Search results

1

Book review. Lindvall, Terry et al. (2016). Divine Film Comedies: Biblical Narratives, Film Sub-Genres, and the Comic Spirit. New York: Routledge.

100%

Walsbergerová T.

The European Journal of Humour Research

|

2019

|

vol. 7

|

issue 2

EN

This review critiques Terry Lindvall et al.'s Divine Film Comedies: Biblical Narratives, Film Sub-Genres, and the Comic Spirit. Lindvall et al.'s account is a study of a synthesis of the impact of film comedies with religious themes. By carrying out this study, using strategies from theology, humour studies, and film studies, the authors have succeeded in filling a gap in knowledge and provided scholars of all the aforementioned disciplines with an insight into this fascinating intersection of seemingly incompatible elements.

2

Jenseits von Atatürk: Das Gastarbeiterschicksal im Film Almanya – Willkommen in Deutschland

80%

Daszkiewicz A.

Acta Philologica

|

2014

|

issue 45

201-208

PL

Artykuł nawiązuje do debiutu kinowego sióstr Şamdereli, który w sposób żartobliwy, a przez to skuteczny naświetla trudne relacje niemiecko-tureckie, nie wahając się przed przedstawieniem ich rzeczywistych przyczyn. Autorka omawia poruszone w filmie kwestie poniżenia i społecznego wyobcowania, a także utraty własnej tożsamości w świetle najnowszych badań naukowych.

3

Idiolekt w przekładzie

80%

Bednarczyk A.

Między Oryginałem a Przekładem

|

2015

|

vol. 29

57-68

EN

The article concerns the problem of translation of idiolect. The analysis was based on M. Bulgakov’s play Zoya’s apartment and its Polish translation. The author of the article came to the conclusion that the repetition of the effect, that is the identity of the functions carried out by the idiolect, is more important than the repetition of the same means of expression. Hence the translator’s desire to maintain the author’s idiolect, not to reproduce the original stylistic treatments. Such targeting of the translation allowed to derive from the wealth of both the source language and the language of translation. However, when reproducing the author’s of the given text idiolect, translation possibilities are limited to the characteristics typical of his style.

4

Funkcje form komicznych (memów internetowych i dowcipów) związanych z pandemią COVID-19

80%

Szagun D.

Poznańskie Studia Polonistyczne. Seria Językoznawcza

|

2021

|

vol. 28

|

issue 1

255-270

EN

The subject of the study is the analysis of a series of Internet memes and linguistic jokes made available in pseudomemic form in connection with the COVID-19 pandemic. Comedy itself feeds on any deviations from the norm observed in social, and especially political, life; it captures all the aberrations, nonsense and inconsistencies. The pandemic emergency is fraught with new situations and rules that constitute such a deviation. A vivid social reaction is especially visible in the multisemiotic comic genres, such as Internet memes, due to their channel of entry (the Internet becomes the main channel of communication outside of family communities during social isolation), plasticity and susceptibility to replication. Comic forms, apart from peculiarly ludic and humorous functions, also perform persuasive functions, activating the social need to differentiate between oneself and the stranger, and consequently isolate or integrate certain social groups. In addition, Internet memes also serve as a commentary on current events, thus prompting the audience to take a position. Persuasion dressed in a comic costume seems to be one of the strongest ways of social influence, because it spreads in its innocent and playful form like a viral and becomes firmly fixed in social consciousness.

5

Krowa w łóżku, koń na fortepianie

80%

Giżycki M.

Kwartalnik Filmowy

|

2013

|

issue 83-84

317-321

PL

W historii kina można znaleźć kilka zaskakująco podobnych scen z końmi, krowami czy kozami stojącymi lub leżącymi sobie jakby nigdy nic na meblach w mieszczańskich wnętrzach. Najbardziej znane pochodzą ze "Złotego wieku" Luisa Buñuela ("L’Age d’or", 1930), "I znowu źle" z Flipem i Flapem ("Wrong Again", 1929) oraz "Świat się śmieje" Grigorija Aleksandrowa (1934). Wydaje się, że siła oddziaływania i popularność tych scen leży w tym, iż łamią one społeczne tabu – normy współżycia między ludźmi i czworonogami, co prowadzi do komicznych sytuacji, ale również i w tym, że odwołują się do tradycji baśni, proponując nam łagodne oderwanie się od rzeczywistości.

EN

In the history of the cinema there are several surprisingly similar scenes with horses, cows or goats standing or lying in a relaxed fashion on furniture in bourgeois interiors. The most famouscome from "L’Age d’or" (1930) by Luis Buñuel, "Wrong Again" (1929) with Oliver and Hardy and "Moscow Laughs" (other English title: "Jolly Fellows" /1934/) by Grigori Aleksandrov. It seems that the impact and popularity of these lies in the fact that they break the social taboo dealing with the standards of coexistence between humans and animals, which leads to comic situations, but the popularity lies also in the fact that this is a link to the tradition of fairy tales, offering us a gentle detachment from reality.

6

Plauto senza frontiere. Il “Miles gloriosus” nelle traduzioni

80%

Krauze J.

Studia Ełckie

|

2021

|

vol. 23

|

issue 4

525-534

EN

The works of Titus Maccius Plautus and his lively and picturesque language (sermo famialiaris full of archaisms and colloquialisms but in perfect harmony with the metric norms), were characterized by a conspicuous presence of loans from the Greek language and rhetorical figures aimed at highlighting the bizarre traits of the characters and over the centuries they have been a challenge for translators from all over the world. The secret of his success that breaks down times and frontiers consist in the richness and originality of his language that continues to influence every form of artistic expression. In this article the Italian versions that range from the seventeenth to the twentieth century are examined, focusing on the versions of Lodovico Dolce and Pier Paolo Pasolini, mentioning some Polish translations of the work of Plautus (Jan Szczepan Wolfram, Gustaw Przychocki, Zygmunt Węclewski) and coming to the conclusion that the result of the translation of classical texts should be a reasonable balance between those two poles that are called the ancient and the modern.

7

Karcer kultury i stan schizofreniczny. O Szczęściu Frania Włodzimierza Perzyńskiego

80%

Kostek S.

|

2012

|

vol. 18

|

issue 4

85-98

EN

The article is an attempt of analysis and interpretation of the “Young Poland“ comedy written by Włodzimierz Perzyński in psychopathological or psychoanalytical perspective. The author draws reader’s attention to artistic achievements of Włodzimierz Perzyński who was a Polish novelist, comedy writer, columnist and poet, satirist and ironist and he died eighty years ago. The article is informally built out of two parts: Michel Foucault’s cultural criticism is a context of the first part, in the second one the author uses � � � � � � �general psychoanalytical theories of � � Sigmund Freud and Karen Horney. A neurotic personality, neurotic disturbances in the relations between people and activities of individuals in the different social situations are an object of analysis and interpretation. The author discussing one of the most famous Perzyński’s comedies tries to show that the Polish writer’s plays are interesting and opening a lot of perspectives of interpretation.

8

Seksualność w służbie ateńskiego pokoju, czyli próba genderowej lektury "Lizystraty" Arystofanesa

80%

Kostek S.

Collectanea Philologica

|

2011

|

vol. 14

EN

The article is an attempt of commentary on the Aristophanes’ comedy in feminist/gender perspective. Images of women, stereotypes of both sexes and sexual identity in the old-Greek comedy are an object of analyses and interpretation. This article uses arguments of many commentators of Aristophanes’ theatre, for example Christopher A. Faraone, Lisa P. Vetter, Angus M. Bowie, Kenneth J. Dover or Jerzy Łanowski in order to illustrate how an individual can go beyond the limits of durable and common social or sexual games. I try to show that the works of the old-Greek writer are constantly opened for new strategies of interpretation and many-sided description of his comedies is in fact the matter of the humanities of future.

9

Au carrefour des formes, au carrefour des sens : Comédies en proverbes de Catherine Durand

70%

Kulesza M.

Orbis Linguarum

|

2018

|

issue 50

285–293

EN

At crossroads between forms and meanings: Comedies of proverbs by Catherine Durand The article describes Comedies of proverbs by Catherine Durand, a set of ten one-act plays constituting one of a few existing examples of the so-called théâtre de société, works rarely written and hardly ever published. The work illustrates a borderline between form and meaning, since it is a salon game, a theatre play published as annexe to the novel by Mme de Murat and an independent form of comedy. Each comedy-proverb illustrates a separate proverb, but mainly they constitute a bitter-sweet reflection on the society.

10

Literacki głos pokolenia X? David Foster Wallace wobec popkultury

70%

Gutowska S.

Jednak Książki. Gdańskie Czasopismo Humanistyczne

|

2017

|

issue 8 "Jak czytać (pop)literaturę?"

201-212

EN

The article treats on the life and work of American postmodern writer David Foster Wallace. The subject is undertaken in context of appearance of his writing in the Polish translation (by Jolanta Kozak). The author aims to present Wallace as a potentially interesting writer in the field of Polish literary studies. Next to describing him as a popcultural phenomenon, she puts stress on matters of the texts themselves, such as postmodern irony and psychological issues, corresponding with the writer’s actual experience.

11

Functions of film images of Warsaw in the Polish cinema of the 1960s

70%

Zwierzchowski P.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

|

2017

|

vol. 22

|

issue 31

65-78

EN

Polish cinema of the 1960s presented a specific vision of Warsaw, different from earlier and later ones, although it contained some solid motifs for the entire PRL era. These include emphasizing the uniqueness of Warsaw, the war past as an inseparable part of the city’s identity (though in the 1960s with a slightly different meaning) or the problem of getting a flat. The separateness and specificity of the then created images of the capital was related to the political specificity of the decade, the cultural and social moment of Warsaw development, the domination of realism that made the message authentic and genological issues – the main role in creating the image of the city was played by comedy. These images, however, were sometimes surprisingly subversive, breaking the dominant image.

12

Re-escritura discursiva del terrorismo a través del cine español contemporáneo: Ocho apellidos vascos (2014) y La revolución de los ángeles (2014)

70%

Bermúdez de Castro J.

Studia Romanica Posnaniensia

|

2015

|

vol. 42

|

issue 2

127-136

EN

The year 2014 saw the release of two films on the topic of terrorism from a perspective not yet adopted in Spanish fictional works: the comedy Ocho apellidos vascos, by Emilio Martínez-Lázaro, and La revolución de los ángeles, the social drama depicting the terrorist as a social activist, by Javier Silvestre, Oriol Clavell and Marc Barbena. This article explores the ways in which both approaches move away from more traditional forms of representing terrorism, such as the thriller or the emotional tribute to the victims, and to what extent the success of both films is a result of their unique perspectives on the question of terrorism.

13

Vis comica w komediach Publiusza Terencjusza Afera

70%

Piechocka-Kłos M.

Forum Teologiczne

|

2013

|

vol. 14

79-90

EN

During ludi gladiator fights, the Romans enjoyed chariot races, wild hunts, staged sea battles and circus and theatre performances. Terence’s comedies were also put on the stage during these games. Six of his plays, which the Roman people applauded as spectators in the years 166–160 BC, have been preserved to date. They are: Andria (The Andrian Girl), Hecyra (The Mother-in-Law), Heauton timoroumenos (The Self-Tormentor), Eunuchus (The Eunuch), Phormio, Adelphoe (The Brothers). According to the assumptions of the text, all these plays have been analyzed with regard to the comic force (vis comica) they contain. The plot, characters and language of his plays have become an area of research in this context. The reason for choosing Terence and his comedies for the present research is the fact that he is an author who has been read, commented upon, analyzed, published, copied and staged – not only throughout antiquity, but also from the Middle Ages to modern times. His plays were read and staged in both the times of pagan and Christian traditions. The vis comica they contain has undoubtedly contributed to the great popularity of Terence and interest in his works throughout centuries. The conducted research has also confirmed that this writer also influenced the process of development of comedy as a literary genre in later centuries.

14

Kostiumy w japońskim teatrze kyōgen: estetyka komizmu

70%

Zalewska A.

Przegląd Orientalistyczny

|

2021

|

issue 1-4 (277-280)

48-57

EN

Japanese kyōgen theatre is a comedy, and it has developed alongside nō drama from the 14th century on. Both types of theatre are performed even today and new plays for them are written, but the performances take place on a traditional stage, where the stage set and the costumes are traditional, as well. Kyōgen theatre costumes boldly combine humour with elegance and beautiful design. The article introduces the most important elements of basic types of kyōgen costumes and discusses the ornaments used on them, their meaning, and in what way they influence the atmosphere on the stage. The ornaments are both geometrical, from quite simple to more complicated ones (often grid patterns, stripes), and representational, in multiple forms and very rich imagery. The images on the costumes represent animals (often rabbits and hares), birds, fruit and vegetables (who would think a common turnip might look so interesting!), insects and crabs; all sorts of inanimate objects: fishing nets, houses, ox carts, fans, musical instruments etc. These costumes are fascinating examples of Japanese aesthetics: its asymmetry, overlaying of the images, taking part for the whole.

15

Opium nieszkodliwe teatru, czyli o «Tragedii Eumenesa» Tadeusza Rittnera

70%

Brzozowska S.

Pamiętnik Teatralny

|

2022

|

issue 2(281)

57-82

EN

According to Zbigniew Raszewski, Tragedia Eumenesa (The Tragedy of Eumenes) was one of Tadeusz Rittner’s worst plays. The present article engages polemically with this opinion. It evokes favourable reviews that followed the play’s 1920 premiere at the Juliusz Słowacki Theater in Kraków, as well as Lesław Eustachiewicz’s positive assessment from 1961. It also revisits the reviews of the 1922 flop at the Reduta Theater, which, paradoxically, reveal the text’s potential, namely the possibility of reading of the manuscript. Rittner’s comedy employs a poetics of the grotesque, farce, and irony, and, above all, uses overt theatricality and the category of dream as quasi reality. The author of the article identifies the theoretical foundations of this late drama in Rittner’s programmatic essay O snach i bajkach (On Dreams and Fairy Tales, 1909), where he does not renounce kitsch or fairy-tale props. The analysis leads to the conclusion that in The Tragedy of Eumenes, Rittner consciously engages in a dialogue with the aesthetics characteristic of the decline of the Habsburg monarchy—with its fascination with masquerade and Spanish theatre, as well as the poetics of dream and adventurous fairy-tale—and at the same time opens his text to multiple staging possibilities.

16

Najkrótszy kurs tragikomedii PRL: Rejs Marka Piwowskiego

70%

Obremski K.

Przestrzenie Teorii

|

2019

|

issue 31

345-356

EN

The tragicomic finale to a costume ball on a ship sailing into night-time darkness was already ‚conceived’ when passengers first stepped onto the gangway. The Cruise is a mix of genres (as was known from the ancient geneological theory of genus mixtum), because situational comedy and sociodrama co-create a genre as broken as tragicomedy, hence „If Rejs is considered a comedy, do not forget that it is a mocking comedy, streaked with despair, as bitter as gall” (Marek Hendrykowski).

17

Komediowa „Eneida”

70%

Piętka R.

Symbolae Philologorum Posnaniensium Graecae et Latinae

|

2019

|

vol. 29

|

issue 1

EN

Piętka Radosław, Komediowa „Eneida” (Comedy in Vergil’s Aeneid).The paper deals with the references – hypothetical and/or unquestionable – to comedy and comic conventions in the Aeneid of Vergil. Taking into consideration as many comic constituents as it is possible to retrieve from the Virgilian epic text, I would also like to try to answer the general question concerning supposed influence of these very constituents on the meaning of the whole text of the Aeneid.

18

The Verbal Expression of Anger in Croatian Comedy Films

61%

Vlašić Duić J.

Poznańskie Studia Slawistyczne

|

2015

|

issue 9

PL

The purpose of this paper was to examine the verbal expression of anger in Croatian comedy films and also to find textual and prosodic elements that provoke the viewer’s exhilaration. On the textual level analysis includes elements with which anger causes exhilaration and shows that such anger most often expresses superiority and is also unexpected which often occurs as a result of exaggeration. Due to the specific genre of comedy, i.e. its guaranteed lack of seriousness, the viewers are not aware of high presence of anger in film comedies. Comedy requires a different insight to life situations and a reinterpretation that leads to pleasant emotions.

EN

The purpose of this paper was to examine the verbal expression of anger in Croatian comedy films and also to find textual and prosodic elements that provoke the viewer’s exhilaration. On the textual level analysis includes elements with which anger causes exhilaration and shows that such anger most often expresses superiority and is also unexpected which often occurs as a result of exaggeration. Due to the specific genre of comedy, i.e. its guaranteed lack of seriousness, the viewers are not aware of high presence of anger in film comedies. Comedy requires a different insight to life situations and a reinterpretation that leads to pleasant emotions.

19

Self-Rapists, Adulterers and Unrelenting Inquisitors – How Bogusław Butrymowicz and Edmund Cięglewicz Introduced Aristophanic Comedy into Polish Reading Culture

61%

Śmiechowicz O.

Classica Cracoviensia

|

2017

|

issue 20

141-163

EN

In this article, I would like to reflect on the question of the introduction of Old Attic comedy to Polish reading culture. My main source for trying to reconstruct how Aristophanes’ comedies have been brought into Polish reading culture is the first “complete” translations produced at the beginning of the 20th century by Bogusław Butrymowicz and Edmund Cięglewicz. We are still in the period parallel to the Victorian era in England, so we can apparently predict, before even getting down to reading, what both the authors’ translation strategies may look like, especially in the face of Aristophanes’ prolific sexual innuendos. It turns out, however, that each of the authors being reviewed by me somehow tried to pick up the gauntlet which had been thrown down by the ancient playwright. Their courage to translate the original meanings without beating about the bush surprises us many a time, especially when we compare the Polish translations by them with those made into English by Benjamin Bickley Rogers, in the same period. Both Butrymowicz and Cięglewicz worked directly on the original Greek texts. Their prose translations released by the most popular publishers enabled outsiders to the small circle of experts to read pieces of ancient literature. As for pupils, students, theatre directors and theatregoers, their first (and usually only) contact with Aristophanes was by reading those translations.

20

"... I owo". Humor i humory Tadeusza Różewicza

61%

Solski Z.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

|

2015

|

vol. 19

162-175

EN

Farewell volume by Czeslaw Milosz was entitled ‘It’. Because of the importance of the text, some re-viewers compared the text with the epilogue to ‘The Tempest’ by William Shakespeare. Tadeusz Rożewicz published a parody of Miłosz’s text entitled ‘This and That’. By adding ‘… and that’, he produced an effect resembling the puncturing of the bubble of illusion. The goal of this and similar polemics by Różewicz was not to arouse uncontrollable laughter, but recall a smile. Smile is always associated with the form and serves to maintain the continuity of culture. In intertextual games, the poet uses dif-ferent styles. The fact that he often reached for ludic and farcical conventions does not diminish the sophistication of his media. In the process of ridicule, the poet always kept the authenticity and naturalness. What is the kind of humor by Różewicz? We should rather talk about the many shades of his humor.

Refine search results

Book review. Lindvall, Terry et al. (2016). Divine Film Comedies: Biblical Narratives, Film Sub-Genres, and the Comic Spirit. New York: Routledge.

Jenseits von Atatürk: Das Gastarbeiterschicksal im Film Almanya – Willkommen in Deutschland

Idiolekt w przekładzie

Funkcje form komicznych (memów internetowych i dowcipów) związanych z pandemią COVID-19

Krowa w łóżku, koń na fortepianie

Plauto senza frontiere. Il “Miles gloriosus” nelle traduzioni

Karcer kultury i stan schizofreniczny. O Szczęściu Frania Włodzimierza Perzyńskiego

Seksualność w służbie ateńskiego pokoju, czyli próba genderowej lektury "Lizystraty" Arystofanesa

Au carrefour des formes, au carrefour des sens : Comédies en proverbes de Catherine Durand

Literacki głos pokolenia X? David Foster Wallace wobec popkultury

Functions of film images of Warsaw in the Polish cinema of the 1960s

Re-escritura discursiva del terrorismo a través del cine español contemporáneo: Ocho apellidos vascos (2014) y La revolución de los ángeles (2014)

Vis comica w komediach Publiusza Terencjusza Afera

Kostiumy w japońskim teatrze kyōgen: estetyka komizmu

Opium nieszkodliwe teatru, czyli o «Tragedii Eumenesa» Tadeusza Rittnera

Najkrótszy kurs tragikomedii PRL: Rejs Marka Piwowskiego

Komediowa „Eneida”

The Verbal Expression of Anger in Croatian Comedy Films

Self-Rapists, Adulterers and Unrelenting Inquisitors – How Bogusław Butrymowicz and Edmund Cięglewicz Introduced Aristophanic Comedy into Polish Reading Culture

"... I owo". Humor i humory Tadeusza Różewicza