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Horyzont oczekiwań czytelniczych A.D. 1618 Tradycje epiki i romansów rycerskich w literaturze polskiej przed Gofredem… Tassa–Kochanowskiego

100%

Wierzbicka-Trwoga K.

Śląskie Studia Polonistyczne

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2019

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vol. 14

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issue 2

125-135

EN

The article considers circumstances contributing to the readership success of the Polish translation of The Goffredo… The author advances a thesis that the narrative poem in question met the expectations of Polish audience having been previously kindled not so much by Andrzej Kochanowski’s translation of The Aeneid, but rather by Polonized versions of mediaeval chivalric romances (Historja o cesarzu Otonie, Historia o Magielonie, Historia wdzięczna […] o Meluzynie). They gave the Polish readers their first chance to acquaint themselves with high chivalric culture, adventures of valiant knights, and their love affairs. After their publications in the 1560s, it was not until a half of century later that readers had a chance to enjoy a piece of literary work with a similar theme, that is The Goffredo… The success of the latter book was partly due to the precedence of particular literary pieces.

2

Epigramatyka barokowa w świetle analizy logicznej

100%

Wierzbicka-Trwoga K.

Prace Filologiczne. Literaturoznawstwo

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2015

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issue 5(8)

135-148

EN

The paper considers the question of the logical status of conceited epigram. 16th century theoreticians, for instance J.C. Scaliger, already applied logical methods to the analysis of epigrams, and 17th century theoreticians developed a strict logical description of the so-called compound epigram. This form of epigrams met with particular interest in the Baroque period because of the opportunity it gave to express the construction of a conceit. A conceit was defined as an “argument urbanely fallacious” by E. Tesauro, i.e. an enthymematical construction built upon a metaphor. It should be therefore called a paralogismo, but 17th century theoreticians avoided this term in the belief that the conceit offered special cognitive possibilities. In my paper I use logical methods to analyse the epigrams by J.A. Morsztyn, M.K. Sarbiewski and S.H. Lubomirski, to argue the assumed thesis that conceits served as logical experiments performed in the conviction of the insufficiency of Aristotle’s categories to describe the transcendent as well as the visible world. Above all, the questioning of Aristotle’s principle of non-contradiction allowed Baroque writers to transgress the two classical logical values, “true” and “false”, bringing along the intuition of a third logical value, defined in the 20th century as the “unknown” by J. Łukasiewicz.

3

Cechy gatunkowe romansu

100%

Wierzbicka-Trwoga K.

Terminus

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2019

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vol. 21

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issue 2 (51)

197-214

EN

The study attempts to define the genre features of romance based on the currently available research findings, but also taking into account a broader perspective of different meanings which the term assumes both in Polish and in the main European languages. Wierzbicka refers to English studies, as well as to Polish studies because these two languages have developed a similar distinction between romance and novel. The basic assumption adopted in this paper concerns the equivocal use of this term in literary studies, which obscures the picture of the history of literature. Therefore, the history of the term is discussed, which has made it possible to distinguish six different meanings of the term. The first, oldest meaning is specific to the era in which it appeared (like many mediaeval terms), and concerns works written in Romanesque vernacular languages as opposed to mediaeval Latin. It is not a name of a genre. The second meaning has been distinguished in two variants. Generally, it refers to a literary genre that is characterised by an adventurous love story and a protagonist who on principle is a lover. Variants of romance include different textual forms: in the 16th century, it was a poem of a specific narrative structure different from the epic, and in the 17th century it was (mostly) prose. The third meaning begins to dominate in the 18th century, and is an extension of the second meaning of the word “romance” in its second variant, namely, it covers all fictional prose of varied literary value. The fourth meaning was distinguished by English and Polish literary scholars of the second half of the 20th century, who undertook the 18th-century practice of juxtaposing “romance” and “novel”. They recognised “romance” as a heterogeneous epic form characterised by the extraordinary and fairy tale character of narrative fiction. The fifth meaning of the word “romance” refers to a lyrical genre. The sixth, contemporary meaning refers to popular literature, and specifically to a narrative genre that tells a love story. Each of these six meanings illuminates a different fragment of the literary reality. In this context, the question of which of them would be the most functional in literary research becomes all the more important. Wierzbicka argues that the second meaning, similar to the sixth meaning, will allow this term to be used with reference to all literature, without the risk of ambiguity. This is because the basic generic determinant of the second meaning coincides with the contemporary reading consciousness and today’s use of the word, and thus it has a practical dimension. The following were considered genre features of romance: love story, which can optionally abound in adventures; a specific construction of the hero or heroine as one in love; the narrative structure consisting of many actions concentrated around parallel characters; prosaic or verse form; entertainment function (formerly also didactic). Historical variants of the genre are also presented, including the mediaeval chivalric romance, comic-ironic romance, 17th-century romance, sentimental romance, realistic romance. The proposed definition also enables a new look at the historicoliterary reality, especially of the mediaeval and early-modern period, whose narrative works escape the existing nomenclature.

4

Historia o Magielonie, królewnie neapolitańskiej. Pytanie o podstawę polskiego przekładu

63%

Wierzbicka-Trwoga K., Winiarska-Górska I.

Porównania

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2023

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vol. 33

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issue 1

403-422

EN

The paper seeks to establish the basis of the Polish translation of the Old French romance about the “beautiful Magielona.” The Polish version was translated in the sixteeth century, though not from the French, but via a German or Czech version. Until now, there were no studies on the base text of the Polish translation, transmitted in several seventeenth-century editions. The analysis presented in our paper concerns the delimitation of the text, i.e. the division of content into chapters in the Polish prints in comparison to the German editions of the sixteenth century and to the Czech version (transmitted from the eighteenth century), as well as the comparison of the opening sentences of the chapters. It allows for the conclusion that the Polish translation arose most probably from the German version, from an edition containing the primary segmentation of the German text, which in the second half of the sixteenth century was published in a secondary edition with a finer segmentation of the text.

PL

Artykuł dąży do ustalenia podstawy polskiego przekładu starofrancuskiego romansu o „pięknej Magielonie”. Polska wersja została przełożona w wieku XVI, lecz nie z francuskiego, tylko za pośrednictwem wersji niemieckiej lub czeskiej. Dotychczas brak było badań, które pozwoliłyby określić podstawę polskiego tłumaczenia, przekazanego w kilku wydaniach siedemnastowiecznych. Analiza przedstawiona w niniejszej rozprawie dotyczy delimitacji tekstu, czyli podziału treści na rozdziały w polskich drukach w porównaniu do niemieckich wydań z XVI wieku oraz do wersji czeskiej (poświadczonej dopiero z wieku XVIII), jak również porównania inicjalnych zdań rozdziałów. Pozwala sformułować wniosek, że polski przekład powstał najprawdopodobniej z wersji niemieckiej, z wydania zawierającego pierwotną segmentację tekstu niemieckiego, który w drugiej połowie XVI wieku wydawany był w redakcji wtórnej z drobniejszą segmentacją tekstu.

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1 Porównania

1 Prace Filologiczne. Literaturoznawstwo

1 Terminus

1 Śląskie Studia Polonistyczne

4 Wierzbicka-Trwoga K.

1 Winiarska-Górska I.

1 2023

2 2019

1 2015

Horyzont oczekiwań czytelniczych A.D. 1618 Tradycje epiki i romansów rycerskich w literaturze polskiej przed Gofredem… Tassa–Kochanowskiego

Epigramatyka barokowa w świetle analizy logicznej

Cechy gatunkowe romansu

Historia o Magielonie, królewnie neapolitańskiej. Pytanie o podstawę polskiego przekładu