instruments: attempts at more or less accurate scientific diagnosis and the most fantastic speculative interpretation. In the history of
modern European culture, one can point out a handful of impulses which have contributed to a greater increase in the interest in
Egypt: from the expedition of Napoleon Bonaparte (1798-1801) and its aftermath, through the rapid development of the science of
Egyptology and its spectacular discoveries, to the truly pop-cultural interpretation of the twentieth century. The article suggests
some of the key vectors of contemporary reception (for example, “Egyptian” memes) that highlight the wider context of the specific
Polish examples.
Organizers:
Laboratory of Interdisciplinary Studies in Humanities AMU in cooperation with
the Institute of Classical Philology AMU
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