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Интерсемиотические отношения в переводе культурного иного (на примере фильма „Ностальгия” Андрея Тарковского)

100%
Mocarz-Kleindienst M.
Studia Rossica Posnaniensia
|
2019
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vol. 44
|
issue 1
113-122
RU
The title nostalgia in Andrei Tarkovsky’s film is evoked by the Russian writer’s longing for his family and homeland. It is activated in his contact with another culture, in this case with Italian culture. This paper attempts to provide an analysis of the mechanisms used by the director to make a projection of this emotional state and to portray it in the film. A number of intersemiotic relations among visual, verbal and sound codes were analysed. The following relations were identified: complementarity, parallelism and contradiction. The provided examples show the significance of the visual code as an indicator of cultural otherness. They also prove the diversity of stylistic devices used for transposing emotional states to the physical world.
2
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Humour and intertextuality in online spoof news

88%
Shilikhina K. M.
The European Journal of Humour Research
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2020
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vol. 8
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issue 3
EN
The paper discusses spoof news as a parody of the traditional genre of news and the role of intertextual references in the creation of the intended humorous or satirical effect. The study is based on the texts published by various online sources specialising in the production and spreading of spoof news. On the surface, the main aim of such non-bona fide pieces of news is not to misinform the readers, but rather to entertain them. However, along with entertainment, these texts also convey serious social implications. They implicitly undermine social norms and values and existing stereotypes about social roles and patterns of behaviour. The non-bona fide mode of such news can be signalled by a variety of intertextual references, e.g., fictional quotations, allusions to well-known texts, events or realia. The aim of the study is to demonstrate how these intertextual references create satirical effect and convey social criticism.
3
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(Roz)poznawane? Baśnie w odbiorze uczniów

75%
Rusek M.
Filoteknos
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2020
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issue 10
255-266
EN
The underlying issue of the reflection focused on in this presentation is how the generic transformations of fairy tales affect children’s receptive experience. This question encouraged the research which was conducted among primary school pupils and which aimed at learning about their cultural competence. The didactic experiment was carried out in reference to Hanna Krall’s fairy tale titled What Happened to Our Fairy Tale? [Co się stało z naszą bajką?]. This work abounds in toying with the genre convention, as well as in intertextual references to traditional fairy tales, and in metamathematical references. These properties of the text enabled us to find out to what extent the young audience is familiar with traditional fairy tales, and with popular motifs and generic features. On the other hand, the open, ambiguous ending furthered the recognition of independent reception and interpretative abilities. The achieved results were used not only to determine the cultural experience of the pupils, but also their aesthetic expectations, as well as the ethical and existential attitudes. The issue which comes into prominence in the background concerns the manner and the degree to which the contemporary fairy tale performs the world-modeling function.
4
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Культурная идентичность в процессе русско-польского перевода

51%
Jóźwiak J.
Studia Rossica Posnaniensia
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2020
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vol. 45
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issue 2
EN
The article deals with the issue of transferring intertextual cultural elements in the process of translation from Russian into Polish. The material for analysis is the fragments of the novel The Black City by Boris Akunin and its translation into Polish by Aleksandra Okuniewska-Stronka. The aim of this article is to present and evaluate the results of transferring cultural connotations and intertextual references from one culture to another. Cultural elements play a significant role in the process of the reception of the text and its translation both by the readers of the original text ‒ native language users – and by the recipients of the translated variant, belonging to a different culture. The comparison of source units and translated target units shows how different the associative circles arising in the process of text reception are. The analysis leads to the conclusion that taking into account the associative and intertextual potential of language units in translation is a very complex process. It requires a double cultural competence from the translator, and involves not only the interpretation of language signs in terms of their cultural code, but also the assessment of the interpretative abilities and capabilities of the recipients.
5
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Между поэтикой и поэзией: Несколько замечаний о стихах Глеба Глинки

51%
Apanowicz F.
Studia Rossica Gedanensia
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2014
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issue 1
239-247
EN
The article is an attempt of deepened reading of a few chosen poems by Gleb Glinka, the Russian poet of the second emigration wave. As a professional literary scholar, dealing with the poem theory in particular, he was familiar with all versification techniques and used to apply them in his poetry with great mastery. In his poetic arsenal he had lexical games (juggling with the meaning of words), syntax innovations, as well as different intertextual references: irony, pastiche, parody, literary polemics, numerous reminiscences etc. Although he stood on a traditional ground of poetics rules, in reality Glinka was in fact modern, more often than not using poetic means of avant-garde and post avant-gardism.
PL
Artykuł jest próbą pogłębionego czytania kilku wybranych wierszy Gleba Glinki, rosyjskiego poety emigracyjnego drugiej fali. Jako profesjonalny literaturoznawca, w szczególności zajmujący się teorią wiersza, doskonale znał wszystkie techniki wersyfikacyjne i stosował je w swojej poezji z dużą maestrią. Do arsenału jego chwytów poetyckich, nie tylko wersyfikacyjnych, należą między innymi gry leksykalne (żonglowanie znaczeniami słów), innowacje składniowe, a także różnego rodzaju nawiązania intertekstualne: ironia, pastisz, parodia, polemika literacka, rozliczne reminiscencje itp. Mimo iż wyznawał on tradycjonalistyczne poglądy na zasady poetyki, w swojej praktyce poetyckiej jest Glinka w istocie nowoczesny, nierzadko czerpiąc ze środków poetyckich awangardy i nurtów postawangardowych.
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