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Kiedy ucho robi oko, czyli o fonetach Stanisława Barańczaka wobec muzyki

100%
Reimann-Czajkowska A.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
|
2019
|
vol. 52
|
issue 1
193-212
EN
This paper examines the question of the relations between music and the written word. Interdisciplinary interpretations of selected fonety – a literary genre proposed by Barańczak in Pegaz Zdębiał – discuss translation twists, a form of translation based on listening to the music of Mozart and the libretto of Da Ponte. Barańczak’s quasi-translations, often semantically contrary to the original, maintain the discipline required of texts written to match music. The double effect gained in fonety [translation-parodies], musical-literary provenance and at the same time ubiquitous humour, allow the reader to understand how Barańczak interpreted musical masterpieces.
PL
Artykuł zatytułowany Kiedy ucho robi oko czyli o fonetach Stanisława Barańczaka podejmuje problematykę związków muzyki ze słowem. Interdyscyplinarne interpretacje wybranych fonetów – gatunku zaproponowanego przez Barańczaka w książce Pegaz zdębiał – przedstawiają tłumaczenia-przeinaczenia – praktykę translatorską polegającą na słuchaniu muzyki Mozarta i libretta Da Pontego. Quasi-tłumaczenia Barańczaka często pozostając w semantycznej sprzeczności z oryginałem, zachowują dyscyplinę wymaganą od tekstów pisanych do muzyki. Uzyskany w fonetach efekt podwójnej, muzyczno-literackiej przynależności, a zarazem wszechobecny humor pozwalają zrozumieć, w jaki sposób Barańczak słuchał arcydzieł.
2

Komandor w operze. Konteksty

87%
Jęcz J.
Kwartalnik Młodych Muzykologów UJ
|
2018
|
issue 4(39)
21-38
EN
The aim of this article is to analyse the presence of Commander in Mozart’s Don Giovanni as well as show the references to other opera depictions regarding the myth of Don Juan. Commander, also known as the Stone Guest, is an animate tombstone figure, which appears in every classic-based version of the story about Don Juan Tenorio (Don Giovanni) in order to summon a rogue to conversion; when he fails to do so, he drags the rogue to hell. The spectacular character of the final scene turned out to serve as an inspiration for numerous opera makers, from Mozart to Rimsky-Korsakov (Mozart and Salieri). This theme, which has not been the subject of research before, is definitely worth exploring.
3
Content available remote

„Don Giovanni”, sex’n’roll i echa kontrkultury: Krótka historia pożądania czytana wstecz

87%
Żywiołek A.
Pamiętnik Teatralny
|
2023
|
issue 2(285)
63-84
EN
This article is an attempt to read the history of courtly love backwards, thus setting a perspective that enables the interpretation of the contemporary sexual revolution by revealing its historical and archetypal patterns. It presents the hybrid relationships linking operatic “archaicness” with film, philosophy, and music in their contemporary artistic forms. The central argument is that the widespread phenomenon of aestheticization of life is based on the illusion that one is able to achieve absolute fulfillment in a transient world. The myth of Don Juan embodies this very dimension of modernity, which gives the aesthetic (sensual) the rank of the absolute, while numerous artistic actualizations of this myth confirm that the Western European imaginarium has its affective substrate in the form of desire, which is impossible to satisfy.
4

Commander in Opera: Contexts

87%
Jęcz J.
Kwartalnik Młodych Muzykologów UJ
|
2018
|
issue 4(39) Eng
21-39
EN
The aim of this article is to analyse the presence of Commander in Mozart’s Don Giovanni as well as show the references to other opera depictions regarding the myth of Don Juan. Commander, also known as the Stone Guest, is an animate tombstone figure, which appears in every classic-based version of the story about Don Juan Tenorio (Don Giovanni) in order to summon a rogue to conversion; when he fails to do so, he drags him to hell. The spectacular character of the final scene turned out to serve as an inspiration for numerous opera makers, from Mozart to Rimsky-Korsakov (Mozart and Salieri). This theme, which has not been the subject of research before, is definitely worth exploring.
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