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1

Komizm obsceniczny w trzech odsłonach. Relacje między przekładami Dialogus Salomonis et Marcolfi na języki polski, włoski i angielski

100%

Bąkowska N.

pl.it / rassegna italiana di argomenti polacchi

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2015

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issue 6

57-71

EN

The article is an attempt to characterize linguistic and cultural relations between three translations of Dialogus Salomonis et Marcolfi from Latin into vernacular languages: Polish, Italian and English. Comparative analysis of the three translations confirms that in the cultural contexts examined, despite some discrepancies concerning the explicitness of language and images, there is the same model of comedy, based on obscene elements. The analysis aims to determine the nature and substrate of differences occurring between texts in terms of the obscene comic, as well as the extent to which various local colours were adopted in the translation process.

2

L’entrée à Jérusalem : un exercice de style (de la liturgie au jeu)

75%

Mélou-Le Ferrand C.

Academic Journal of Modern Philology

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2021

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issue 11

127-134

EN

The first representations of the Passion of Christ in vernacular language mark an upheaval in liturgical codes. The entry to Jerusalem symbolises this change, as it is one of the most important episodes in the liturgy. It is a popular as well as a royal scene, and a scene of jubilation. It takes place outside the church where a procession has been organised. Through the text of one of the first Passions represented in the Langue d’Oc, namely the Didot manuscript of the Passion, we can see how the staging of the event takes place naturally, even—or especially—in the absence of precise stage directions. Amplification is a part of the game in which no rules are set; it merges with worship and offers devotees the opportunity to get involved in the story. The existing iconography, developed by artists since the 4th century, establishes the symbolic base on which the theatre can rely—costumes, sets and accessories. The very particular liturgy of this scene, celebrated during the Palm Sunday service, reinforces its theatricality and the acting (outside the church), as well as favouring a reversible character of the show. Hence, the spectator becomes an actor and the actor contemplates Christ. The stage directions, along with the absence of precise instructions, outline the codes, constraints and inventions of a nascent Passionist theatre.

3

Tolkien w oczach mediewisty

63%

Honegger T.

Creatio Fantastica

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2017

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issue 2(57)

7-23

EN

The Lord of the Rings, ever since its publication, has been something of a nuisance to traditional literary critics and has been maligned often and with zest. The main reason for these strong—and often irrational—reactions are primarily due to the fact that The Lord of the Rings does not fit into the literary mainstream and challenges standard critical assumptions about what a work of twentieth-century fiction should be like. The standard tool-kit of the literary critic seems utterly inadequate. Mediaevalists, in contrast, have often taken a more sympathetic view of Tolkien’s work. Honegger’s article Tolkien Through the Eyes of a Mediaevalist will therefore present several ‘mediaeval’ approaches towards Tolkien, evaluate their critical value and discuss their contribution towards a more adequate understanding of Tolkien’s literary work.

4

Wilhelm Marshal – „najlepszy rycerz jaki kiedykolwiek żył”

51%

Niewiński A.

Acta Universitatis Lodziensis. Folia Historica

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2019

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issue 104

21-45

EN

The article shows the ideal of a knight at the times of William Marshal (the 2nd half of the 12th century – the beginning of the 13th century) treating one’s life as a calling and service and putting honour, bravery and courage at the first place. All the deeds of a knight are subordinate to the overriding principle of honourable behaviour. The greatest glory comes from the military deed, tournament victories, heroism at the battlefield and loyalty. With the course of time, William Marshal became known as an expert diplomat, administrator but also an able strategist and commander.

PL

Artykuł ukazuje idealnego rycerza swoich czasów Wilhelma Marshala (druga połowa XII – początek XIII stulecia), traktującego własne życie jako powołanie i służbę, na pierwszym miejscu stawiającego honor, dzielność i odwagę. Wszystkie czyny rycerza podporządkowane są nadrzędnej zasadzie honorowego postępowania. Największą chwałę przynoszą mu czyny zbrojne, zwycięstwa turniejowe, bohaterstwo na polu walki oraz lojalność. Z biegiem czasu Wilhelm Marshal dał się poznać jako wytrawny dyplomata, administrator, ale również strateg i dowódca.

Refine search results

1 Academic Journal of Modern Philology

1 Acta Universitatis Lodziensis. Folia Historica

1 Creatio Fantastica

1 pl.it / rassegna italiana di argomenti polacchi

1 Bąkowska N.

1 Honegger T.

1 Mélou-Le Ferrand C.

1 Niewiński A.

1 2021

1 2019

1 2017

1 2015

Komizm obsceniczny w trzech odsłonach. Relacje między przekładami Dialogus Salomonis et Marcolfi na języki polski, włoski i angielski

L’entrée à Jérusalem : un exercice de style (de la liturgie au jeu)

Tolkien w oczach mediewisty

Wilhelm Marshal – „najlepszy rycerz jaki kiedykolwiek żył”