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1

Comparing theoretical approaches towards style: Several possible criteria and changing cultural contexts

100%

Křistek M.

Stylistyka

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2015

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vol. 24

381-387

EN

The main aim of this contribution is to propose a general scheme that provides the possibility of comparing theoretical approaches to style, including approaches rooted in various cultural contexts. This kind of general scheme from the area of comparative stylistics offers the possibility to compare works on style written in various periods and various areas. The proposed scheme describing theoretical concepts of style, moving from linguistic to extralinguistic factors, is a sequence of five simple what-questions (in English, for the sake of the scheme could be simplicity referred to, e.g. as a “5 wh-sequence”): 1) WHAT definition of style is used? 2) WHAT kind of text is dealt with? 3) WHAT varieties of the particular language are taken into consideration? 4) WHAT is the purpose of work with texts? 5) WHAT other extralinguistic factors are taken into consideration? Since each proposed scheme must be tested in practice, two works are chosen for a brief test – namely, two works dealing with Slovak stylistics, published over nine decades apart, which in this particular case means each of them operated in a considerably different cultural context. The main differences between the compared works are 1) the aim – prescription vs. description, and 2) the supposed reader – secondary school students vs. university students (the academic community in general, re- spectively). Other differences are caused mainly by the different stages of the language as well as metalanguage development, and with the development of the language community in general.

2

Len Hansa Christiana Andersena - opowieść fantastyczna o roślinie?

100%

Ogłoza E.

Paidia i Literatura

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2020

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issue 2

77-89

EN

The article discusses The Flax, a fantasy tale by Hans Christian Andersen. In my reading, I focus on details of the tale’s text. I point out various contexts that expand and diversify the reading of the tale, such as: cultural, religious, biblical, artistic, literary and cinematic ones.

3

O kontekstach kulturowych polskich przekładów powieści Les Misérables Wiktora Hugo (publikowanych w latach 1862‑2012)

85%

Warchoł J.

Między Oryginałem a Przekładem

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2014

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vol. 26

27-52

EN

The article discussed both extra- and intra-textual cultural contexts of translation. Very important extra-textual cultural context for Polish translations of V. Hugo’s Les Misérables has to do with the the way they have been published and whom for: initially in the press, then in a paper book as complete versions or truncated ones, as a paraphrase, finally, since 2000, as well as e-books and audio-books; for simple or rather intellectual readers. Recreating the chronology of series of published translations since the first one in 1862, we can observe the primary role of publishers and editors in relation to translators, the more they were among them well-known writers – J.I. Kraszewski (publisher) and J. Iwaszkiewicz (editor). The first translation was collective, because of the publishing cycle serialized in press and the length of the original .But the names of translators were given, including in the first book released. In the next editions often the names of translators were omitted and sometimes the published text was a compilation of several translations. So first the translation of E. Sulicki and F. Faleński, the one by W. Limanowska coexist in 2000th years with the new one of K. Byczewska, first time published in 1956 in the PIW. Then we try to perceive the cultural intra-textual contexts by analyzing how many culturally significant elements of the original have been translated in diachronico-synchronic series of Polish translations. This analysis seems to confirm that the type of publishers has a major impact on cohesion (integral or abridged version), semantic and linguistic quality of those translations. The sign of intersection of extra- and intra-textual factors is undoubtedly censorship interference in translations, at first with a predominance of the socio-political one, until, in the Iskry edition of 1954, in which there is a noticeable censorship of the author’s convictions including religious and moral ones.

4

K hlubinným souvislostem In memoriam V. S.

71%

Hrbata Z.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2019

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vol. 60

154-157

EN

The article dedicated to the memory of Vladimír Svatoň (1931–2018), an eminent Czech literary scholar, specialist in Comparative and Russian literature, attempts an outline of the main themes and principles of his comparative literary analyses and reflections focusing particularly on the great literary and philosophical currents, on the “lasting shapes” of European aesthetics and poetics, the universal models and situations of artistic creations, its spiritual and cultural contexts. Svatoň’s contributions to the theory and the meaning of genres (novel, tragedy) or the typology of movements (Russian symbolism) are similarly fundamental.

5

Wędrówki opolsko-drohobyczańskie Bestiarium Tomasza Różyckiego na tle prozy Brunona Schulza

71%

Szumiec A.

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2018

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vol. 12

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issue 2

247-266

EN

The article discusses links between Tomasz Różycki’s Bestiarium [Bestiary] and Bruno Schulz’s texts. Special attention is paid to the motif of wandering (both physical and mental) that can be traced in those works. Another important issue is onirism, inter-textual references and ways of creating the depicted world (mythology of reality, particular motifs, props, schemes). Różycki presents himself as an artist aware of his own work and cultural achievements. He creates an original novel which, at the same time, is strongly rooted in tradition.

6

Anspielungen und Anspielungscollagen in Haftbefehls Rap-Lyrik

61%

Herdam A.

Convivium. Germanistisches Jahrbuch Polen

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2016

59-81

PL

W tekstach niemieckiego rapera Haftbefehla można dostrzec wiele aluzji i nawiązań. Wskazują one na specyficzne konteksty kulturowe i pomagają w – popularnej wśród publiczności – inscenizacji przemocy, związanej z miejską przestępczością. Dowartościowanie bohaterów utworów i dyskredytacja ich przeciwników a także typowe elementy sceniczne realizowane są przez Haftbefehla dzięki aluzjom i collagom, zawierającym aluzje. Artysta używa ich m.in. w celu uzyskania lepszego efektu, imitującego rzeczywistość. Czasem dzięki takim collagom sugerowane są publiczności nowe skojarzenia i związki między przedstawianymi historiami.

EN

In the texts of Haftbefehl, a German gangsta-rap artist, we may observe a large number of allusions. They refer to a specific cultural context and support the stereotypical depiction expected by the public, of a violent urban criminality. A revaluation of the main character, and the discrediting of his opponents, as well as typical art elements, are realised by Haftbefehl, through the use of allusions, and collages consisting of allusions. The artist uses allusions to obtain among others, the effect of authenticity. Through these collages of allusions, he sometimes presents to the public new relationships and connections between depicted stories.

DE

In den Texten des deutschen Gangsta-Rappers Haftbefehl sind Anspielungen häufig zu beobachten. Sie verweisen auf spezifische kulturelle Kontexte und unterstützen die vom Publikum erwartete Inszenierung urbaner, gewalttätiger Kriminalität. Eine Aufwertung der Hauptfigur und Abwertung der Gegenspieler sowie typische Inszenierungskomponenten werden bei Haftbefehl durch Anspielungen und Anspielungscollagen realisiert. Der Künstler benutzt Anspielungen unter anderem, um einen Authentizitätseffekt zu erzielen. Gelegentlich werden dem Publikum durch Anspielungscollagen neue Bezüge als kohärent suggeriert.

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1 Convivium. Germanistisches Jahrbuch Polen

1 Między Oryginałem a Przekładem

1 Paidia i Literatura

1 Stylistyka

1 Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

1 Śląskie Studia Polonistyczne

1 2020

1 2019

1 2018

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1 Herdam A.

1 Hrbata Z.

1 Křistek M.

1 Ogłoza E.