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Polskie i rosyjskie myślenie mityczne na podstawie słowiańskiej literatury fantasy

100%
Pamięta‑Borkowska J.
Acta Polono-Ruthenica
|
2011
|
vol. Tom 1 Nr XVI
149-159
EN
The article discusses issues connected with Slavic fantasy literature presented as a reflectionof mythical thinking. The examples given are works of Polish and Russian writers who create inthis genre.In order to discuss fantasy literature it is neccessary to define the genre itself, which is not aneasy task. In the article, the fantasy term is used to describe a genre of literature or film, in whichone of the most important parts of the story, keynote, time, place of action, characters andcircumstances will be magic and supernatural phenomena.The Slavic fantasy appeared in Russia and Poland in a similar period and it still developstoday. One of the factors that influenced the development of this genre was the search for Slavicroots, national identity. Those fantasy stories and novels are writings which clearly refer to thehistory and culture of the old Slavic peoples . The Slavic fantasy contains unparelled care for therealities of the epoch which is why it is sometimes called parahistoric.The article presents the typology of the Slavic fantasy by Tadeusz A. Olszański, according towhom there are three ways of presenting the Slavic plot: language stylization, culture stylizationand the so called independent worlds.Slavic fantasy is based on broad ethnographic material, especially Slavic demonology. Thecharacters of gods, spirits and beings often have a positive character.The mythical thinking in literature can be seen on several levels. On the level of the worlddescribed it takes the form of a prophecy, intervention of the gods into the lives of mortals. On theconstruction level, it shows in the way the narration is made. Third level is the heroes and theircompanions - in that case the most native mythological element of Polish and Russian fantasy isthe said demonology.
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Język Hajnówki jako element stylizacji w powieści kryminalnej Okularnik Katarzyny Bondy

75%
Czarnecka K.
Rozprawy Komisji Językowej ŁTN
|
2018
|
vol. 65
5-17
PL
Katarzyna Bonda jest jedną z bardziej poczytnych autorek kryminałów. Urodziła się w Hajnówce na Podlasiu, w miasteczku o skomplikowanym wizerunku językowym (obecność polszczyzny, języków białoruskiego i ukraińskiego oraz ich odmian gwarowych), tu też umiejscowiła akcję swojej nagradzanej powieści. W Okularniku pojawiają się elementy języka Hajnówki – charakterystyczne antroponimy, zapożyczenia białoruskie i rosyjskie, gwaryzmy; wyrazy związane z tradycjami Cerkwi prawosławnej, ze wschodnią obrzędowością, tradycyjną kuchnią. Jest ich w powieści niewiele i są niekonsekwentnie stosowane, jednak trzeba przyznać, że w tego typu twórczości literackiej ich obecność jest zaskakująca, jako że determinantem tworzywa językowego uprawianej przez Bondę literatury popularnej jest funkcja komunikatywna.
EN
Katarzyna Bonda has recently become one of the most popular authors of crime stories. She was born in Hajnówka, a town in North-eastern Poland, situated near the Belarusian border. A rather complicated and peculiar language situation can be observed here: the inhabitants speak Polish (including its regional variants), East-Slavic languages (Belarusian and Ukrainian) and East-Slavic sub-dialects. The story told by Bonda takes place in this small town. In Okularnik various elements of the town inhabitants’ language can be found: e.g. typical anthroponyms, loanwords from Belarusian or Russian and forms from East-Slavic subdialects. There are words used in the Eastern Orthodox Church, words typical of Eastern rituals and traditional cuisine. Although only a few dialect forms and loanwords are used infrequently by the author, the use of the stylized language is itself very surprising in this literary genre.
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