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Kultura a styl wypowiedzi autobiograficznej – dyskursywność 1 dzienników Zygmunta Mycielskiego i Stefana Kisielewskiego

100%
BIŁAS-PLESZAK E.
Stylistyka
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2013
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vol. 22
335-350
EN
Discourse, understood as a category of the cognitive character, was applied in this article to analyse the diaries of two Polish composers and feature writers – Stefan Kisielewski and Zygmunt Mycielski, written in the communist Poland. The purpose of the analysis was to show how this special cultural, social and political context was reflected in their works and how it affected their choices as far as the style and topics were concerned. This paper was also supposed to single out various types of discourses and discursive strategies in the authors’ diaries. A particular attention was paid to the selfawareness of the writers and methods of its expression, either in a direct or oblique way, which often requires an active, almost “archaeological” reading that involves revealing new reserves of meanings from under another layer of words. The performed analysis leads to the conclusion that various types of discourses (anti-totalitarian, chronicle, critical and musical, political, intimate) are present in the discussed works. The above conclusion invites one to ask the following question (which sets a further direction in the research): To what extent is it an individual feature of the authors’ works and to what extent is it a certain element of the style of this period?
2
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Translation in Forming Musical Discourse: A Case Study of English-Language Song Lyrics in Russia

88%
Aleshniskaya E. V.
Research in Language
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2020
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vol. 18
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issue 4
395-405
EN
The paper considers translation as an intermediate stage in the creation of English-language song lyrics by native Russian speakers. Russian songwriters quite often rely on their native language and translate their thoughts from Russian into English. This leads to the use of a “russified” variety of English, which performs poetic and pragmatic functions and serves as a medium harmonizing content, sound, and music. Drawing evidence from 214 songs in various musical genres, as well as 10 ethnographic interviews with Russian songwriters, it examines the specific features of the Russian variety of English used in song lyrics, and discusses the main views on the authenticity of translation in song lyrics depending on the musical genre.
3
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Izotopia semantyczna i jej zastosowanie w badaniach nad orientalizmem muzycznym — możliwości i ograniczenia

75%
Skupin R.
Aspekty Muzyki
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2011
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vol. 1
181-202
EN
The aim of this study is to determine the possibilities and constraints of applying semantic isotopy, a concept developed in the area of semiotics with reference to language system and structure, in analysis of Orientalism as a way of presenting a reality that is referred to as the Orient in a musical work. The starting point is a review of acts of functioning of isotopy in semiotic text concept: from the original understanding of A. J. Greimas (semantic coherence of narrative text in the context of his theory of structural semantics), through the approach of François Rastier (strategic concept of interpretation within his theory of interpretative semantics) and Bernard Pottier (stability of semic feature, or isosemy of lexical-grammatical structures), to Umberto Eco’s concept (interpretive coherence associated with the concept of topic within the principle of textual cooperation). Determinants of adaptation of isotopy in musical semiotics are considered using the example of spectacularly extended fi eld of application of this concept in Eero Tarasti’s semiotic theory (or theory of musicological cognition of music) and his concept of discourse (musical one, and about music). The range of usefulness of isotopy is presented on the basis of methodological propositions of JeanPierre Bartoli and results of his research into Orientalism of the 19th- and early 20th-century French music. A description of consequences of examining Orientalism (oriental exoticism) as a semiotic system, assuming “language-likeness” of music, concerns conditions of “isotopic functioning” of musical exoticism. The conclusions underline a necessity for distinguishing between Orientalism and orientality due to the nature of semiosis in the case of music, and a need to verify the authenticity of “allochtonic units” (Bartoli’s “oriental semes” or “exosememes”) in a prospect of research in Orientalism as a phenomenon in the Western culture. These issues have also been emphasized in recent research on the musical consequences of cultural diffusion processes (manifestations of “occidentalising exoticism” in contemporary musical practice in the Middle East), in which the isotopy/isosemy is used as an objectifi ed transcultural analytical tool.
4
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ВАРИАНТ ИСТОРИИ ДОН ЖУАНА В УКРАИНСКОЙ КУЛЬТУРЕ (АРХЕТИП ЛЕСИ-ДОЛОРЕС В БАЛЕТЕ КАМЕННЫЙ ВЛАСТЕЛИН ВИТАЛИЯ ГУБАРЕНКО ПО ДРАМЕ ЛЕСИ УКРАИНКИ)

63%
Драганчук В.
Ars inter Culturas
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2016
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issue 5
63-74
EN
Lesya Ukrainka created a version of Don Juan’s history in Ukrainian culture. The poet introduced in the drama the Dolores image who loves Don Juan. Dolores became a symbol of the love archetype in the art work. Vitaly Hubarenko’s work in great academic ballet genre is one of best artistic interpre-tations of this drama. Ballet style is an allusion to S. Prokofiev’s style. Dolores image gets characteristic by genres of lullaby and prayer. Tenderness of character is embodied by penetrating sound of violins in the high register. The transformation of love theme shows us another facet of the Dolores personality who committed a self-sacrifice act for the sake of a loved one. Dolores in the ballet represents the female essence of love as a creation, thus the term „Femin-personalism” is offered in this article. The understanding of the term is defined by analogy with the philosophy. P. Bowne, E. Mounier, N. Berdyaev and other thinkers have shown an archetype of personality as a person which has a divine source.
5
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АРХЕТИП ЛЮБВИ В ДУХОВНОЙ ВИЗИИ ЛЕСИ УКРАИНКИ И ЕГО МУЗЫКАЛЬНЫЙ ДИСКУРС

51%
Драганчук-Кашаюк В.
Ars inter Culturas
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2018
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vol. 7
111-120
EN
The discourse of the Ukrainian musical culture is contains numerous appeals to the poetic legacy by Lesya Ukrainka. Therefore, understanding the musical-theatrical, choral, chamber- vocal works by M. Lysenko, K. Stetsenko, Y. Stepovy, S. Lyudkevych, M. Skorulsky, S. Turkevych-Lukiyanovych, V. Kyreiko, I. Shamo, Y. Stankovych, L. Dychko, O. Kozarenko, V. Tymozhinsky and other composers who entered into a musical and poetic dialogue with the poetess, is provides an understanding the key positions of the poet’s philosophy. In our opinion, a new spiritual vision was born in the Lesya Ukrainka’s creative matrix, which embodied the Ukrainian mental Ego in the female image of a spiritual knight and presented it as a weighty component of world culture. More than a hundred years ago, the poet showed a woman’s personality as a com-creator, which has a divine beginning, and therefore we interpret its philosophy in the vein of Femin-personalism (the term is proposed). The three Love types which were shown in Lesya Ukrainka’s works and in her musical discourse are as follows: Ancient Greek “agape. (in variants Love-Spirit, Love-Soul, Love-Eros), Love as a component of national Ego-concept, Love as an immortal divine spirit. The musical discourse expects the interpretation of the drama “Obsessed. and others from the “Blue Rose. to “Cassandra., “In the Catacombs., “Rufin and Priscilla. and others.
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