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Językowy obraz dzieciństwa Tomaszka Niechcica w świecie przedstawionym Nocy i dni Marii Dąbrowskiej

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Słoboda J.
Studia Językoznawcze. Synchroniczne i diachroniczne aspekty badań polszczyzny
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2017
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vol. 16
221-235
PL
Noce i dnie Marii Dąbrowskiej w pisują się w nurt tradycji powieści realistycznych XIX wieku. Najważniejszymi elementami świata przedstawionego są w niej bogate opisy życia rodziny Niechciców. Celem rozważań w artykule jest analiza językowej kreacji dzieciństwa Tomaszka, najmłodszego dziecka Barbary i Bogumiła Niechciców, ukazana w podziale semantycznym: wygląd zewnętrzny, usposobienie i zachowanie, relacje zachodzące między synem a rodzicami. W językowej kreacji świata Tomaszka dominuje rzeczowa i uprawdopodobniona relacja. W opisie wyglądu zewnętrznego brak szczegółowych opisów na rzecz niezbędnych do nakreślenia prezentacji bohatera epitetów określających kształty, kolory, które nie konotują treści naddanych. Autorka kreśli ogólne, wybrane cechy wyglądu bohatera, wprowadza nieliczne epitety, które służą odmalowaniu istotnych szczegółów wyglądu zewnętrznego chłopca. Realistyczny sposób opisu usposobienia i zachowań chłopca pozbawiony jest poetyckich porównań i symbolicznych odwołań. Dąbrowska charakteryzuje swojego bohatera z różnych perspektyw badawczych, najczęściej w formie relacji narratora na temat myśli i spostrzeżeń rodziców. W opisach relacji zachodzących między synem i rodzicami użycie formy dialogu ujawnia w sposób niezwykle żywy i obrazowy emocje Bogumiła i Barbary. W językowej kreacji Tomaszka Dąbrowska nie rezygnuje w sposobie narracji z pewnego świadomego subiektywizmu. Często stosuje metodę pośredniego obserwatora, którym najczęściej jest Barbara, rzadziej Bogumił. Pisarka niepostrzeżenie przechodzi z toku narracji autorskiej do mowy pozornie zależnej, nasycając tekst ciepłem subiektywnego wzruszenia.
EN
The novel Noce i dnie by Maria Dąbrowska belongs to the tradition of the 19th century realist novels. The most significant elements of its fictional universe are the extensive descriptions of the Niechcic family life. The purpose of this article is to analyse the linguistic creation of childhood of Tomaszek, the youngest child of Barbara and Bogumił Niechcic, in three semantic aspects: 1) his physical appearance, 2) his character and behaviour, 3) the son-parents relationship. The dominant factor in the linguistic creation of the Tomaszek’s world is a matter-of-fact, account, made plausible. The picture of his physical appearance lacks detailed descriptions, instead, it contains the epithets necessary to portrait him, describing shapes and colours which do not connote any surplus content. The author sketches the general, selected features of the boy’s appearance, introducing only few epithets depicting its significant details. The realistic way of depicting the boy’s character and behaviour is devoid of any poetic comparisons or symbolic references. Dąbrowska characterizes the boy from various descriptive perspectives, most frequently in the form of the narrator’s account of his parents’ thoughts and perceptions. The form of dialogue used in the descriptions of the son-parents relationship reveals the emotions of Bogumił and Barbara in a remarkably vivid and lively way. In the linguistic creation of Tomaszek Dąbrowska doesn’t avoid a hint of conscious subjectivism in the narration. She often adopts a perspective of an indirect observer – often Barbara, more rarely Bogumił. The writer smoothly shifts from the author’s narrative to a free indirect speech, imbuing the text with a warmth of subjective affection.
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Życiowe losy pisarzy wpisane w językową kreację ich dzieł

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Handke K.
Studia Językoznawcze. Synchroniczne i diachroniczne aspekty badań polszczyzny
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2015
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vol. 14
11-24
EN
The author draws up her attention to a certain, so far unnoticed, methodological problem connected with the presence of regionalisms in literary works written in the common Polish language. Regionalisms most frequently appear in literary works due to writer-intended stylizations. They can also be used in belles-lettres if a writer uses his own regional variety of the national language. This article presents another way for introduction of linguistic regionalisms into literary works – pursuant to the “cognitive-emotional fascination of the region”. According to the author, this notion is not a scientific category, but solely a proper way to describe specific situations in the literature. She bases her considerations on the cognitive-emotional fascination of Eliza Orzeszkowa (1841-1910) by the Polish language of the noble backwoods of the Grodno region in her novels “On the Niemen” and “Bene nati” and of Józef Łobodowski (1909-1988) by the regional Polish language of the Polish-Ukrainian border region in his “Ukrainian Poems”.
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Names of colors in descriptions of inanimate nature (on Alexander Grin’s novels)

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Chomko J.
Studia Wschodniosłowiańskie
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2020
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vol. 20
167-187
EN
The analysis of color names provides valuable information about the models of perception, association and interpretation models of the world presented in a literary work. The main porpuose of his paper is to reconstruct a fragment of the color picture of the world of the outstanding Russian writer Aleksander Grin. The subject of analysis are the names of colors used by the novel’s author to describe inanimate nature objects, which can be divided into three classes: 1) surface water, 2) surface and rocky ground, 3) air and weather phenomena. Aleksander Grin uses in his novels numerous color names to create pictures of inanimate nature, which represent four fields of chromatic colours: blue, green, red and yellow, and three fields of achromatic colors: white, black and grey. The words, referring to colours, used in the analysed works are represented by different parts of speech – not only adjectives (15 lexems), but also nouns (6), adverbs (1), verbs (2) and participles (2).
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Kolor w opisie postaci (na podstawie Drogi do nikąd Aleksandra Grina)

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Chomko J.
Studia Wschodniosłowiańskie
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2019
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vol. 19
301-320
EN
Color is one of the artistic means, by which text can be perceived as an artistic whole. The aim of this paper is to analyze the names of colors used to describe human space in Way to nowhere by Alexander Grin. The color nominations refer to description of human external appearance and clothing. They are expressed by one-word names (красный, белый), names derived from them (покраснеть, почернеть) and compound words (черноволосый, черноусый). In order to define the human color space, the author used 137 lexemes, which belong to serval color fields: красный, белый, черный, серый, желтый, синий and зеленый. Undoubtedly, all of them express national and individual priorities.
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Paleta barw achromatycznych w Szkarłatnych żaglach Aleksandra Grina

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Chomko J.
Studia Wschodniosłowiańskie
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2018
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vol. 18
65-77
EN
The object of the analysis are achromatic color names in Scarlet sails of Alexander Grin. Color expressions are an inseperable part of the world description. The researched material provides valuable information about the models of perception, association and interpretation of the world presented in the novel. The field of black color is represented by adjectives, such as, черный, почерневший, the field of white is represented by lexemes белый, белизна, белокурый, белевший, серебряный, and field of grey – by lexemes серый, седой, полуседой, стальной, серея, поседевший. These are relatively richly represented fields. The studied material shows that the writer mostly uses the achromatic color names in a conventional way and uses them to create the presented world. All three colors are mainly connected with semantic fields related to man and nature. The objects related to human environment and work are characterized by achromatic colors relatively rarely.
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Kilka uwag o systemie nazw barw w języku powieści Aleksandra Grina (pole błękitu)

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Chomko J.
Studia Wschodniosłowiańskie
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2021
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vol. 21
91-107
EN
The subject of this article are the linguistic exponents of the semantic field of blue, the analysis of which provides valuable information about the models of perception, association and interpretation of the world presented in the works of Alexander Grin. The novels Scarlet Sails, She Who Runs on the Waves, The Road to Nowhere, The Golden Chain and The Treasure of the African Mountains form the material basis of the research conducted. In the analyzed novels of Alexander Grin the semantic field of blue is represented by both basic names used to describe this color – синий (54 uses) and голубой (47 uses). The writer uses the blue colour most often in a conventional way and uses it to create the world presented. Blue is primarily associated with semantic fields such as “human” (33 uses), “artifacts” (26 uses), “water” (13 uses), and “air and weather phenomena” (10 uses). The excerpted material shows that it is relatively rare for the colour blue to characterize objects associated with light phenomena (5 uses), landforms (4 uses), flora (3 uses), fauna (3 uses), sky and stars (3 uses) and food (1 use).
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