18. gadsimta rīdzinieku modes tērpi Johana Kristofa Broces zīmējumos

Author(s): Edīte Parute / Language(s): Latvian Issue: 19/2016

The legacy of the student of Baltic local history Johann Christoph Brotze (1742–1823) has always attracted researchers of 18th century Latvia’s culture and art. His collection in ten volumes, Sammlung verschiedener Liefländischer Monumente, Prospecte, Wapen, etc. (below Monumente) in the Academic Library of the University of Latvia contains visual documentation and descriptions of townspeople’s everyday life, customs, entertainment and social transformations. While examining the visual specificities of clothes worn in late 18th century Riga, the author of this article discovered many locally peculiar and interesting evidence of city dwellers’ wish to follow the latest fashions of the time. The first volume (Riga Views, People and Buildings, 1992) of the academic publication of Brotze’s legacy Zīmējumi un apraksti (Drawings and Descriptions), with materials from the 3rd volume of Monumente, gave a deeper insight into the clothing habits in Riga, revealing the meaning of the visual message of attire in the cultural-historical scene created by late 18th century Rigans and city visitors. The transition from Rococo to Classicism became the leading factor in the fashion trends of Vidzeme at the time, bringing corresponding motifs to art and fashion. The ethnic and social composition of the population in the second half of the 18th century significantly influenced Riga’s visual image – as seen from Brotze’s drawings, a rather motley and peculiar scene emerged here, manifesting both topical European phenomena and a mix between various ethnic elements and the fashion of the day. Drawings of city dwellers’ clothing in Brotze’s collection testify to the diversity of Riga in the 1770s–1790s. This scene displays the originality of townspeople’s clothes, testifying to uneven changes in the fashion field. In some cases there are just some modern details but other Brotze’s drawings show a Rigan whose costume represents the current fashion tendencies in Western Europe. Brotze saw the Latvian servant girl in a national costume skirt as well as German chambermaids in starched bonnets and richly decorated shawls, middle-class women in fashionable English-style street costumes and Riga’s German children whose clothes manifest the then current European trends. Page 56 of the 3rd volume shows a German middle-class girl. Her light summer dress, possibly of cotton or fine muslin, is adorned with contrasting silk ribbons. Silk ribbon around her neck also complies with the robe à l’anglaise of the 1780s. With the emphasis on the angular cut of the neckline we sense a synthesis of the fashion elements of Rococo and Classicism. The girl’s attire is complemented by an apron that became fashionable in the late 18th century and is not always related to the image of a servant. At that time the city’s middle-class women also wore aprons increasingly more often. German merchants were active in Riga and their clothes demonstrate features typical of business attire of the time with references to the strict lines of Classicist fashion. The topicality of this trend in Rigans’ clothes also shows in the apparel of servants, officials, accountants and valets who strived to be closer to European fashion. In their clothes, Riga’s craftsmen, their apprentices and journeymen demonstrated both specific characteristics of their craft and modern accents. Merchants, craftsmen’s and servants’ clothes retained references to their ethnic origins. At the same time, the wish to identify with the international character of Western fashion could be stronger than local and ethnic traditions. This largely applied to Riga’s Germans whose attire demonstrates the French and / or English style of the time. Brotze also met Latvian peasants, small traders and street vendors, capturing certain references to topical nuances of the time. Riga’s Latvians, despite luxury regulations that still in the late 18th century prohibited them wearing clothes as modern as those of the Germans, attempted to wear at least something in line with contemporary fashion. One of Brotze’s drawings on page 57 in the 3rd volume shows a Latvian salmon vendor wearing a spotted salmon-coloured jacket corresponding to his occupation, short grey breeches, hazy blue stockings and black shoes with buckles. He wore a black hat that is considered traditional headwear of Latvian men in Riga and its surroundings. Among the visitors to Riga, Brotze’s drawings show Dutch seamen, a Lithuanian nobleman from Brest in the attire of his native region, Polish Jews who worked in the city as middlemen and factors as well as Russian merchants and Polish noblemen. Brotze also saw the splendid costumes of upper-class women whose appearance reflected current tendencies in French fashion on the streets of Riga. A wealthy lady in urban street costume is depicted on page 63 in the 3rd volume. Her coral-pink polonaise with decorative looped-up overskirts and light hem with a horizontal ribbon band represents typical Classicist-period fashion appropriated from the European courts of the 1770s–1780s. The brightest colours in Brotze’s drawings, however, are seen in soldiers’ attire; their uniforms and their parts – tricornes, cavalry boots and powdered wigs – reveal in a concentrated way the wider presence of European fashion tendencies in Riga. To this day Johann Christoph Brotze’s observational drawings of the streets of Riga provide an idea of the diverse fashion scene fully representing the synthesis of Classicist and Rococo fashion in the late 18th century. This was a period when both international and nationally specific elements of costume were introduced in Rigans’ clothing, thus demonstrating the readiness of various social strata to accept the latest fashion tendencies and replace the old habits of dressing. Fashion more or less embraced all layers of society, strengthening its influence and gaining increasingly more dynamic development in Riga too.

The Concept of “Black Humour” at French and Greek Writers

Author(s): Maklena Nika / Language(s): English Issue: 3/2015

In the article in question, it will be analyzed the concept of “black humour”, one of the four main pillars, which sustained the surrealist creativity. In more specific terms, they are: automat writing, insane love and objective chance. As one of the strongest expressive means of surrelist writers, black humour turned into their symbol in order to better convey the objection against the reality of time. Colorations of black humour will be analyzed in comparative platform at the following writers: Francis Picabia, Jacques Rigaut and Nikos Engonopoulos, who converge into a common thematic point – death. Through the analysis of several parts selected by them, I will also reveal the similarities in expression, poetical images used, but on the other side, their particularities as well.

DŹWIĘK W PRZESTRZENI HANDLOWEJ

Author(s): Halina Portalska,Marek Portalski / Language(s): Polish Issue: 41 (1)/2015

The paper presents the influence of the acoustic background on the behavior of customers, their residence time in the observed space and the interest in offered goods in the commercial spaces. Among tested acoustic backgrounds were different kinds of intentionally created acoustic backgrounds (some of them created by the authoress), and also, for a comparison, the neutral acoustic background of the given space. The observations of customers’ behavior and the questionnaire survey were used in the research. The authors proved that a type of the acoustic background has a crucial impact on both the manner of customers’ movement and their shopping preferences.

Rola marketingu w rozwoju rynku sztuki

Author(s): Anna Rogozińska / Language(s): Polish Issue: 1/2016

In the following article is analysed the problem of changing the art work statutes. It happened with the significant participation of market infrastructure and visible effects on the functions of art world and it’s institutions. Discussed is also the transformation process of the art work into a product that was a result of consumer goods marketing influences. This marketing concept was confronted with it’s alternative version – with relationship marketing. There is a real chance, that relationship marketing used in the management of the art world institutions and on the art market, will defend subjective perception of art work in front of commercialized mass culture and art industry, as well as technologically determined economy.

Quemadmodum Desiderat Cervus, the Psalm 42 (41): artistic interpretations and imagery

Author(s): Rosângela Aparecida da Conceição / Language(s): English Issue: 2/2016

This article presents the analysis of the artistic interpretationsand the imaginary representations of Psalm 41 (42), present in the motif ofthe chained deer that was represented in the ecclesiastical textiles of theCathedral of Brandenburg, dating from the third quarter of the 14th century,with reproductions executed in the second half of the 19th century and thebeginning of the 20th century, with some copies in the Historical andArtistic Collection of the Venerable Third Order of Saint Francis ofPenance of the City of São Paulo (VOTSFPCSP) and the Collection of theSão Bento Monastery in São Paulo. In addition to textiles, we have theanalysis of the Wilton diptych (c.1395-9), belonging to the NationalGallery of London, as well as the relief on the altar of the Chapel of theBlessed Sacrament of the Abbey Basilica of Our Lady of the Assumption.Our analysis has as a theoretical basis 'The Commentaries on the Psalms'of Saint Augustine (1997), the work of Albert Rouet (1994) that deals withthe relation between art and liturgy, methodology for the study of the imageand its uses by Bock (1859 ), EH Gombrich (2012a, 2012b) and Panofsky(1990, 1995), with the support of the study in heraldry by William Berry(1828).

A novel painted monument. Byzantine Art between Aesthetic Redefining and Dogmatic Perennity. The church Saint John the Baptist of Bârnova

Author(s): Mihail Gheaţău / Language(s): English Issue: 2/2016

Being remarkablethrough the monumentality andelegance of proportions, thearchitecture of the Church “SaintJohn the Baptist” from Bârnovaderives from the so-called oldWallachian style, skillfullyreshaping a structure whichcombines elements which arespecific to Byzantine Balkanicecclesiastical buildings. Theunseen pictural work of ȘtefanConstantinescu is characterized bythe attempt to associate the resultsof experiencing freedom ofinterpretation and expression withthe rules of the iconographiccanon, inside the same ensemble.Its representations do notreproduce the traditional Byzantinemanner, nor it is delivered as aform of quoting reality, but it is filtered and interpreted. From a theologicalpoint of view, the author respects the iconographic program, except for thetopographic placement of some episodes, adapting the discourse accordingto the configuration and features of the liturgical space. We are in front ofa case which places us in the position of managing the relationship betweenthe value of artistic creation and the meticulosity of theologicalinvolvement. Neither Byzantine, nor realistic, the artistic solution of themural painting from Bârnova is closer to the manner of iconictransfiguration than to the one of improvisation or artistic intermediationthrough which the daily tridimensional world is reflected.

La nouvelle vie des objets d’art

Author(s): Codrina Laura Ioniţă / Language(s): French Issue: 2/2016

Orestes bojownikiem ruchu oporu, czyli mit Atrydów w filmie Podróż komediantów Theo Angelopoulosa

Author(s): Iga Łomanowska / Language(s): Polish Issue: 08/2016

The paper examines the use of the Atreides myth in Theo Angelopoulos’s film The travelling players (1975) in the context of the director’s interpretation of the phenomenon of myth. Angelopoulos treated myth as a set of archetypical situations and patterns of conduct constantly reproduced in the history of the world. He intertwined elements of classical stories with the history of Greece and the Byzantine tradition, thus showing their universal character. In The travelling players, Angelopoulos used the story of betrayed and murdered Agamemnon, who is avenged by his children: Orestes and Electra, but he moved it into modern times, setting the film in Greece of the 1940s and 1950s. The myth is reproduced with modulations: the most important events take place as a result of interventions of History, not fate or decisions of the gods. Moreover, the characters’ conflicts are enriched with a political dimension, as Angelopolous portrays the discord between their ideological stances. But the members of the acting company are as helpless in the face of events as the family of the king of Argos.

Cyrkulacja śladów Zagłady w polskim imaginarium – między stadionem a galerią sztuki

Author(s): Justyna Kowalska-Leder / Language(s): Polish Issue: 2/2016

The starting point of this text, devoted to the circulation of tropes of the Shoah in Polish imagery, is Sławomir Buryła’s article, “Topika Holokaustu. Wstępne rozpoznanie” (2012). Instead of the research on the presence of loci communes of the Shoah in Polish literature, the author proposes the analysis of manifestations of traces of the Holocaust in contemporary Polish culture. The inspiration for such an approach is Barbara Skarga’s conception put forward in “Ślad i obecność” (2002). References to the Holocaust appear in various literary, cinematic and theatrical contexts, but also in journalism, Internet entries, street art and graffiti, and even chants sung in the stadium. They are driven by different intentions, their form reveals diverse cultural competencies, and yet they belong to one communication code. Therefore, an attempt at an analysis of tropes of the Holocaust in contemporary imaginary, in which communicative signs circulate despite class, regional or generational differences, seems to be legitimate, even if these tropes are not equally legible in all the situations and for all the people. Such an analytical work would include tracing their historical changes, but first of all it would make it possible to treat traces of the Holocaust as the tropes leading to the main problems of Polish identity narration and collective memory.

Генезис истории архитектуры древнего Кыргызстана

Author(s): Natalia Prokhorova / Language(s): Russian Issue: 1/2014

Nucleation process architecture of the ancient Kyrgyzstan, the historical forms and patterns of organization skusstvennogo space, which originated in the bowels of a nomadic society.

Çocuklar ve Kadınlar: Geç Osmanlı Döneminde Sinema Hakkında Bir Mütâlaa

Author(s): Özde ÇELİKTEMEL-THOMEN / Language(s): Turkish Issue: Special/2016

Children and Women: An Observation on Cinema During the Late Ottoman Era is an attempt to understand and explain the discourses and practices of Ottoman dominant class (bureaucrats, elite, and intellectuals) over children and women spectators regarding cinema and film screening venues. This work does not encapsulate the total cinema history during the late Ottoman era. However, it focuses on a number of important archival documents that portray the concerns of "immorality" in films, such as obscenity, violence, and crime, as well as those that give information about the spectator profile and other entertainments at film screening venues. Firstly, the goal is to follow the concepts of "national values" and the "national generation" about children regarding the criticisms of film content and screening venues. Secondly, this work takes into account is women spectators in relation to Islamic law, religio-moral obligations and reshaping of gender roles at the time. Refik Halid [Karay]’s Troubling Cinema (1918), records collected from the Prime Ministry Republican/Ottoman Archive, as well as periodicals, literary works, and memoirs make up source material. This work suggests that the discourse and practices about children and women spectators are at times protectionist and patronizing, at times didactic and elitist.

Towards a Sociology of the Portrait

Author(s): Peter Burke / Language(s): English Issue: 04/1992

Books by: Enikő Buzási, Lome Campbell, H.P. Chapman, Audrey Spiro and Richard Vinograd. Enikő Buzási: Régi Magyar Arcképek—Alté Ungarische Bildnisse (Old Hungarian Portraits) Tatavár—Szombathely, 1988, VIII + 111 pp. Lome Campbell: Renaissance Portraits: European Portrait-Painting in the Fourteenth, Fifteenth and Sixteenth Centuries, New Haven, Yale University Press, 1990, XIII + 289 pp. H. Perry Chapman: Rembrandt’s Self-Portraits: a Study in Seventeenth-Century Identity; Princeton, Princeton University Press, 1990, XIX + 189 pp. Audrey Spiro: Contemplating the Ancients: Aesthetic and Social Issues in Early Chinese Portraiture Berkeley, Los Angeles and Oxford, University of California Press, 1990, XV + 259 pp. Richard Vinograd: Boundaries of the Self: Chinese Portraits, 1600-1900 Cambridge, Cambridge University Press, 1992, XV + 191 pp.

Ever Newer Forms. An Exhibition of Central European Avant-garde in Vienna

Author(s): Júlia Szabó / Language(s): English Issue: 03/1994

The art exibition review: Wille zur Form. Ungegenständliche Kunst 1910-1938 in Österreich, Polen, Tschechoslovakei und Ungarn by Jürgen Schilling, ed

Les sources des Citations peintes sur les phylactères des Saints de la rangée inférieure de la façade de l’Eglise de La Résurrection de Dieu du Monastère de Suceviţa

Author(s): Constantin I. Ciobanu / Language(s): French Issue: 2/2015

This study aims to discover the literary sources of the quotations painted on the phylacteries of the saints on the bottom row of the regarding the façade of the Church of the Resurrection of Christ of Suceviţa Monastery. This study is part of a series regarding the sayings of the fathers from the desert, the confessors, the anchorites and the stylites painted on the southern façade of the Church of The Annunciation of the Virgin from Moldoviţa . The author of the study shows that the quotes from Suceviţa are largely drawn from the Alphabetical Collection of the Sentences of the Fathers of the Desert.

The City-Place as a Work of Art. Introduction

Author(s): Maria Popczyk / Language(s): English Issue: 35/2016

In this paper I will attempt to look at the city-place as a work of art. Such an approach will allow us to take into consideration its aesthetic, sensual and reflective qualities and, at the same time, contemplate those aspects which go beyond the philosophy of art, such as practical needs of everyday life. I analyze the opinions expressed by Olsen, Christie Boyer and the architects, Le Corbusier and Kevin Lynch. The positive view of the place emphasizes the role played by its shape and layout, by the sense of security and beauty, by harmony, sensuality and emotions, and by the sense of belonging and identity. The city, however, also means ruins, abandoned places invisible to its inhabitants. I examine an approach adopted by Urban Explorer and underline the aesthetic and artistic way of depicting the city. In the final part I discuss the spatial-temporal dimensions/indicators of the city as a work of art.

Seeing is Believing. Anthropological Visions of Culture

Author(s): Jarema Drozdowicz / Language(s): English Issue: 2/2013

The main argument of the article tends towards the assumption that the visual sphere of culture is one of the most signi cant features of human agency and it is closely connected to the process of constructing particular worldviews. The scienti c discourse that follows the issue of visuality has therefore a long history of transitions and paradigm shifts, just like the cultural discourse in general. Cultural anthropology developed with the passing time also its own way of seeing things, especially when it comes to the conceptualization if cultural otherness. Visual anthropology, understood as an independent anthropological  eld of study, gained with time much recognition amongst other social sciences, being part of a much broader visual turn in the social sciences. What is signi cant the contemporary image discourse shifts its momentum towards the „native’s point of view”, i.e. it recaptures the reality in terms of subjective and culturally conditioned ways of percepting the world.

Main Features of the English Gothic Novel

Author(s): Elena-Maria Emandi / Language(s): English Issue: 6/2016

The present work is intended to highlight some general lines common to the English Gothic literature mainly until the 1890s. After locating literary Gothicism and presenting some general features shared by the Gothic novels, attention will be paid to the atmosphere, the stock features, narrative techniques, themes and symbols present in such type of writings. A special place is played by the language of terror that generates fear, awe, suspense, emotion, excitement, ontological uncertainty. As far as the Gothic aesthetics is concerned, the illustrative examples are meant to certify once more the place of the Gothic novel among the texts embodying and evoking cultural anxieties.

Znajomość pandy wielkiej w starożytnych Chinach

Author(s): Gościwit Malinowski,Lina Wu / Language(s): Polish Issue: 9/2016

In modern times giant panda becomes an informal symbol of China, almost as popular as images of dragon, a mythical creature and heraldic animal of China till 1928. There is an astonishing contrast between today’s popularity of panda and an almost total lack of images and mentions of this animal in ancient times. Bai xiong ‘white bear,’ a local Chinese name for giant panda was registered for the first time only in 1869, by Father Armand David, who discovered giant pandas for the Europeans, the first image of panda was printed in a French zoological book in 1874, the first logo with an image of panda was created by pilots from the American Volunteer Group in Kunming (Yunnan) in 1941. If we add to this that the word xiongmao, a modern Chinese name for giant panda, is a phraseological calque from English bear cat created at the beginning of the 20th century, that panda became subject of the traditional Chinese painting in the mid of the 20th century and the literary motif of panda gained ground only after success of a popular song in 1983, we are faced with the problem of explaining, why giant panda was unknown to ancient Chinese art and literature. Some Chinese scholars assume that panda was known by other names in ancient China. Hu Jinchu enumerates a list of 25 such names, however Slovak sinologist Stanislav Vavrovský proves, that only some of them may actually mean giant panda, although the unambiguous and decisive arguments are lacking. The authors of this paper assume that giant panda was known in ancient China, however it was not differentiated as a separate species but was regarded simply as a bear (xiong). The authors present the role of bears in the mythical stories about the origin of Chinese civilization, the archaeological findings of bear bones in neolithic and bronze age tombs, as well as the images of bears in ancient Chinese art till the end of the Han dynasty. They talk through two common bear species in China: Asian black bear and brown bear, whose some subspecies are sometimes called white. The authors take notice of the fact that the known contemporary image of giant panda as a black-and-white animal is due to the discovery of the black-and-white Sichuan subspecies of this animal by Father Davis what follows that the first specimen known to Europeans became normative subspecies. However in ancient times the giant panda habitat was much more than modern refugial areas mostly in Western Sichuan mountains. The authors assume that ancient Chinese had an opportunity to meet with other pandas, e.g. from Qinling mountains, near Xi’an, a former capitol of China, than with the normative in our times subspecies of giant panda from Sichuan. The Qinling panda (Ailuropoda melanoleuca qinlingensis) is very rare in our times and having a dark brown and light brown pattern instead of „typical” black and white seems to be atypical. In ancient times because of this brownish pattern Qinling panda could not be discerned from the common brown bear. The authors assume that whenever there are images and mentions of bear in ancient Chinese art and literature, we cannot automatically exclude giant pandas.

Археологическият комплекс Крастава могила при село Драгоданово, Сливенско

Author(s): Diana Dimitrova / Language(s): English,Bulgarian Issue: 20/2012

In August 2010 Krastava Tumulus became subject of full archaeological research. A central grave, four ritual platforms and a fire were discovered therein. A person was probably cremated and buried in a one-step pit dug in the south-east part of the tumulus. The grave goods can be split in three groups. The first one covers the personal jewelry of the particular Thracian well-born man/ woman: a gold appliqué with no image, a gold lunula, a massive gold earring and a gold ring with carneol intaglio with the image of a bee. The second group comprises bronze and clay vessels of different sizes and shapes. All vessels refer to the libation and/or washing practices before, during and/or after the performed ritual. Among these vessels there are at least three clay pitchers and three bronze wash basins of different sizes. One of the basins is a tripod and might have been used either as a podanipter (vessel for washing the feet) or a cauldron. The vessel’s legs are shaped as winged sphinxes with four lion’s paws each, staying firmly on a pedestal formed as a large lion’s paw. The main sphinx elements are emphasized by means of silver coating on the bronze. The third group of grave goods consists of different beads, amulets, small-size cult objects, and a silver mirror. These are the so-called ‘Zagreus’ toys’. According to the myth the child Zagreus was playing with those toys, and when he looked into the mirror, he got torn in seven pieces by the Titans. These objects were presumably used in that person’s lifetime for ritual practices such as fortune-telling. Thus they suggest the priest function the deceased used to have in the Thracian society of the Roman Age. One of the beads is scarab-shaped and has a hole to be worn on a string; a scene is engraved on its flat side, representing a right-profiled man’s figure standing before a sacrificial altar and predicting the fortune by stargazing. The priest’s function is once more emphasized by such attributes as scepter and rhomb. The object might have been an amulet, worn either in a leather pouch or on a string. The iconography of the scene is of eastern origin and represents a pattern rooted back in the centuries and millennia like the seal of the Sumerian priest Hashhamer from the late 3rd millennium B.C. or the plate of King Meli-Shih from the Babylonian Kasyt Dynasty in 12th C BC. A two-wick clay lamp, fragments from the casing and decoration of a toilet-ware wooden box, as well as a silver coin of Emperor Trajan dated to 103 or 104 remain outside the above-mentioned three groups. The early 2nd c. is the final date of the burial in Krastava Tumulus. Immediately after the cremation in the center of a flat platform south of it must have taken place certain post-ritual practices as for ex. ritual banquets around a fire enclosed by slab-stones. As a whole, the grave in Krastava Tumulus is dated to the very early 2nd c. and comprises grave goods utilized over a long period of time and handed down from generation to generation. On one hand, the lack of weapons suggests that the buried person may have been a woman and this is supported by the small size of the gold finger ring. On the other hand, a man is depicted on one side of the scarab-shaped amulet. Hence the buried person, having the status of a priest, fortune-teller or magician, might have been of male or female sex. And since there is not enough bone material for anthropological research, it is impossible to specify the sex of the individual, who used to hold the secret knowledge of the ancient Thracians transmitted orally amongst the initiated.

Пророчествата на много(на)дарения

Author(s): / Language(s): English,Bulgarian Issue: 20/2012

The submitted essay deals with the origin and development of the mythological figure of Polydorus (the translation of the name from Ancient Greek means as much as „many-gift[ed]”) and its eventual rooting in well-known ritual practices in Ancient Thrace. Although the name comes up already in Homer’s Iliad, in ancient-Greek literary tradition it is generally associated with Euripides’ tragedy Hecuba (dated to ca. 425 BC, mostly because of the occurrence in its text of allusions to the revival of the Delos Festivities in 426 BC). The whole conception of the tragedy Hecuba seems to be organized namely with a view to the localization of the tragic action in Thrace, in an explicit Thracian context; this fact has presumably led a number of researchers preoccupied with its study to the assumption that the mythological figures of Polydorus and of the Thracian king Polymestor are not to be regarded as a result just of Euripides’ purely poetical fantasy – they have rather been loaned from some local “gloomy” myth from the Thracian Chersonese. Does it seem possible to reconstruct an eventual cult situation pre-conditioned by the Thracian localization of the action of the tragedy feeding up the tragic characters in Euripides’ tragedy? The exposition is organized in 3 main groups of source problems: 1. In the first place is considered the mythic-literary complex related to the epiphany and prophecies of Polydorus in the context of Euripides’ tragedy Hecuba and its literary tradition. The appearance of the ghost of Polydorus deliberately removes the pathos of the tragedy from the figure of Achilles and his traditional ritual space in Troas (eventually near Sigeon, where the ancient authors localized Achilleion and the burial tumulus of the hero) in Thrace, and, respectively, on the Thracian Chersonese. Through the incorporation of the ritual space of the Thracian Chersonese into the range of events in his tragedy Euripides created a new model of the dramaturgic space, also adding a new functionality to it by means of the metaphoric image of Ancient Thrace as identification of the specific border area and borderline situation of the tragedy crisis. One may suppose however that the author suggested this particular approach in the literary interpretation of the mythological material not so much as a response to his dramaturgical prototypes – whoever they might be – as rather as following the logics of the Thracian localization of the events of the tragedy action. 2. All this also very clearly indicates the post-Euripidean tradition about Polydorus considered in the second place in the submitted essay. After the staging of Euripides’ tragedy Hecuba in the last quarter of the 5th century BC the mythological figure of Polydorus “was revived” only during the 2nd century BC through the imitations of Roman tragedians like Ennius (Hecuba), Pacuvius (Iliona), and Accius (Hecuba). The mythological narrative about Polydorus in Latin literature – especially the version of Pacuvius (Iliona) and the Chronical of the Trojan War, referred to Dictys of Crete and dated to AD 4th century – is an original evolvement-interpretation of the Euripidean tradition merging anonymous sources of mythology with Homeric elements. 3. The most significant tendency of development of the mythological narrative on Polydorus offers the tradition connecting Polydorus’ prophecies with the founding of the city of Aineia (Αἴνεια; Aene(i)a; alternatively – Aineiadai as designation of its inhabitants, as well as of the city of Aenus situated on the shore of the river Hebros), assigned to Aeneus. This tendency reveals an earlier circle of sources, alternative to the tradition of the foundation of Alba Longa, where Aeneus founds an eponymous city in Thrace and dies (or – his father Anchises) being buried there as a heros oikistes. An integral moment of a great part of the mythic-literary versions is the specific cult situation surrounding an underground mystery sanctuary (tumulus or cave) with a prophesying (anthropodaemonized) “Bacchus’ prophet” identified with the epic hero Polydorus. Certainly, the Roman authors oriented their efforts towards the developing of the conception on the foundation of Alba Longa by Aeneus, omitting the earlier mythographic details about the stay of the hero in Thrace. 4. Finally, last but not least, the literary material is analyzed in the Dionysian context of the tragedy conceptualization of Euripides’ Hecuba, where oracular dreams, prophecies and Bacchic associations frame up the mythic-dramaturgical events as a whole. The outlines of the Dionysian ritual space, in which the action of the tragedy Hecuba is embedded, appear dramaturgically sealed by some additional artistic strokes deliberately loading the women of Troy with Dionysian characteristics. The conclusion yields the hypothesis that we may possibly be facing a literary, respectively dramaturgic reinterpretation of a cult situation surrounding an underground mystery sanctuary (tumulus or cave) with an anthropodaemonized “Bacchus’ oracle” prophesying there, in this case identified with the (pseudo-) Homeric hero Polydorus. It seems very probable that Euripides merged the image of the epic hero Polydorus, generally associated with Dionysos, with the figure of the local Thracian anthropodaemonic prophet, towards which a sanctuary with an oracle site of Dionysian type leans, thus laying the beginnings of a new literary tradition. The pattern of the mythical creation might appear identical with that of the tragedy Rhesus ascribed to Euripides. Reconstructible seems also the steady mythological core and the ritual complex related to the founding of a new city, along with the required underground mystery sanctuary (tumulus or cave) with a prophesying (anthropodaemonized) oracle (“Bacchus’ prophet”) there, as an alternative to the Delphic oracle site.