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Poezie jako hlavolam: Saussure o anagramu

100%
Koblížek T.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2015
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vol. 52
199-205
EN
The text provides a commentary regarding Ferdinand de Saussure‘s research in anagrammatic poetry. The author first describes three phases of Saussure’s research (1906–1907, 1907–1908, 1908–1909) and explains various changes in his approach. Secondly, the author introduces the main tendencies in reception of Saussure’s “anagrammatic work” (Tel Quel, linguistics, psychoanalysis). Finally, a comparison is drawn between Saussure’s analysis of anagrams and his Course in General Linguistics.
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Rukopisné poznámky o anagramu

100%
de Saussure F., Koblížek T.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2015
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vol. 52
206-215
EN
The text is a Czech translation of selected Ferdinand de Saussure’s manuscripts concerning anagrammatic poetry (the source text: Jean Starobinski, Les mots sous les mots. Les anagrammes de Ferdinand de Saussure, Paris: Gallimard 1971). Three types of Saussure’s manuscript notes appear in the translation: 1) texts concerning general linguistic background, 2) descriptions of various anagrammatic rules, 3) concrete analysis of anagrams.
3
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„Najtrudniej opisywać to co najważniejsze”. O Płynie Lugola Bohdana Zadury

98%
Opacka-Walasek D.
Poznańskie Studia Polonistyczne. Seria Literacka
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2012
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issue 19
189-198
EN
The starting point for the interpretation of the poem Płyn Lugola, [Lugol’s solution] written by B. Zadura, is the rift between the classical form of the sonnet and the title that prompts the interventionist character of the poem and that indicates journalistic involvement in and the implications of the events in Chernobyl. This in turn leads to identification of further structural tensions and dissonances (in the verse course, at the level of imaging and in shaping the mood of the poem). The descriptive category for the essence of the composition and underlined overtones of the work is the sublime, in particular as it is viewed by modern aesthetics (proposed by Lyotard, Derrida, but also Burke). What surfaces is the microscale of imaging clashed with the macroscale phenomena formalized in lyrical situation, violation of the substance of the world, stability encroached by liquidity. A particularly validated layer of the work is the sound structure of the poem: in the finely and precisely controlled instrumental line, almost equivalent to the anagram, connotes the word “Chernobyl”, though the word is not expressed explicitly in the text. The interpretation intends to prove that the stake here is the articulation of sublimity charged and permeated with a metapoetic reflection – and that “the most important is, at the same time, the most difficult to describe”.
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Lektura anagramatyczna a przekład (zmagania translatorskie z wierszem Krešimira Bagicia la folie de saussure

98%
Majdzik K.
Przekłady Literatur Słowiańskich
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2015
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vol. 6
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issue 1
90-104
HR
Polazište za razradbu problema prijevoda predstavljenu u članku koncepcija je anagrama Ferdinanda de Saussurea. Anagrami su pojedini glasovi ili skupine glasova što se ponavljaju u književnom djelu, a od kojih se sastoji riječ ili riječi (ideje; teme) prisutne, no razmještene po tkivu teksta. Na taj se način konstruira implicitan, skriveni smisao književnog djela. Čitanje i interpretacija anagrama iz perspektive psihoanalize pruža mogućnost njihova razumijevanja kao izraza autorova nesvjesnog (Julija Kristeva). U članku se analiziraju prijevodi pjesama (npr. la folie de saussure K. Bagića) s obzirom na mogućnosti i ograničenja prijenosa skrivenog i dodanog smisla, što su rezultati prisutnosti anagrama u tekstu te zvučne organizacije književnog djela (npr. u slučaju pjesništva ruskih futurista i ideje zauma).
EN
The starting point for the presented elaboration on translation is the concept of Ferdinand de Saussure’s anagrams. Anagrams consist of certain phoneme or group of phonemes repeated in the literary work. They form a certain word or words (idea, theme) which are scattered (disseminated) in the text. By reconstructing these words we are able to discover or (re)construct the implicit, hidden sense of the text. Reading and interpreting anagrams from the perspective of psychoanalysis enables one to consider them as an expression of the author’s unconsciousness (Julia Kristeva). In this paper the translation of the poems (la folie de saussure by K. Bagić) is analyzed taking into consideration the possibilities and limitations of the transfer of hidden and added senses that appears as a result of the anagram’s presence or the tonal organization of the literary text (e.g. in the case of the poetry of the Russian Futurists and the idea of zaum).
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Sacrae litterae. Anagramatyczne wariacje na temat Virginis – Deiparae w Oraculum Parthenium Józefa Stanisława Bieżanowskiego (1668) [Sacrae litterae. Anagrammatic variations on Virginis Deiparae in Oraculum Parthenium by Joseph Stanislaw Bieżanowski

85%
Zaborowska-Musiał J.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2014
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vol. 24
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issue 1
163-183
PL
Joseph Stanislaw Bieżanowski, a professor at the University of Krakow, a eulogist and poet, in the collection entitled Oraculum Parthenium (Krakow 1668) used a hundred of simple anagrams of Giovanni Battista Agnese published in Rome in 1661. These short (one-sentence) phrases, formed from the letters of the first part of the Angelic Salutation (Ave Maria, gratia plena, Dominus Tecum), accentuated on Mary’s immaculate purity and freedom from the stain of the original sin on the one hand and her divine motherhood on the other, thus increasing the role and the importance of Mary in God’s plan of salvation. Bieżanowski used these anagrams, making each of them a motto elaborated on in his epigrammatic comment. Epigrams of the Krakow lecturer are characterized not so much by the deepening of the religious reflection, as attention to the formal aspects, the pursuit of artistry. This is reflected in the application, many times within one work, of rhetorical figures highly valued in the Baroque (antitheses, oxymorons), the chiastic structure and interspersing the punch line of the epigram with the anagram from the motto (sometimes in a modified form). Anagram not only served as an additional rhetorical decoration, highlighting the main idea of a work, but also provided a bridge integrating the entire composition. Bieżanowski enclosed the anagrammatic-and-epigrammatic praise of the Virgin Mother of God by an interesting theory of the genre outlined in the preface to Pope Clement IX, whom the University of Cracow gave the collection while making efforts to proceed with the beatification of John Cantius. It combines the literary and theological reflection and in this way exalts the genre, contrary to the opinions of some seventeenth-century theorists. Bieżanowski’s original approach is also evident in the change in the system of anagrams proposed originally by Agnese. In this new system Oraculum Parthenium could perform several functions: educationional,  propagandistic and polemical. Above all, however, it was a poetic prayer, complementing the official Marian liturgy.
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Słowo i obraz w piśmiennictwie kręgu eparchii przemyskiej XVII–XVIII wieku

80%
Pilipowicz D.
Latopisy Akademii Supraskiej
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2021
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vol. Obraz - Słowo - Litera
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issue 12
173-184
EN
The article is devoted to the relations between literature and visual arts. The texts created on the initiative of the church hierarchs of the Przemyśl eparchy reflect the striving for the synthesis of arts and the visuality of the literary text, characteristic of the baroque era, both in Polish and Ukrainian culture. It took various forms depending on the subject of the work and its genre character. A pomjanyk of Bishop Innocent Winnicki combined a graphic element devoted to soteriological and vanitative themes with the memory of the dead. The series of portraits of the deceased bishops of the Przemyśl eparchy created in the mid-18th century have short epitaphs or, in the case of bishop Onufry Szumlański, a panegyric epigram with references to the symbolism of the coat of arms. An interesting example is Nomen Maximilianus written in honor of bishop Maksymilian Ryło by Ignacy Pilawski. The work consisted of an allegorical emblematic poem of a heraldic character and 12 anagrams built around the bishop’s name, in which the author used many allegorical images to interest the reader and skillfully praise the protagonist of the work. The analysis of these texts shows how important it was for the authors of the time to influence the reader’s imagination with the visual effect of a literary work.
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Польские фамилии в прозе Антона Чехова

71%
Szubin R.
Poznańskie Studia Polonistyczne. Seria Językoznawcza
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2012
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vol. 19
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issue 1
149-158
PL
The author considers Polish surnames in Chehov‘s prose from two basic positions – formal and semantic. A Polish surname in Chehov always appears in an intense semantic context and involves ambivalent meanings. Nearly all Polish characters of his works are administrators, managers, or beautiful women. An important point is that a Polish surname in Chehov, regardless of the real national identity of its bearer, starts to function as a sign. Within this aspect, deep semantic structures of the text are involved. According to the author of the article, an adaptation of a foreign surname within the text to be received by the Russian linguistic consciousness is generally effected through an anagram and identification to sound structure of the text.
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Репрезентация ключевого звукообраза НЕДО в балладе В. Высоцкого "Прерванный полет"

57%
Иванян Е.
Acta Universitatis Lodziensis. Folia Linguistica Rossica
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2021
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issue 20
49-59
EN
The work explores the sound recording of V. Vysotsky’s ballad Interrupted Flight.The goal is to describe the representation of the key image of the text. Hypothesis: the appeal to the key image of NEDO, which is a symbol of Russian linguoculture, produces non-trivial results. The ballad was studied by literary critics against other classical works; the image of the ballad hero was characterized; linguists studied the ballad by exploring the complex prefix nedo- in comparative studies and its existence in literature. The linguopoetic analysis showed that the representation of the sound image is not always carried out with the help of anaphony and its variety – anagram. Representation is described in six aspects: by the number of representable parts of a complex sound image (complete and partial), by the distance between the representable parts (contact and distant); by the method of representation of parts of the sound image (direct and inverse); by the manifestation of the representation of the sound image (sound-letter and sound); by the form of the representable part (continuous and discrete); by the place of representation of the part of the sound image: analytical and synthetic; by quantitative composition of the sound-letter part of the representation (complete and reduced). The general characteristic of NEDO in the ballad indicates that the key image conveys meaningful and conceptual information, and the message of the work, fate, depends not only on circumstances but also on the position of a person. Four lexico-grammatical classes of words and phraseology are involved in the implementation of a complex sound image. The proposed methodology for studying anaphony and anagram in a poetic text is also effective in linguopoetic analysis.
RU
Работа исследует звукопись баллады В. Высоцкого Прерванный полет. Цель – описать репрезентацию ключевого образа текста. Гипотеза: обращение к ключевому образу НЕДО, являющемуся символом русской лингвокультуры, даст нетривиальные результаты. Баллада изучалась литературоведами в сопоставлении с творчеством классиков, характеризовался образ героя баллады; лингвисты упоминали балладу, исследуя сложную приставку недо- в компаративистике, еe бытование в литературе. Лингвопоэтический анализ показал: репрезентация звукообраза НЕДО осуществляется с помощью анафонии и еe разновидности – анаграммы. Репрезентация описана на шести основаниях: по количеству репрезентируемых частей сложного звукообраза (полная и частичная), по расстоянию между репрезентируемыми частями (контактная и дистантная); по способу репрезентации частей звукообраза (прямому и инверсивному); по манифестации репрезентации звукообраза (звукобуквенной и звуковой); по форме репрезентируемой части (непрерывной и дискретной); по месту репрезентации части звукообраза (аналитической и синтетической); по количественному составу звукобукв части репрезентации (полная и редуцированная). Общая характеристика НЕДО в балладе свидетельствует, что ключевой образ передает содержательно-концептуальную информацию и посыл произведения – судьба зависит не только от обстоятельств, но и позиции человека. В реализации сложного звукообраза участвуют четыре лексико-грамматических классa слов и фразеологизм. Предложенная методология изучения анафонии и анаграммы в поэтическом тексте действенна для лингвопоэтического анализа.
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