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Les cas des fi gures. L’analyse stylistique du texte dramatique au XVII siècle

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Bajer M.
Annales Neophilologiarum
|
2010
|
issue 4
5-25
EN
The article deals with stylistic aspects in the analysis of 17th-century drama in France. In their critique of dramatic elocutio, pamphlet and poetic authors ascribe an expressive function to fi gures of discourse. This concept has strong roots in rhetorical theory, in whose development in the 17th century may be observed a characteristic evolution: from the initial valorisation of concepts of thought (such as hypotyposis), authors confer basic expressive functions to fi gures of construction (syllepse, ellipse, pléonasme, hyperbate). Also founded on poetics, the stylistic analysis of texts valorises only certain types of fi gure: the strictly dramatic function is ascribed above all to fi gures of thought, and sense. It is interesting that 17th-century poetics does not ascribe dramatic functions to fi gures of construction, which allows the limits of the infl uence of rhetorical theory on stylistics in poetics to be defi ned.
PL
Przedmiotem artykułu są aspekty stylistycznej analizy dramatu w XVII wieku we Francji. W swojej krytyce dramatycznego elocutio autorzy poetyk i pamfl etów przypisują figurom dyskursu funkcję ekspresywną. Ta koncepcja jest silnie osadzona w teorii retoryki, w której rozwoju w XVII wieku można zaobserwować znamienną ewolucję: po początkowej waloryzacji fi gur myśli (np. hipotypoza), autorzy przyznają podstawowe funkcje ekspresywne fi gurom konstrukcji (syllepse, ellipse, pléonasme, hyperbate). Również prowadzona na gruncie poetyki analiza stylistyczna tekstów waloryzuje tylko pewne typy figur: ściśle dramatyczna funkcja przyznawana jest przede wszystkim figurom myśli oraz sensu. Interesujący jest fakt, iż poetyka XVII wieku nie przypisuje funkcji dramatycznych figurom konstrukcji, co pozwala uchwycić granice wpływu teorii retoryki na stylistykę uprawianą w ramach poetyki.
2
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Les sources et les directions principales du discours sur l’imagination au XVIIe siècle en France: critères philosophique et rhétorique

100%
Bajer M.
Annales Neophilologiarum
|
2012
|
issue 6
55-70
EN
The aim of the article is to explore the main tendencies in the seventeenth-century discourse of imagination in France. Contrary to commonly held opinions, extremely different estimations of imagination formulated by classicistic writers do not always call for referring to the deeply philosophical opposition between Aristotelianism and Plato-nism. Praise and criticism of imagination frequently constitute the rhetorical modalities of discourse, built on the same basis of the scholastic taxonomy of the government of souls that can be traced back to a common source, namely the treatise "De anima" by Aristotle.
PL
Celem artykułu jest zbadanie głównych tendencji dyskursu o wyobraźni w XVII wieku we Francji. Wbrew utrwalonym ujęciom, skrajnie odmienne waloryzacje wyobraźni dostarczane przez klasycystycznych pisarzy nie zawsze wymagają odwołania do głębokiej filozoficznej opozycji arystotelizmu i platonizmu. Pochwała i nagana wy-obraźni stanowią często retoryczne modalności dyskursu, nabudowane na tej samej filozoficznej podstawie, którą jest scholastyczna taksonomia władz duszy wywiedziona ze wspólnego źródła: traktatu "De anima" Arystotelesa i jego późniejszych komentarzy.
3
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Tragedia i dwór. Stan faktyczny oraz polemiczne użycie stereotypu w historii polskich przekładów Corneille’a i Racine’a

100%
Bajer M.
Pamiętnik Teatralny
|
2018
|
issue 4(268)
55-86
EN
The reception of the plays by Pierre Corneille and Jean Racine through translation, which began in the 17th century, was a breakthrough moment in the history of Polish tragedy. By the time of Jan Andrzej and Stanisław Morsztyns, the royal court had become a privileged circle of receiving the French model of serious drama. The trend continued in the 18th century, but the interest of translators in the output of the two tragedians spread into first aristocratic and then nobility courts as well. A notable example from the Saxon times is a fragment of a 1715 translation of Corneille’s Le mort de Pompée that can be found in a silva by Stanisław Wincenty Jabłonowski. Racine’s work, on the other hand, inspired magnate translators, such as Udalryk Krzysztof Radziwiłł or Seweryn Rzewuski. The ties with the court theatre could also be found in the way Piarists, and Stanisław Konarski most notably, put on school theatre spectacles. The trend lived on under the reign of Stanisław August Poniatowski as well. Additionally, there was a surge of interest in French théâtres de société. At courts, the translations of French classical tragedies continued to appear either in manuscript (Stanisław Wodzicki) or in print (Wojciech Turski). After the reign of Stanisław August, the tradition of court theatres still influenced the reception of French tragedies, but in more indirect, and sometimes surprising, ways: confronted with the difficult situation of the genre in the repertories of commercial theatres, for example, Osiński produced Corneille’s Horace (1802) as an amateur play in order to popularise it. Theatre criticism of the Towarzystwo Iksów [the Exes’ Society], intent on promoting tragedy, was connected with the court through the social status of its members and their actions behind the scenes. In the last of the abovementioned periods—to some extent due to the Towarzystwo Iksów whose actions inadvertently exemplified some criticisms levelled by European critics of the time, like Schlegel—negative associations surrounding French tragedy and the court as a place of moral decay, overly ritualistic behaviours and insensitivity towards problems of society as a whole came to the fore. This, however, does not fully define the stereotype of courtliness ascribed to the work of Corneille and Racine. In Kopystyński’s life, translating Racine appears to be a perfect otium for an educated nobleman living in his family mansion in the country. In the post-partitioning period, a legend about the staging of Le Cid at the court of King Jan Kazimierz emerged, although it was based on false premises. French tragedy is presented as an important factor shaping the national tradition.
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