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Porównania z komponentem florystycznym w twórczości Bolesława Prusa

100%
Czachorowska M.
Studia Językoznawcze. Synchroniczne i diachroniczne aspekty badań polszczyzny
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2012
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vol. 11
47-54
EN
The set of comparisons of the floristic component is not the largest, but even this relatively poor representation of the material allows you to show the complexity and richness of topics, stylistic versatility of this measure, the variety of applications, formal diversity, and above all, in addition to comparisons indicate colloquial ones are specific to the language of Boleslaw Prus.
2
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Barwy w twórczości Bolesława Prusa

100%
Czachorowska M.
Studia Językoznawcze. Synchroniczne i diachroniczne aspekty badań polszczyzny
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2014
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vol. 13
51-65
EN
The world of Bolesław Prus, both real and fictional, feature, was divided into two spaces: the first – hostile, alien, unloved, vast and unknown and the second – secure, kind, accepted, limited and frequently visited by the writer. He tolerated the former, because he had to, because it existed, because it was the immanent part of the plot of a literary work and it was difficult for the writer to escape from setting at least one of his works in the countryside; the latter was treated as his kingdom, he liked to be there, felt confident so it is not surprising that his characters were placed there most eagerly. The unfamiliar terrain to the writer is a world of vast territories, expanded both horizontally and vertically. The area which was friendly to Prus was bordered with the walls of the flat – real or created or extended down the streets of a town, especially Warsaw. The caesura between these worlds was at the same time a colour perception border line in the life and works of Bolesław Prus. This article tackles the notion of the differences in perceiving colours in both of the worlds.
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[recenzja:] Danuta Bieńkowska, Elżbieta Umińska-Tytoń, Nazewnictwo miejskie Łodzi

100%
Czachorowska M.
Język Polski
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2013
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issue 4
313-315
4
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Świat roślin w twórczości Bolesława Prusa – przegląd zagadnień

100%
Czachorowska M.
Studia Językoznawcze. Synchroniczne i diachroniczne aspekty badań polszczyzny
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2011
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vol. 10
59-69
EN
The following sketch is the first attempt to address the issue that will enhance the knowledge about the specific vocabulary used in the creation of one of the famous representatives of Polish literature late 19th and early 20th centuries. Until now studies about works of Bolesław Prus were mostly carried out by experts in the analysis of literature regarding the interpretation of individual works or specific literary forms practiced by the writer’s assumptions influence philosophical thought and the events of his life in the shape of the poetic imagination and creativity. The works of Bolesław Prus ware not described from the lexical, hence my interest in this issue and the intention to fill the gap in this area of knowledge about the work of the writer. This time the concern was addressed by floral vocabulary, used by the writer.
5
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Uwagi na temat dziennikarskiego stylu Bolesława Prusa na podstawie kronik o Ogrodzie Saskim (wybrane cechy)

100%
Czachorowska M.
Studia Językoznawcze. Synchroniczne i diachroniczne aspekty badań polszczyzny
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2019
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vol. 18
43-54
EN
The journalistic output of Bolesław Prus is so vast that it requires adetailed analysis. Therefore, the present article is not acomprehensive study of the writing technique of the Warsaw chroni-cler, and neither is it afull presentation of his journalistic idiostyle; instead, it is supposed to depict the most typical features of his style. Two indicators of his journalistic internal style – the genre fluency and stylistic easiness – have been discussed at length; both features indicate an exceptional character of the style of Aleksander Głowacki. The characteristic elements of his idiostyle have been taken from 16 texts of different lengths, which are joined by the common topic, the Ogród Saski, apublic garden in central Warsaw.
PL
Niniejszy szkic nie ma za zadanie kompleksowej analizy idiostylu Bolesława Prusa, realizowanego w tekstach publicystycznych (jest to niemożliwe ze względu na ogrom dorobku dziennikarskiego pisarza), wskazuje jedynie na pewne charakterystyczne elementy warsztatu pisarskiego kronikarza Warszawy. Omówiono dwa wyznaczniki wewnętrzne stylu dziennikarskiego – płynność gatunkową i swobodę stylistyczną. Obie cechy wskazują na wyjątkowość kronikarskiego pióra Aleksandra Głowackiego. Charakterystyczne elementy idiostylu zaczerpnięte zostały z 16 tekstów różnej długości, które łączy wspólny temat: park miejski w centrum miasta – Ogród Saski. Analizie poddane zostały m.in. takie środki stylistyczne, jak peryfraza, metafora, metonimia, neologizmy czy paralelizmy składniowe.
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Idiolekt Bolesława Prusa. Przegląd najnowszych ustaleń

100%
Czachorowska M.
Poznańskie Studia Polonistyczne. Seria Językoznawcza
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2016
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vol. 23
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issue 2
21-36
PL
This article is intended to approximate arrangements for features characteristic writing of Prus, from the publication of monographs, which appeared in the last decade, after 2006, because they are not as well known as the earlier comments on writer’s idolect placed even in studies Bystroń or Bachórz. Notes on writing of Prus has been divided into several thematic areas: vocabulary topography (depicting the formation of landscape, the author’s preferred method of constructing space and filling it with specific object), color names (the world of colours, which enabled the writer to expose an entire palette of colour and shade names), floral vocabulary, used by the writer, war and military (this article contains an overview of the functions of military language within nomina militaria in the works of Bolesław Prus for example) and trade vocabulary.
7
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Stylistyka listów Bolesława Prusa do żony

100%
Czachorowska M.
Studia Językoznawcze. Synchroniczne i diachroniczne aspekty badań polszczyzny
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2021
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vol. 20
21-33
EN
The linguistic shape of the letters depends on the role that the writer plays when writing them to his wife. When he writes from distant Germany, Switzerland, and France, he is a traveler who wants to bring his beloved closer to his views and impressions, hoping to visit wonderful, unknown places together. When he rests in Nałęczów, he verifies or supplements known facts, events, landscapes, talks about new acquaintances, describes the lazily passing days recording even the smallest details. The letters written from the room next door are a language joke, an exercise for a hand hitting the keys of a typewriter. The epistolographic works described above are the best illustration of Stefania Skwarczyńska’s claim that the letter “is a phenomenon in its genesis most strongly associated not only with the person of the author, but also with the person of the addressee who, through his silent participation, grows to the dignity of a co-author”.
PL
Kształt językowy listów zależy od roli, w jaką wciela się pisarz, przesyłając listy żonie. Gdy pisze z dalekich Niemiec, Szwajcarii, Francji jest podróżnikiem, który pragnie ukochanej przybliżyć widoki i wrażenia, z nadzieją na wspólne ponowne odwiedziny cudownych, nieznanych miejsc. Gdy odpoczywa w Nałęczowie, weryfikuje lub uzupełnia znane fakty, zdarzenia, krajobrazy, opowiada o nowych znajomych, relacjonuje upływające leniwie dni, rejestrując nawet najdrobniejsze szczegóły. Listy pisane z pokoju obok są żartem językowym, ćwiczeniem dla niewprawnej dłoni uderzającej w klawisze maszyny do pisania. Opisane dzieła epistolograficzne są najlepszą ilustracją twierdzenia Stefanii Skwarczyńskiej, że list „to zjawisko związane najmocniej u swojej genezy nie tylko z osobą twórcy-autora, ale i z osobą adresata, który urasta przez swój niemy współudział do godności współautora”.
8
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„Biały jak paulin”, „czarny jak miód prastary” – o konkretyzacji prototypowej barwy białej i czarnej w historii języka polskiego

100%
Czachorowska M.
Studia Językoznawcze. Synchroniczne i diachroniczne aspekty badań polszczyzny
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2009
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vol. 8
47-58
EN
The article describes conceptual patterns for blackness and whiteness that were formed as the polish language evolved. The author analyzes constructions, which can be found in the early lexicographic works. She also presents us with stabilizing tendencies, the gain of formation and describes primary – being the essence of the meaning of the colour – and secondary prototype references. Additionally material taken from contemporary vocabularies, providing for comparisons – prototypes is being presented.
9
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Kuglarstwo, szarlataneria czy doświadczenie świata nadprzyrodzonego: słownictwo spirytystyczne w "Emancypantkach" Bolesława Prusa

63%
Czachorowska M., Guzek M.
Studia Językoznawcze. Synchroniczne i diachroniczne aspekty badań polszczyzny
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2015
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vol. 14
71-82
EN
The article brings up the issues of nineteenth-century mesmerism in the works of Bolesław Prus. It describes the coming out of the phenomenon, views of its rationalization and democratisation both from global and Polish perspective. Moreover, it draws attention to those components of the author’s biography, such as the acquaintance and cooperation with Julian Ochorowicz, which influenced the shape of his outlook on the spiritualism enthusiasts movement, quite popular at that times. The writer’s attitude towards the new phenomenon was ambiguous and traces of his internal dilemmas are easily found in the language of “The New Woman”. The analyzed language which creates spiritualistic discourse is represented by general names i.e. names of the doctrine created by Allan Kardec or the reality it concerned; names of the rituals – meetings of people and spirits as well as the names of people and beings, directly or indirectly engaged in those rituals.
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