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«Poesis Artificiosa»

Between Theory and Practice

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Edited By Agnieszka Borysowska and Barbara Milewska-Wazbinska

Poesis artificiosa was known in the literary heritage of ancient Greeks and Romans, and in the Far and Middle East. Its tradition was preserved in the Middle Ages and practiced later. Poesis artificiosa gained an unprecedented popularity in the Baroque – a period most inclined towards all manner of special effects. The aim of this book is to present problems related to the Neo-Latin pattern poetry created from the 15th to the 18th century in Central Europe, mainly in the Polish-Lithuanian Commonwealth, German Pomerania, and Silesia. In the initial chapters, the authors discuss the practical application of pattern poetry in religious works, in compositions intended for the commemoration of the departed, and in poems featuring panegyric content. The remaining chapters refer to its theoretical aspects.

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Ars Combinatoria as a Poetics On the Presence of Combinatorial Structures in the Late-Baroque Artificial Poetry. Maciej Pieczyński

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Ars Combinatoria as a Poetics On the Presence of Combinatorial Structures in the Late-Baroque Artificial Poetry Maciej Pieczyński The Institute of Literary Research of the Polish Academy of Science Ars combinatoria is a frequently mentioned category in the studies on the baroque or mannerism. As a general discipline, it more or less corre- sponds to what is now commonly referred to as combinatorics. As de- fined by Athanasius Kircher: Est itaque ars combinatoria facultas arithmologica, qua quoties et quot modis compluribus principiis et terminis assumptis illi inter se permutari et diversimode per compositionem et resolu- tionem comparari docetur, quae et pro varia rerum comparan- dum ratione varia est.1 Among these specific areas the author mentions are ars combinatoria ana- grammatica, which deals with combining words and letters, as well as el- ementaris, which circa elementarium qualitatum permutationes possibiles ver- satur2 and which could be located in the area of former physics or alche- my. No abstraction from the content of sets, which were to be subjected to combinatorial transformations, decided about specific status of pristine combinatorics: it was not only a formal discipline, like mathematics or logic, which provides tools to describe reality for today’s scientists, but also practical, located at least partially in the paradigm of manufacturing arts. 1 Athanasii Kircheri e Soc. Jesu Ars Magna Sciendi: in XII. libros digesta qua nova et uni- versali methodo per artificiosum combinationum contextum de omni re proposita plu- rimis et prope infinitis rationibus disputari, omniumque summaria quaedam cognitio comparari potest...

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