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1

Modlitwa ciała — o zmysłowej postaci świętości w "Lutni czeskiej" Adama Michny z Otradovic

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Maciołek M.
Slavica Wratislaviensia
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2011
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vol. 153
693-707
EN
The fascination with the sensual stems from the paradoxes of existence that haunted the baroque mind. One area where it can be found is religious poetry of the mystic-erotic tradition with its overlap of sensual experience and the experience of the sacred. In mystic-erotic poetry the sacred becomes sensual. In 17th-century Czech literature this type of poetry is represented by The Czech Lute, a collection of songs by Adam Michna. The article seeks to reinterpret this work by conducting an analysis based on the so-called doctrine of the spiritual senses derived from the teachings of the Church Fathers. This doctrine is based on Origen’s idea (developed at the turn of the 3rd century) that the spiritual senses are the senses of the heart, or of the inner man, which are sublimated in the process of the gradual overcoming of the senses of the flesh. The delight of communing with God is brought to those who can restrain the former and activate the latter. Thus the spiritual senses become the tools of mystical cognition. The article contains references to the teachings of Saint Bonaventure (13th c.), who developed Origen’s ideas, defining the spiritual senses as acts of contemplation which enable men to attain unity with God. By using the biblical alphabet of the senses in depicting the mystic act of commuting with the Absolute, of spiritual union, the Czech poet offered his Czech baroque readers a new form of spiritual experience, and introduced into poetry a new kind of poetic expression.
2
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THE BEGINNINGS OF POLISH HYMNOLOGY: EPHRAIM OLOFF AND HIS 'POLNISCHE LIEDERGESCHICHTE' (Poczatki polskiej hymnologii: Ephraim Oloff i jego 'Polnische Liedergeschichte')

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Wieczorek R.
Muzyka
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2007
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vol. 52
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issue 4(207)
75-94
EN
The monumental 'Polnische Liedergeschichte' by Ephraim Oloff (1685-1735), an erudite from Torun and a Polish-German pastor of Dutch origin, provides the first synthesis of Polish church song and also one of the first syntheses of church songs generally. Modern hymnology owes to him the knowledge of many cantional prints from various faiths (Catholic, Lutheran, Arian, Calvinist), which are lost to us today and which were published in the territory of the Commonwealth of Poland and Lithuania at that time, as well as those from Silesia and the Duchy of Prussia. His treatment of the church song as a component of 'practical theology' precedes the development of hymnology as a theological discipline in its own right. Oloff's work also provides important evidence for the penetration of song repertory beyond the boundaries of faiths, providing the foundation for research into the links between Polish and German songs.
3

Kreacja Anioła w wierszach księdza Jana Twardowskiego i jej rekonstrukcja w rosyjskich przekładach

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Dworakowska B.
Białostockie Archiwum Językowe
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2012
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issue 12
25-47
EN
In the present article Jan Twardowski’s poems translated into Russian compared with original texts are the object of analysis. The subject matter of the works is concentrating around the most important existential problems. Irrespective of the subject matter of works, an orientation on the sacrum is one of main features of Twardowski’s poetry. Proposed analysis is situated in investigative model of cultural linguistics, referring to the cognitive paradigm. The linguistic image of the angel is investigated in two dimensions. The angel’s attributes in JOS of Polish language were specified within the limits of monolingual analysis, whereas bilingual analysis showed what happens with the JOS when it is transferred to other language, in this case to Russian language.
4

Expressiva w wierszach księdza Jana Twardowskiego i ich rosyjskich przekładach

100%
Dworakowska B. E.
Białostockie Archiwum Językowe
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2013
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issue 13
51-66
EN
The subject of research in this article are Jan Twardowski’s poems translated into Russian and compared to their original Polish versions. The purpose of the study was to check whether formal-esthetical equivalence within the scope of expressive names’ translation has been achieved. The issue of stylistic devices is crucial for poetry. The analysis of the original Polish texts indicates a conscious use of *diminutives or *augmentatives by the author in order to approximate a religious sphere to a reader. The comparison of bitexts allows one to establish the techniques used by the translators in the translation process (literary translation, reproduction, tropization, detropization), aiming at achieving the equivalent esthetic effect and transposing an innovative language of faith to the level of Russian language and culture.
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