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Traduire la métaphore surréaliste. Nadja d’André Breton, le merveilleux et ses traductions en anglais et en italien

100%

Collani T.

Między Oryginałem a Przekładem

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2017

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vol. 35

37-64

EN

Starting from Michael Riffaterre’ analysis of conceits (or long metaphors) within the Surrealist literary production (1969), this article aims to take into account the metaphorical code’s lexicon as well as the expressions forming the dense network of images which constitutes the Surrealist marvelous. The corpus is focused on André Breton’s Nadja (in its two French editions of 1928 and 1963), as well as on its English translation (by Richard Howard in 1960) and Italian translation (by Giordano Falzoni in 1972). After tracing in texts source a set of essential and sensitive words for the creation of the marvelous effect within the Surrealist production, we will see how the target texts take into account the rational analogies canvas woven by Breton.

2

Epigramatyka barokowa w świetle analizy logicznej

72%

Wierzbicka-Trwoga K.

Prace Filologiczne. Literaturoznawstwo

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2015

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issue 5(8)

135-148

EN

The paper considers the question of the logical status of conceited epigram. 16th century theoreticians, for instance J.C. Scaliger, already applied logical methods to the analysis of epigrams, and 17th century theoreticians developed a strict logical description of the so-called compound epigram. This form of epigrams met with particular interest in the Baroque period because of the opportunity it gave to express the construction of a conceit. A conceit was defined as an “argument urbanely fallacious” by E. Tesauro, i.e. an enthymematical construction built upon a metaphor. It should be therefore called a paralogismo, but 17th century theoreticians avoided this term in the belief that the conceit offered special cognitive possibilities. In my paper I use logical methods to analyse the epigrams by J.A. Morsztyn, M.K. Sarbiewski and S.H. Lubomirski, to argue the assumed thesis that conceits served as logical experiments performed in the conviction of the insufficiency of Aristotle’s categories to describe the transcendent as well as the visible world. Above all, the questioning of Aristotle’s principle of non-contradiction allowed Baroque writers to transgress the two classical logical values, “true” and “false”, bringing along the intuition of a third logical value, defined in the 20th century as the “unknown” by J. Łukasiewicz.

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Koncept w kazaniu okolicznościowym Pszczółka w bursztynie Franciszka Sitańskiego

58%

Kaczor-Scheitler K.

Tematy i Konteksty

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2016

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issue 6(11)

163-177

EN

The article presents the conceit in the Polish baroque sermon Pszczółka w bursztynie [A Bee in Amber] of a Bernardine Franciszek Sitański. In the sermon the author presents the figure of St. Dorothy; he also draws attention to the virtues of Dorota Kątska, who was the abbess of St. Norbert’s Order in Zwierzyniec (near Cracow) in the 17th century, and most of all he praises the monastic way of life. Biblical and hagiographic arguments, a source of inspiration for the author as an effective means of persuasion, appeal to the imagination of the audience. Metaphors, analogies and comparisons in the sermon prove that Pszczółka w bursztynie is based upon the conceit. By using the arguments Sitański was trying not only to move the recipients, but mainly to persuade them to cultivate virtues presented by Christian heroines.

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1 Między Oryginałem a Przekładem

1 Prace Filologiczne. Literaturoznawstwo

1 Tematy i Konteksty

1 Collani T.

1 Kaczor-Scheitler K.

1 Wierzbicka-Trwoga K.

1 2017

1 2016

1 2015

Traduire la métaphore surréaliste. Nadja d’André Breton, le merveilleux et ses traductions en anglais et en italien

Epigramatyka barokowa w świetle analizy logicznej

Koncept w kazaniu okolicznościowym Pszczółka w bursztynie Franciszka Sitańskiego