Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 4

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  Kasprowicz
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Publication available in full text mode
Content available

Uwagi do Salve Regina Jana Kasprowicza

100%
Jakiel E.
Studia Pelplińskie
|
2022
|
vol. 56
173-182
EN
I present here two important remarks on the subject of the work by Salve Regina, not yet taken up in Kasprowiczology, discussing two issues linking this hymn by Kasprowicz with the Roman liturgy and rituals. The thematic and structural threads that I read in this work, beyond any doubt, have a liturgical and ritual origin. Apparently, the relationship between this poet’s hymn and the religious work of the same title is expressed in terms of time. As in the mass liturgy and funeral liturgy, but also in monastic piety and pia exercitia, this hymn is associated with an extreme experience. Sung or recited at the end of the mass, at the end of the funeral, at the end of the day – it is also closely related to the end of human life in this piece by Kasprowicz. That is why we are dealing here with a kind of liturgical anaclesis, and above all an anamnesis of biblical events with their liturgical context oriented soteriologically.
PL
Przedstawiam tu dwie, dotąd niepodjęte w kasprowiczologii, istotne uwagi na temat utworu Salve Regina, zestawiając ze sobą dwa zagadnienia łączące ten hymn Kasprowicza z liturgią rzymską i obrzędowością. Wątki tematyczne i strukturalne, jakie w tym utworze odczytuję, ponad wszelką wątpliwość mają rodowód liturgiczno-obrzędowy. Najwyraźniej związek tego hymnu poety z utworem religijnym o tym samym tytule wyraża się w ujęciu czasu. Tak jak w liturgii mszalnej i liturgii pogrzebowej, ale też tak jak w pobożności klasztornej i pia exercitia hymn ten wiąże się z doświadczeniem krańcowym. Śpiewany lub recytowany na koniec mszy, na koniec pogrzebu, na koniec dnia – jest i w tym utworze Kasprowicza ściśle związany z końcem ziemskiego życia człowieka. Dlatego mamy tu do czynienia z rodzajem anaklezy liturgicznej, a przede wszystkim anamnezy wydarzeń biblijnych z ich liturgicznym kontekstem zorientowanym soteriologicznie.
2
Content available remote

Didaskalia w przekładzie tekstu dramatycznego (na przykładzie Orestei Ajschylosa)

83%
Bibik B.
Między Oryginałem a Przekładem
|
2013
|
vol. 22
57-75
EN
We all know that in the ancient tragedies there are no written stage directions. But it does not mean that there are no stage instructions. Without no doubts the fifth century BC tragedies were the theatre productions. And they were influenced by the Athenian theater of the day – its natural location, architecture, theatre equipment and stage design. In every age the drama is influenced by the theatre of its days. The authors of the translations I am interested in this article inserted the stage directions in their translations. And I would like to examine what kind of staging they suggest. And whether they are devoid or not of the influences of or the references to the stages and theatres of authors’ time.
3
Publication available in full text mode
Content available

Didaskalia w Orestei Ajschylosa jako projekt inscenizacji tłumacza (na przykładzie Agamemnona)

71%
Bibik B.
Symbolae Philologorum Posnaniensium Graecae et Latinae
|
2016
|
vol. 26
|
issue 1
53-75
EN
We all know that in the ancient tragedies there are no written stage directions. But it does not mean that there areno stage instructions. Without no doubts the fifth century BC tragedies were theatre productions. Of course theywere influencedby the Athenian theater of the day, but in every age the drama is influenced by the theatre of itsdays. And translation of a drama requires to be imagined by the translator who is never free from any influencesor references to the stages and theatres of authors’ time. That is why in this paper I would like to examine whatkind of staging the translators suggest in their translations and stage directions they insert in the texts.
4
Publication available in full text mode
Content available

Didaskalia w Orestei Ajschylosa jako projekt inscenizacji tłumacza (na przykładzie Agamemnona)

71%
Bibik B.
Symbolae Philologorum Posnaniensium Graecae et Latinae
|
2016
|
vol. 26
|
issue 1
53-75
PL
We all know that in the ancient tragedies there are no written stage directions. But it does not mean that there areno stage instructions. Without no doubts the fifth century BC tragedies were theatre productions. Of course theywere influencedby the Athenian theater of the day, but in every age the drama is influenced by the theatre of itsdays. And translation of a drama requires to be imagined by the translator who is never free from any influencesor references to the stages and theatres of authors’ time. That is why in this paper I would like to examine whatkind of staging the translators suggest in their translations and stage directions they insert in the texts.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.