Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 5

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
EN
The paper aims to promote a neglected, and consequently little‑known, writer of the period of the Polish Enlightenment – Wincenty Ignacy Marewicz (1775–1822), the author of, among others, poems, writings in verse and prose, a collection of sayings, as well as comedies, dramas and an opera. The publication discusses some of the elements of the publishing framework (including dedications, prefaces, epigraphs, and lists of works already published) which the writer used in his dramatic works and which include important information about him, his work and life. The paper is a kind of reconnaissance to pave the way for further research on the above‑mentioned subject.
EN
Frugal literary legacy of Adam Naruszewicz (be was an author of fairy-tales) has never been a subject of circumstantial research. It has never aroused any acknowledgement among literary historians. This very fact encouraged me to deeper learning of fairy-tale craft of this outstanding poet. I also came to the conclusion that particular qualities of fairy-tales by Naruszewicz would be more meaningful if I made a comparison of his creative work features with those of other representatives of this literary genre of the second half of the 18th century, i.e. Stanislaw Trembecki, Ignacy Krasicki and Julian Ursyn Niemcewicz. Although Naruszewicz takes a substantial place in the Age of Enlightenment it seems that certain features of his poetry present in the fairy-tales can be found in works of certain representatives of this genre; his fairy-tales are an interesting stage of story-telling branch of this literary form.
DE
Polnisch-ukrainische Literaturverbindungen haben lange und vielseitige Serschichte. Auf den Schicksal der polnischen Tradition des literarischen Lebens von Ukraina hat das Schaffen des Fürsten von polnischen Dichtem Zeit der Aufklärung des Bischofs Ignacy Krasicki, von allem mit seinen Märchen, ziemlich großen Einfluss ausgeübt. Am Anfang des XIX Jh. führt Krasicki, von Dichtern-Übersetzem, beispielsweise von Piotr Hułak-Artemowski und Lewko Borowykowski, geholfen, nicht nur neue Ideen und Themen, sondern auch poetische Aussageformen in die ukrainische Literatur ein. Die forliegende Arbeit stellt allgemeine Bemerkungen als Ergebniss der Konfrontation einiger Werken von beiden ukrainischen Schriftstellern und bisher durchgeführten einleitenden Analysen dar.
RU
Предметом анализа в статье является приписываемая в свое время Юлиану Урсыну Немцевичу «трагическая опера» Винцентия Игнация Маревича Полюся, дочь колесника, или Освобожденная вольность… Эта пьеса напоминает аллегорическую драму политического характера, где за персонажами скрываются реальные фигуры, такие как: Свободский (Станислав Август Понятовский), Пшемоцкая (Екатерина II), Потенжницкий (Потемкин), Цеменжницкий (русский посол), Литосницкий (прусский король) и, наконец, заглавная Полюся как аллегория Польши. Драма была опубликована анонимно во время Четырехлетнего сейма (в 1789 и 1791 г. без указания места издания). Из­за ее антирусского характера она была подана как перевод с русского. Пьеса вызвала огромный интерес, о чем свидетельствуют, в т.ч., большое количество экземпляров, переписанный от руки текст целиком и рукопись предисловия к произведению. Кроме того, в 1794­1796 гг. оперу перевел на русский язык Василий Анастасевич – библиограф, переводчик, издатель журнала «Улей», популяризатор польской литературы в России (автограф этого перевода находится в настоящее время в Национальной библиотеке в Петербурге).
EN
The article’s subject of discussion is the ‘tragic opera’ by Wincenty Ignacy Marewicz, "Polusia, córka kołodzieja, czyli Wolność oswobodzona…" [Polusia, the Wheelwright’s Daughter, or Liberty Freed…], attributed at one point to Julian Ursyn Niemcewicz. The play resembles an allegorical tragedy of political nature, in which the characters conceal real-life figures, such as: Swobodzki (Stanisław August Poniatowski), Przemocka (Catherine the Great), Potężnicki (Potemkin), Ciemiężnicki (Russian envoy), Litośnicki (Prussian king), and finally, the eponymous Polusia, as an allegory of Poland.The tragedy was printed anonymously during the Four-Year Sejm (1789 and 1791, without a place of publication). Due to its anti-Russian character, it was published as a translation from the Russian language. The play was met with immense interest, which can be demonstrated by, among other things, the numerous prints, a handwritten copy of the entire text, as well as a manuscript of the preface to the work. Moreover, in the years 1794 to 1796, the opera was translated into Russian by Vasily Anastasevich – a bibliographer, translator, publisher of the “Улей” magazine, and promoter of Polish literature in Russia (a draft version of the translation is currently stored in the National Library of Russia in Saint Petersburg).
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.