Search results

1

Лингво-музыкальная лексика песни как часть этно-культурного наследия былого ВКЛ (Беларусь и приграничья)

100%

Кутырёва-Чубаля [Kutyriowa-Czubala] Г. G.

Acta Baltico-Slavica

|

2013

|

vol. 37

EN

The language of folk songs as a part of cultural heritage of the Grand Duchy of Lithuania (Belarus and its borderzones)This paper examines the melodic and rhythmic properties of the language of songs in the area defined by the basins of Dvina, Nioman and Pripyat’ rivers. In this area, a lexical stylistic layer has been forming since the ancient times.. This layer has a few distinctive features: (1) domination of a certain type of “atomic” elements (stress feet) of rhythmic morphemes in various syllabic structures; (2) presence of vocal poetic lines based on the measure typical for the area; 3) types of stanzaic organization, reflect the compositional thinking of the culture; (4) a complex of ethnophony, comprising such suprasegmental features as pitch, melody, poetic metre and caesuras, volume dynamics, rhythm. These factors combine to determine the integrity and distinctiveness of the vocal lexis and the whole phonosphere of the area, and its difference from from the lexical styles of other parts of Belarus. The main difference lies in the fact that most songs in the area are performed in the manner of incantatory declamation. This stands in stark contrast to the way in which songs are performed in the area of Dnepr basin – songs in Dnepr basin are accompanied by dancing, and could be defined rather as chants or incantations. Within the linguistic continuum of the area, it is possible to distinguish areas of different foot and rhythm modes, poetic meters, melodic properties, and compositional styles. The territorial divisions in Belarus correspond to a large extent to different dialectal areas. The historical-cultural layer of songs has its origins in ancient times, evolved in times of the Grand Duchy of Lithuania and to a large extent retained its distinctive character to date.

2

Znaczenie i funkcje introitu mszalnego

100%

Towarek P.

Studia Elbląskie

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2013

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vol. 14

359-370

EN

Throughout the centuries the Mass liturgy shaped its form of introduction and preface in the form of singing that is defined as “introit” from the Latin “introitus” (entrance) and introire (to enter), belonging to a group of proprium missae singing. Its origins should be searched in the 4th and the 5th centuries in the so-called papal station liturgies (penitent and festive), connected either with the singing of the litany to Saints (on the way to the station church), or on festive days the singing of antiphon intermingled with the lines of psalm (the liturgy of awaiting the pope in the station church), which is confirmed by Instructio ecclesiastici ordinis (Ordo Romani I). In terms of the selection of texts one may differentiate: the biblical introits (introitus regularis), where the antiphon is taken from the same psalm which is in the introit, or from the Epistle for a given day (the reading from the New Testament) and the non-biblical introits (introitus irregularis), taken from the texts of the early-Christian writers or the Apocrypha (e.g., Sedulius; the 4th Book of Ezra). In some cases their influence and significance became so strong that specific masses and even Sundays took their proper names from the first words of the text, e.g., Rorate, Gaudete, Laetare, Requiem. In modern times this type of singing is recalled by the books published following the Second Vatican Council, e.g., Graduale Romanum, Ordo Cantus Missae, and in particular, by Missale Romanum, where in Institutio Generalis it is recalled that the singing at the commencement of the Mass should be performed by a schola or a cantor interchangable with the congregation, or alternatively by a schola or the faithful, or it may be recited by the congregation, some of them or by a lector. In the music practice of the church in Poland following Vaticanum II the introits have been almost completely supplanted by the church songs, as well as by songs having nothing to do with the liturgy. While the above-mentioned rubrics of Institutio Generalis explicitly define the norms which stem from the function of the mass singing for the entrance: it is to open the liturgical action, deepen the unity of the congregation, introduce the minds into the experiencing of the mystery of the liturgical period or a celebration of a festive occasion and to accompany the procession of a priest and the entourage to the altar. That conditions specific requirements demanded of church musicians regarding the preparation and the appropriate selection of proper songs, hymns and chants, as far as they are not directly taken from the missal form in the form of an introit.

3

Angielski przekład Pana Tadeusza i jego polskie echa

99%

Budrewicz A.

Poznańskie Studia Polonistyczne. Seria Literacka

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2015

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issue 26

195-216

EN

The article discusses a variety of opinions related to the first English translation of Adam Mickiewicz’s poem Pan Tadeusz published in 1885 by Maud Ashurt Biggs (1857-1933). The main point for the author is to analyse the scope of the Polish critics’ opinions and attitudes towards this translation. Some of them were issued by well-known experts in literary translation at the time (for example Stanisław Tarnowski), as well as critics who regularly published notes on British literature and culture in Polish periodicals (Edmund Naganowski). The article points out that the translation of Pan Tadeusz triggered neither numerous, nor enthusiastic reviews; it did, however, contribute to the publication of several interesting reflections related to poetry translation.

4

Лили Лалауна

87%

Tošović B.

Stylistyka

|

2016

|

vol. 25

513-528

EN

The paper is dedicated to the text Lili Lalauna – most extraordinary and most enigmatic poem of Ivo Andrić. The analysis consists of two parts. The first discusses the phonetic-phonological, stylistic, versificational and semantic structure of the verses. The second part deals with their setting to music by composer Rada Radivojeviæ and interpretation of actress Vjera Mujoviæ and actors Goran Sultanoviæ and Aleksandar Sreèkoviæ Kubura.

5

Odpowiedzialność tłumacza a skutki subiektywnego postrzegania dominanty translatorskiej. Na przykładzie starych i nowych polskich tłumaczeń Eugeniusza Oniegina A. Puszkina

86%

Gajewski W.

Między Oryginałem a Przekładem

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2012

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vol. 18

193-214

EN

The author considers the translatability of poetry, defines the responsibility of a translator and analyzes it in the context of particular translation strategies. The material to be analyzed consists of a series of Polish translations of Pushkin’s poem masterpiece Eugene Onegin. The quality of translation largely depends on the choice of metre, or Onegin stanza, a 14 verse stanza, of which there are approximately 400, and of which the novel in verse is made, or , to be more precise, it depends on the quantity and quality of the rhymes. In the original version they are 4 pairs of oxytonic, or ‘masculine’ rhymes and 3 pairs of paraxytonic, or ‘feminine’ rhymes. The author analyzes the versions by well-known translators such as Tadeusz Bobiński, Feliks Netz, Andrzej Sycz, Andrzej Lewandowski. What is being considered is the effect achieved by the choice of a particular rhythm pattern of Onegin stanza in the translation as such. In addition, the work contains quotations and classification of typical translation errors. At the end of his discourse the author proposes a compromise: his own pattern of Onegin stanza applied in his translation of the novel in verse. It is based on applying two pairs of oxytonic, or ‘masculine’ rhymes in verses 7 and 8 as well as 13 and 14, which gives the stanza a touch of artistry both in the middle and at the end. The suggested pattern of Onegin stanza, created for the purpose of translation, is parallel to the rhythm network present in the translation of Onegin by Wiktor Gomulicki, who translated the scene of Onegin and Lensky’s duel. It also meets the criteria of the “golden ratio” as a measure of beauty and harmony, expressed by Fibonacci’s numerical sequence (1, 2, 3, 5, 8, 13, 21, 34, 55, 89...).

6

Poststrukturalistyczne inspiracje w badaniu języka poezji współczesnej

86%

Skibski K.

Slavia Occidentalis

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2016

|

issue 73/1

133-144

PL

The text is an attempt to look at the problem of the contemporary studies into poetic language through the prism of poststructuralist reflection. The discussion, which originally referred to the theory of literature, concerned the themes also present in the studies of linguists and resulting from a critical analysis of the assumptions of structuralist thought. The perspective adopted in this abstract made it possible to present a research proposal comprising the category of redundancy in literary communication, as well as – in more detail – the category of relationality of verse, syntactical hypotheses or special predication with regard to poetic language. Free verse is apprehended here with reference to the findings of modern scholars of verse, which involves a special way of thinking about syntax in poetry, and also – about the specific aspects of semantics. The attached examples (from a collection of modern Polish poetry) provide the necessary illustration of the linguistic phenomena demonstrated in the text.

7

Przerzutnia i wersyfikacja (na marginesie prac Giorgia Agambena i Adama Kulawika)

72%

Mastalski A. S.

Forum Poetyki

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2021

|

issue 25

26-41

EN

The paper discusses two twentieth-century theoretical-literary concepts regarding broadly understood versology, pioneering expressions of new way of thinking of versification based on enjambment (i.e., the continuation of a sentence without a pause beyond the end of a line, couplet, or stanza) rather than on meter. By investigating the role of enjambment according to Giorgio Agamben and Adam Kulawik, the paper refers to transformations that have taken place in perceiving this prosodic phenomenon over the past decades, i.e., how verse has changed by transitioning to non-numerical (so-called free) composition from meter and equivalence.

PL

Tekst omawia dwie dwudziestowieczne koncepcje teoretycznoliterackie z zakresu szeroko rozumianej wersologii będące pionierskim wyrazem formowania się nowego sposobu myślenia o wersyfikacji opartego nie na studiowaniu metryki, lecz na uznaniu istotnej roli, jaką we współczesnych tekstach poetyckich pełni niezgodność członowania składniowego i wierszowego określana mianem przerzutni. Przyglądając się roli przerzutni w koncepcjach Giorgia Agambena i Adama Kulawika, odnosi się zarazem do przemian, jakie zaszły w myśleniu o tym zjawisku prozodycznym na przestrzeni ostatnich dziesięcioleci, czyli do tego, jak zmienił się wiersz, odchodząc od prymatu metru i ekwiwalencji na rzecz kompozycji nienumerycznej (tzw. wolnej).

8

Úvaha o rytmu v řeči, poezii i tak vůbec

72%

Čermochová K.

Slovo a smysl - Word & Sense

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2016

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vol. 13

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issue 26

79-88

EN

Rhythm is a concept, which is possible to employ in various contexts. This article imagines the normal understanding of rhythm as true structures and against which stand the understanding of the opposition of meter versus rhythm in the Czech versological tradition or the French ‘neoplatonic’ approach to rhythm with an emphasis on meaning and subject. This article is devoted as well to the rhythm of the spoken output of various languages and reminds on the division of languages by isochrony and isosyllabism. It will further examine the role of rhythmic language types in a selection of versifying systems and other circumstances, which influence these choices. The final part of the article will concern the rhythmical experiments of Otakar Theer and his drama Faëthón, perhaps one of the most expansive Czech texts written in accentual verse.

9

Лингво-музыкальная лексика песни как часть этно-культурного наследия былого ВКЛ (Беларусь и приграничья)

72%

Кутырёва –Чубаля Г.

Acta Baltico-Slavica

|

2013

|

vol. 37

99-120

EN

This paper examines the melodic and rhythmic properties of the language of songs in the area defined by the basins of Dvina, Nioman and Pripyat’ rivers. In this area, a lexical stylistic layer has been forming since the ancient times.. This layer has a few distinctive features: (1) domination of a certain type of “atomic” elements (stress feet) of rhythmic morphemes in various syllabic structures; (2) presence of vocal poetic lines based on the measure typical for the area; 3) types of stanzaic organization, reflect the compositional thinking of the culture; (4) a complex of ethnophony, comprising such suprasegmental features as pitch, melody, poetic metre and caesuras, volume dynamics, rhythm. These factors combine to determine the integrity and distinctiveness of the vocal lexis and the whole phonosphere of the area, and its difference from from the lexical styles of other parts of Belarus. The main difference lies in the fact that most songs in the area are performed in the manner of incantatory declamation. This stands in stark contrast to the way in which songs are performed in the area of Dnepr basin – songs in Dnepr basin are accompanied by dancing, and could be defined rather as chants or incantations. Within the linguistic continuum of the area, it is possible to distinguish areas of different foot and rhythm modes, poetic meters, melodic properties, and compositional styles. The territorial divisions in Belarus correspond to a large extent to different dialectal areas. The historical-cultural layer of songs has its origins in ancient times, evolved in times of the Grand Duchy of Lithuania and to a large extent retained its distinctive character to date.

10

Ruch i znaczenie (w) przerzutni

72%

Mastalski A. S.

Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica

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2022

|

vol. 10

180-205

EN

The paper presents the conceptualization of the functional changes that have shaped the development of the verse-form phenomenon and, as well, the poetic enjambment inseparably related to it. By dividing the forms of poetic discontinuity into kinetic and semantic enjambments, it shows the transition from earlier, more archaic forms of incompatibility of the syntactic and verse orders, related to the verse synaphy (over-verse continuity), to subsequent forms of poetic overflow with inherent, independent sign properties and artistic motivation founded on the semantization of the poetic movement called semantic enjambment.

PL

Praca przedstawia konceptualizację zmian funkcjonalnych, jakie kształtowały się w rozwoju zjawiska formy wierszowej oraz nieodłącznie z nią związanej wierszowej przerzutni. Poprzez podział na przerzutnie kinetyczne i semantyczne pokazuje przechodzenie od form bardziej archaicznych, związanych z wierszową synafią w postaci niezgodności porządku składniowego i wierszowego, do form późniejszych, posiadających samodzielne właściwości znakowe i motywację artystyczną wynikającą z semantyzacji ruchu.

11

Між віршем і прозою: специфіка перехідних жанрів в сучасній українській літературі

72%

Kytsan O.

Studia Ucrainica Varsoviensia

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2017

|

vol. 5

195-205

PL

The article analyses the poetry where verse and prose, two varieties of artistic language organization, cooperate closely. Modern poetry is open for experiments. For this reason many authors allow themselves to combine poetic and prosaic elements in one text. As a result, we get texts that carry a double emotional loading. Among such texts there are rhyme metrical prose, strophic prose, verse in prose, vers libre and pollymetric constructions that combine verse and prose.

12

Prosodic Memory: Claudel − Eliot – Liebert

72%

Sadowski W.

Prace Filologiczne. Literaturoznawstwo

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2013

|

issue 3(6) cz.1

11-30

EN

In this paper prosodic memory is considered to be a collection of all past experiences of speech, sound and rhythm that are activated during the reception of a linguistic text. Although the resources of prosodic memory are accumulated in every person individually, its organisation is influenced by culture, which provides us with repetitive patterns when hearing and seeing words. Prosodic memory is one of the factors that determines the choice of the form of a poem, and transforms the sequence of verses into a melody. From a neuropsychological point of view, it is a priming effect. From a cultural point of view, the connection between a given poem and prosodic memory is created, among others, by the poem’s genre. In the article this phenomenon is discussed using the genre of litany as an example, and subsequently examined in three texts that were published in the interwar period: Claudel’s “Les Litanies de Bernadette,” Eliot’s “Ash-Wednesday” and Liebert’s “Litania do Marii Panny.”

13

Wers i wiersz jako praca street art. O Sezonie Rafała Wojaczka

58%

Dembińska-Pawelec J.

Forum Poetyki

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2021

|

issue 25

124-141

EN

This paper refers to a street art installation by Robert Gilarski, now in the Planty Park in Mikołów. The installation “schody Wojaczka”, which visualizes Rafał Wojaczek’s poem Sezon, represents the work of the poet written on the steps of a stairway. The author of this paper interpets the poem and considers the difference between the semantics of Sezon’s form as appearing in pring and the one which can be read from the street art project. She points to the influence of topography and analyses the transposition of the poem’s form into a pictorial inscription, where steps-verses play a major role. The most radical change is the one concerning the vertical reading mode, governed by the direction of upward climb on the stairs-verses. A change in expectations towards versification is not meaningless for the interpretation of the work. This reversed order of reading the poem in the installation bears signs of an artistic provocation and presents itself as a metanoia.

PL

Artykuł odwołuje się do pracy street art Roberta Gilarskiego znajdującej się na Plantach w Mikołowie, w której dokonano wizualizacji wiersza Rafała Wojaczka Sezon. Instalacja prezentuje utwór mikołowskiego poety zapisany na stopniach parkowych schodów. Autorka artykułu interpretuje utwór, a następnie rozważa różnicę między semantyka formy Sezonu utrwaloną w druku oraz w pracy street art. Zwraca uwagę na wpływ topografii terenu, analizuje transpozycję formy wiersza w zapis piktorialny, gdzie istotną rolę pełnią schody-wersy. Najbardziej radykalna zmiana zachodzi w trybie lektury wertykalnej, wyznaczonej kierunkiem wchodzenia po stopniach-wersach „do góry”. Zmiana wersyfikacyjnych oczekiwań nie pozostaje bez konsekwencji dla interpretacji utworu. Odwrócony porządek odczytywania wiersza w instalacji ma znamiona prowokacji artystycznej i objawia się jako metanoja.

14

Pojęcia „wiersz”, „metrum” i „rytm” w rosyjskiej tradycji naukowej

58%

Pilszczikow I.

Forum Poetyki

|

2021

|

issue 25

86-103

EN

A definition is called descriptive (or theoretical) when it identifies the object by enumeration of its properties or functions. A constructive (or practical) definition is an explicit description of its arrangement. Russian verse theorists proposed several theoretical definitions of verse (as opposed to prose), which are not, however, convertible into a constructive definition (a list of formal differences between verse and prose). To date, we are still not capable of developing an algorithm which would enable us to distinguish between prose and verse in general, but leading prosodists have produced both theoretical and constructive definitions of versification systems, verse meters, verse rhythm, and particular rhythmic types of individual meters. This article examines definitions of verse and descriptions of the relationships between meter and rhythm proposed by scholars of Russian poetry. Building on their observations, the author devises a constructive definition of the concept of “meter” as a system of permissions and prohibitions that govern the distribution of word stresses and word boundaries in a verse line. The article also formulates constructive definitions for the versification systems used in Russian poetry (such as syllabotonic verse, logaoedic verse, dolnik and taktovik, and pure accentual verse).

PL

Z punktu widzenia metodologii nauki wszystkie określenia mogą być podzielone na dwa typy: deskryptywnym (albo teoretycznym) określeniem nazywa się definicję wyznaczającą przedmiot poprzez wyliczenie wymaganych właściwości lub funkcji, zaś konstruktywnym (lub praktycznym) określeniem – eksplicytny opis budowy odpowiedniego przedmiotu. Rosyjscy wersolodzy sformułowali kilka teoretycznych określeń wiersza (w jego przeciwstawieniu do prozy), które jednakże nie konwertują się w konstruktywne określenie (wykaz formalnych cech odróżniających wiersz od prozy). Takie określenie nauce na razie nie jest dostępne. Tym niemniej możemy proponować deskryptywne i konstruktywne określenia systemów wersyfikacyjnych, metrum wierszowych i ich konkretnych odmian (rozmiarów), rytmu wiersza i rytmicznych typów konkretnych rozmiarów. W artykule rozpatruje się rozmaite próby określenia wiersza i wzajemnej zależności metrum i rytmu podejmowane w rosyjskiej tradycji badań nad wierszem. Na podstawie rozważań historyczno-naukowych proponuje się konstruktywne określenie samego pojęcia „metrum”, opisywanego jako system zezwoleń i zakazów na dystrybucję przedziałów międzywyrazowych i akcentów słownych w wersie, jak również konstruktywne określenia rozmaitych systemów wersyfikacyjnych wykorzystywanych w wierszu rosyjskim (sylabotonika, logaedy, dolniki i taktowiki, wiersz „czysto toniczny”).

15

Tónický verš a čeština

44%

Čermochová K.

Česká literatura (Czech Literature)

|

2020

|

vol. 68

|

issue 1

3-39

EN

This paper describes the metric structure of accentual verse and its place in the panoply of versification systems. The author compares the definitions of this type of verse for both Czech and foreign authors and examines the reasons behind their differences. She describes the category of time isochrony as a feature of a language in which the tonic principle operates and presents the concept of tonism in Polish, English, Russian and German. The next section summarizes the period and contemporary reception of texts by six Czech authors (F. L. Čelakovský, K. J. Erben, P. Bezruč, F. Gellner, O. Theer and J. Kainar), whose verse is either considered by some theorists to be accentual or which has been discussed in this light in the past. The final chapter focuses on the issues surrounding translations of accentual verse into Czech and the association between tonism and the metric base of other types of verse, as well as the aural nature of accentual verse in general. It is not primarily the aim of this paper to prove or refute the existence of Czech accentual verse or its usage by particular authors. What is far more important here is the presentation of possible views of this metrical category and the quest for an answer to: a) what is and should be a generally applicable yardstick for the occurrence of a specific verse form in national literature, and b) what is the importance of objectively identifiable features of verse and on the other hand the national, cultural, historical and literary-historical context for its final designation, and thus also for the interpretation of entire poetic texts.

CS

Práce popisuje metrickou strukturu tónického verše a jeho místo v soustavě versifikačních systémů. Autorka porovnává definice tohoto typu verše u českých a zahraničních a autorů a zkoumá důvody jejich odlišností. Popisuje kategorii izochronie taktů jako vlastnost jazyka, z níž tónický princip vychází a představuje pojetí tónismu v polštině, angličtině, ruštině a němčině. V další části shrnuje dobovou i současnou recepci textů šesti českých autorů (F. L. Čelakovského, K. J. Erbena, P. Bezruče, F. Gellnera, O. Theera a J. Kainara), jejichž verš někteří teoretici za tónický považují, případně se o něm v tomto smyslu v minulosti diskutovalo. Poslední kapitola práce je věnována problematice překladů tónických veršů do češtiny a souvislosti tónismu s metrickou základnou jiných typů verše, a také zvukovému charakteru tónického verše obecně. Cílem této práce není v prvé řadě prokázání či vyvrácení existence českého tónického verše či jeho výskytu u konkrétních autorů. Daleko spíše v ní jde o předestření možných náhledů na tuto metrickou kategorii a hledání odpovědí na to, co je a má být obecným měřítkem výskytu konkrétní veršové formy v národní literatuře a jaký je význam objektivně zjistitelných rysů verše a na druhé straně národního, kulturního, historického i literárně-historického kontextu pro jeho finální určení, a tím i interpretaci celého básnického textu.

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Лингво-музыкальная лексика песни как часть этно-культурного наследия былого ВКЛ (Беларусь и приграничья)

Znaczenie i funkcje introitu mszalnego

Angielski przekład Pana Tadeusza i jego polskie echa

Лили Лалауна

Odpowiedzialność tłumacza a skutki subiektywnego postrzegania dominanty translatorskiej. Na przykładzie starych i nowych polskich tłumaczeń Eugeniusza Oniegina A. Puszkina

Poststrukturalistyczne inspiracje w badaniu języka poezji współczesnej

Przerzutnia i wersyfikacja (na marginesie prac Giorgia Agambena i Adama Kulawika)

Úvaha o rytmu v řeči, poezii i tak vůbec

Лингво-музыкальная лексика песни как часть этно-культурного наследия былого ВКЛ (Беларусь и приграничья)

Ruch i znaczenie (w) przerzutni

Між віршем і прозою: специфіка перехідних жанрів в сучасній українській літературі

Prosodic Memory: Claudel − Eliot – Liebert

Wers i wiersz jako praca street art. O Sezonie Rafała Wojaczka

Pojęcia „wiersz”, „metrum” i „rytm” w rosyjskiej tradycji naukowej

Tónický verš a čeština