It is the objective of this paper to analyse selected English Renaissance translations of the Book of Psalms in the light of their reception. In particular, I intend to illustrate how a strong preference for a familiar rendition over a new one (regardless of its quality and status) showed itself in the textual composition of the most important book of the Anglican Church – the Book of Common Prayer. Discussion of the Psalm translation selected for the five successive versions of the Book of Common Prayer against the backdrop of the emergence of new renditions of the Psalms leads on to formulating a desideratum for sound methodology which would express the level of similarities between texts in mathematical terms and in this way objectivise assessments of Psalter renditions. The paper offers a preliminary attempt at such methodology by applying the cosine distance method. The obtained results need to be verified on a larger corpus of data, but they are promising enough to consider this method an important step towards assessing Psalm translations.

The main topic of this paper focuses on the interdependencies between the 16th century historian’s craft and the legendary origo gentis. Two specific examples would be analysed: Marcin Kromer’s Sarmatian origine of the Poles and Nicolaus Petreius’s Cimbrian origine of the Danes. The general presentation of non‑political and non‑ideological presumptions for accepting the mythical past known from the medieval texts delivers the background on which it can be grasped, how Early Modern historians treated that tradition. The analysis of the working methods would be also preceeded by showing the variety of approaches observed in terms of the topic: when dealing with the ethogenetic theories, the historians decided to use polemical oration/treatise as the main form. Another form: the legendary history was applied for presenting the past “before” and “after” the process of shaping the nation/state. The scholarly methods used by both historians included both tradition and novelty: ethymological deductions, endorsment of the classical authorities (and obviously, the Bible), forgery, but at the same time impressive erudition and attempts to addopt some historical criticism.

The article contains a multifaceted analysis of Jan Kochanowski's poem “Zuzanna” in a comparative approach to the biblical prototype. Maintaining the conclusions of previous researchers stating the classicization that Kochanowski subjected the original story, the article clarifies the opinions formulated so far too univocally by examining the plot layer, the structure of the presented world, and in particular the characters, the manner of narration and the stylistic layer. In conclusion, it is stated that the humanistic consciousness influences the way the characters are built and the narrative (which has not been noticed so far), although at the same time the versification refers to a certain extent to the medieval poem.

The article presents a series of five cultural renaissances which took place in the Western World from the 3rd century BC to the 15th–16th centuries AD. One feature which all these renaissances had in common was a type of technological turn which either triggered or helped to spread renewed interest in literature. The end of the 20th century and especially the beginning of the 21st century has been witness to a major technological revolution. Some signs of literary and philological renewal can also be observed, especially in the field of classical studies. All this has led some scholars to believe that we are currently heading for the sixth Renaissance.

The article is devoted to travelogues written by Ivan Kovtun and Ivan Mikitenko, poorly researched authors of Ukrainian literature, representatives of the phenomenon of the Executed Renaissance. The article aims to identify the key features of the Ukrainian travelogue that were formed during 1924-1925 years within the joint Soviet literature process. The analyzed texts represent two main themes of travel literature of 1920s: the ‘own’ space of Soviet republics and ‘other’ space of foreign, bourgeois countries. Despite inheriting ideological rhetoric and the main tendencies of the Soviet travelogue, the position of an ‘author of proletarian literature’ doubles and deepens regarding the narrator’s hypostasis as a Ukrainian writer. Ukrainian discourse (Ukrainian land, language, culture, literature) is set on both – the personal and literary – levels, particularly it occurs in specific sensitivities about one’s ‘own’ and ‘other’ space.

The main goal of the paper is an attempt to find specific models for Stephen Báthory’s medals with the reverse LIVON(ia) POLOT(ia)Q(ue) RECEPTA and to precise the general opinion, repeated from early 17th century, that the engraver borrowed the appearance of his specimen from a Roman coin of emperors Vespasian and /or Titus. An analysis of the iconography and the inscriptions layout suggests that there were Vespasian’s sestertii RIC II2 161–162 with the mirror-reversed picture or figures from Titus’ sestertii RIC II2 150–153 which had an impact on the reverse of the Polish king’s medal. The paper presents also the medal as a part of propaganda actions of the Polish court after the Truce of Jam Zapolski in 1582, because at the same time panegyrics Gratulationum triumphalium ex Moscoviticis orationes III by Andreas Patricius Nidecki and De bello Moscovitico commentariorum libri sex by Reinhold Heideinstein were published.

The article deals with two issues: (1) the research method of father Georges Florovsky used in his study entitled The Ways of Russian Theology (1937), which is regarded a classic in its genre, and (2) the practice of scientific research conducted with the use of this method. The article is supplemented with Florovsky’s opinions, expressed in letters to his brother Anton, a professor at the Charles University in Prague, concerning the scientific achievements of the authors and scholars whom he met with or whom he came to work with after his departure to the USA (1948). The content of this correspondence has remained hitherto unpublished.

The holdings of the Kórnik Library include a small printed book by Walenty Schreck published by the Königsbergian printing house of Johann Daubmann in 1559. At the beginning of the book, there is a hand-written dedication from the author to Duke Albrecht Frederick, a son of Albrecht of Prussia (von Hohenzollern), and a versed poetic work. Since the volume was a gift to a juvenile duke (and indirectly to his father), it was bound in a masterly manner: in covers with rich, almost entirely gilded ornamentation and with gilded edges. The paper offers an analysis of this book-binding work, taking similar objects from Polish collections and information from relevant literature as a point of reference. This allowed a thesis that the object is a representative creation of the leading 16th century Königsbergian book-binder Kaspar Angler, in which he used several of his characteristic decorating tools (such as a roll with fi gures of cupids and putti, a roll with a cortège of a king and bishop, and 3 medallion plaques with Biblical scenes). Taking into account its high artistry and almost untouched condition, the work seems to be one of the most impressive objects of the 16th century European bookbinding industry in the collection of the Kórnik library. Its high historical value also results from its provenance – it originates from the ducal library in Königsberg.

The article discusses the complex issues related to 19th-century reproductive prints. Its starting point is the oeuvre of Feliks Stanisław Jasiński, a Polish engraver who was mainly active in France. He specialized in reproductive prints of works of art, and is a relatively well- -known and researched figure in the history of Polish graphic arts. Outlining the context for his activities also becomes a contribution to reflections on the place of reproductive prints in 19th century artistic culture, as well as an attempt to define a framework for considering this type of graphic production. In citing various examples of modern reproductive graphics, its diversity is proven. Theses on the primacy of the criterion of “fidelity” and technological determination in the history of reproduction are rejected. Instead, the complex links between this field and various aspects of artistic culture are pointed out. Particular emphasis is placed on the links between the functions, form and production methods of such prints. Chief consideration is given to the type of reproductive graphics made by using traditional metal techniques, which apart from their informative functions, also performed important artistic functions, as evidenced by the described phenomena occurring within this field in the second half of the 19th century, and the accompanying written tradition, formed since the 18th century.

After moving to Italy in 1856, Teofil Lenartowicz, inspired by the great Italian art and supported by the best Florentine artists of the time Giovanni Dupré and Enrico Pazzi, began studying sculpture. Lenartowicz’s sculptures were always connected with literature: his work shows howone influenced the other. It is no accident that his style as a sculptor has been called ‘poetic’ by the critics. The Polish immigrant was fascinated by the Italian Renaissance, and especially by the art of Lorenzo Ghiberti. At the same time, he never forgot about Polish folklore, which played a significant role in his artistic vision. One of the most impressive examples of this intersection of influences is the bas-relief The Holy Workers, complemented by a poem bearing the same name.