Historical Memory of Romans as an Object of Modern Studies of Antiquity (New Papers on pompa funebris and imagines maiorum)

Изучение проблемы memoria и res publica в современной историографии включает в себя исследование погребальной процессии. В проанализированных в данной статье трудах историки по-разному видят приоритетность функций исторической памяти применительно к pompa funebris: К.-Й. Хёлькескамп выделяет коммуникативную, Э. Флаиг – обосновывающую, а У. Вальтер – и ту, и другую. Воспитательной функции pompa funebris больше других авторов новых работ уделил внимание Э. Флаиг. Аргументация исследователями вывода о точности передачи реалий прошлого в ходе pompa funebris способствует реабилитации исторической памяти римлян в целом, в том числе косвенно, как представляется автору статьи, и римского историописания. Обоснование антиковедами отсутствия фальсификаций в laudationes помогает смягчить негативное восприятие достоверности информации в elogia, имевших первоисточником, в числе прочего, и надгробные речи. Studying the problem of memoria and res publica in a modern historiography includes the investigation of a funeral procession. In the works analysed in this article historians differently consider the priority of functions of historical memory in respect to pompa funebris: K.-I. Hölkeskamp singles out the communicative one, E. Flaig – the proving one, and U. Walter – both of them. E. Flaig pays more attention comparing with the other authors to the educational function as well. The conclusion that the reconstruction of realities of the past was accurate during pompa funebris is well-reasoned by the researchers thus contributing to the rehabilitation of historical memory of Romans as a whole, including indirectly, by opinion of the author of this article, the rehabilitation of Roman works on history. The substantiation by researchers of antiquity of the absence of falsifications in laudationes helps to soften the negative perception of reliability of the information in elogia, having the graveside orations among other primary sources

Los grabados de la "pompa funebris" del Archiduque Alberto de Austria. Iconografía y fuentes

LA SERIE SOBRE LAS EXEQUIAS EN BRUSELAS DEL ARCHIDUQUE ALBERTO DE AUSTRIA EN 1622 ES UNA DE LAS MAS IMPORTANTES DE ESTE TEMA. CONTIENE 64 ESTAMPAS DE CORNELLIS GALLE SEGUN COMPOSICION DE JACQUES FRANCQUART, ACOMPAÑADAS DE TEXTOS QUE ENSALZAN LAS VIRTUDES DEL DIFUNTO, Y DESCRIPCIONES DE LA COMITIVA QUE ACOMPAÑO SU CUERPO DESDE EL PALACIO REAL HASTA LA IGLESIA DE SANTA GUDULA, DONDE SE INSTALO EL TUMULO CON UN RICO PROGRAMA ICONOGRAFICO, PROBABLEMENTE INSPIRADO EN CESARE RIPA (ABC/LAG)

Laska marszałkowska Macieja Kazimierza Sarbiewskiego jako pogrzebowe kazanie panegiryczne

Udostępnienie publikacji Wydawnictwa Uniwersytetu Łódzkiego finansowane w ramach projektu „Doskonałość naukowa kluczem do doskonałości kształcenia”. Projekt realizowany jest ze środków Europejskiego Funduszu Społecznego w ramach Programu Operacyjnego Wiedza Edukacja Rozwój; nr umowy: POWER.03.05.00-00-Z092/17-00

Informacyjność a ozdobność tytułów w tekstach żałobnych XVII wieku

“Pompa funebris” of the 17th century, was not only a coffin portrait but also a mournful text in verse or in prose, including numerous sermons. They were usually printed as separate texts, and only renowned preachers, e.g., P. Skarga, included them in their books. Such texts were criticised for excessively long titles and ornamentality, because the then conceptism has not been taken into account. Conceptism valued the amazement of listeners and readers by means of, for instance, ornamentality of metaphors and very numerous imaginary and surprising allusions to heraldic elements. If we isolate three main parts on the title page, it becomes manifest that it is the title which is visibly ornamental. Also, the part providing exact information about the deceased person surprises us with praises in her/his honour and a complex naming system of positions and offices. Similarly, the information about the authors (apart from the recognized poets) is very detailed and amplifies their positions and titles. We discern in the above a reflection of the writing “fashion”, compliant with the presumptions of Baroque rhetoric and stylistics, but also the conviction of the nobles (magnates), searching for confirmation of their value through superlatives and conspicuous manifestation of wealth and weirdness