The text is based on the analysis of the historiographic and literary work of Miron Costin, who held positions of primary importance in the military, administrative and political life of the Principality of Moldavia during the central decades of the 17th century. In particular the narrative structures of his chronicles are examined, which are often inspired by the texts of contemporary and earlier Polish historians. Furthermore, the contribution to the affirmation of the Latinity of the Romanian people is clarified, when the question had not yet been put on the agenda. Finally, the echoes of Greek and Latin classicism are identified in the verses of the poem La vita del mondo (The Life of the World), steeped in motifs and modules of the overflowing spirit of the Baroque era.
Drugi numer czasopisma „Fabrica Litterarum Polono-Italica” poświęcony został w znacznej mierze postaci królowej Bony Sforzy d’Aragona, niezwykle barwnej osobistości historycznej, personie ważnej dla dziejów Polski. We Włoszech trochę zapomnianej, chociaż lepiej pamiętanej w Bari, ponieważ w tym mieście spędziła ona młodość i ostatnie chwile swego życia.
The author of the article draws a literary portrait of Jan Grotkowski (a forgotten poet of the Baroque period) based on four poetic works by Jan Andrzej Morsztyn. Consequently, an interesting figure of a writer, diplomat, and influential participant in international politics emerges from the darkness of oblivion. He is connected with the figure of Queen Bona only by a mysterious death. Thus, he is included in the list of people who, as Kantecki claims, “fell victims to the matter haunted somewhat by the curse of Queen Bona”. Trying to solve the issue of “Neapolitan sums,” Grotkowski, like Reszka, Mąkowski and others, died in unexplained circumstances.
The article conjoins several interpretative perspectives. The first one focuses on Kazimiera Alberti’s volume of poetry entitled Usta Italji [The Mouth of Italy] published in the 1930s, in which Alberti unconsciously predicts her future. Her poetic excursions into Italian cities, enhanced by autothematic tropes, reveal the writerly-feminine subjectivity. What the biographical discourse delineates there is the frame for affective experiences, such as melancholy, sadness, and passion.