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1

O warstwie treściowej spektakli baletowych – wokół problemu recepcji i transformacji kulturowych tematów libretta

100%
Reglińska-Jemioł A.
Napis. Pismo poświęcone literaturze okolicznościowej i użytkowej
|
2020
|
vol. 26: ERRARE HUMANUM EST. BŁĘDY W BADANIACH HUMANISTYCZNYCH, ICH RODZAJE I KONSEKWENCJE
314-328
EN
The connection between dance and the written word (literature) in classical ballet performances seems particularly close. The starting point for the production of such events could be a literary idea. This is because it is the written libretto which constitutes the dramatic foundation of ballet. The development of the art of ballet saw the emergence of a dominating tendency to shorten and simplify action, so that it captures the attention of the viewer and keeps tension up until the end, thus maintaining a continual interest in the meaning of the dance. Over time, the libretto itself would turn out to be a certain form of inspiration for free choreographic interpretations. The complexity and evolution of ballet themes become apparent in the context of cultural shifts, social attitudes and the aesthetics of a given era. In theatre criticism, it is notable that the status of libretto is inadequately specified, as its reviews seem to be based on ambiguous criteria. This is why, from a scholarly perspective, it is interesting to explore loose adaptations and distant reminiscences of these topics. Such an exploration provokes questions relating to possible ‘fortunate errors’, and the effects thereof, in the context of interpretation.
2

Beyond dance: Inflectional marking on terminological borrowings in classical ballet

80%
Lipovšek F.
Beyond Philology: An International Journal of Linguistics, Literary Studies and English Language Teaching
|
2018
|
issue 15/2
41-57
EN
Most classical ballet terminology comes from French. English and Slovene adopt the designations for ballet movements without any word-formational or orthographic modifications. This paper presents a study into the behaviour of such unmodified borrowings in written texts from the point of view of inflectional marking. The research involved two questions: the choice between the donor-language and recipient-language marking and the placement of the inflection in syntactically complex terms. The main point of interest was the marking of number. The research shows that only Slovene employs native inflections on the borrowed terms while English adopts the ready-made French plurals. The behaviour of the terms in Slovene texts was further examined from the points of view of gender/case marking and declension class assignment. The usual placement of the inflection is on the postmodifier closest to the headword.
PL
Większość klasycznej terminologii baletowej pochodzi z języka francuskiego. Angielski i słoweński przyswajają nazwy baletowe bez żadnych modyfikacji słowotwórczych lub ortograficznych. W artykule przedstawiono badanie takich niezmodyfikowanych zapożyczeń w tekstach pisanych z punktu widzenia fleksyjnego znakowania. Badania obejmowały dwie kwestie: wybór pomiędzy oznaczeniem języka źródłowego a języka odbiorcy oraz fleksja w terminach składniowo złożonych. Głównym punktem zainteresowania była kategoria liczby. Badania pokazały, że tylko Słoweńcy używają rodzimej odmiany zapożyczonych terminów, podczas gdy angielski przyjmuje gotowe francuskie formy gramatyczne liczby mnogiej. Terminy w tekstach słoweńskich zostały dodatkowo zbadane pod kątem przypisania rodzaju/przypadków i klasy deklinacyjnej.
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