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Estetyka literacka w siódmym wydaniu Nowego Testamentu w przekładzie ks. Eugeniusza Dąbrowskiego na podstawie leksemów, wyrażeń i fraz wybranych z czterech Ewangelii

100%
Kuźnik B.
Studia Pastoralne
|
2016
|
vol. 12
131-145
EN
The New Testament translated by Rev. Eugeniusz Dąbrowski, professor at the Catholic University of Lublin, is a part of the canon of Polish translations of the Bible. This is a translation from Latin version by St. Hieronymus, just as the first Polish translation of the Bible, also from Vulgate, by Father Jakub Wujek. The intention of D ąbrowski was primarily a pastoral one. He wanted to make the reader enter into a relationship with Christ and the authors of the biblical texts through reading the Bible. Therefore the translator’s priority was, on the one hand, to maintain a language available for the then contemporary postwar generation, and on the other to use a linguistic aesthetics that conveys a particularities of the sacral language and remain free of colloquial forms. That is why the translation seems to be the resultant of the archaic translation by Wujek and the more contemporary translation by the Benedictines of Tyniec Abbey. Comparison of fragments of the translation by Dąbrowski with the said translations and shows the translator’s struggles to keep communicativeness of the text and its sacral character at the same time. For this reason the analysed translation becomes a part of a constantly up-to-date discussion of linguists concerning decisions of translators of the biblical texts. Each new decade and generation they face the task to keep both clarity and sacred character of the text.
2

The Stylistic Category of Clarity (Σαφήνεια, Explanatio, Perspicuitas, Claritas) in the Eyes of Greek and Roman Writers

63%
Styka J.
Classica Cracoviensia
|
2017
|
issue 20
119-139
EN
The concept of clarity and the closely related idea of colour were of great importance not only for the formulation of classical ideas connected with the theory of beaux arts, but also for the creation of concepts related to the an­cient academic and philosophical discourse, mainly via the use of light/shadow/colour metaphors to express and envisage the problems discussed. These were of special importance for what is commonly referred to as ancient literary aesthet­ics, which is the product of ideas originating in classical philosophical literary theory, practice and critique. It is to this very area of aesthetic and literary mean­ings of clarity that I would like to devote the present paper. However, the bulk of preserved testimonies, both direct (i.e. directly and normatively formulated) and indirect (i.e. resulting from the immanent poetics of the work), as well as the fact that they are multi-layered, compel me to narrow my analysis to the concept of clarity (σαφήνεια, claritas) as a stylistic category in ancient rhetoric and poetics, based exclusively on concepts expressed by classical Greek and Latin authors.
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