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1

Sacrum et profanum dans Yonec de Marie de France (XIIe siècle)

100%

Gęsicka A.

Quêtes littéraires

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2013

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issue 3

9-15

EN

In the Breton lais, we encounter a brilliant marriage of the Celtic and Christian « marvel » (merveilleux), which is revealed on various semiotic levels. The zones of sacrum and profanum interpenetrate and provoke the reader’s afterthoughts with abundant and profound imagery. In Yonec by Marie de France, at the moment when the coming from Autre Monde protagonist is receiving the Eucharist, he con-stitutes one body with his beloved. In this paper, I attempt to uncover a spiritual meaning/message underlying the text, characters-symbols. The clue to this analysis is the idea of transition: from one status to another, from one figure to another, or from one meaning to another.

FR

In the Breton lais, we encounter a brilliant marriage of the Celtic and Christian « marvel » (merveilleux), which is revealed on various semiotic levels. The zones of sacrum and profanum interpenetrate and provoke the reader’s afterthoughts with abundant and profound imagery. In Yonec by Marie de France, at the moment when the coming from Autre Monde protagonist is receiving the Eucharist, he con-stitutes one body with his beloved. In this paper, I attempt to uncover a spiritual meaning/message underlying the text, characters-symbols. The clue to this analysis is the idea of transition: from one status to another, from one figure to another, or from one meaning to another.

2

Motyw grobu w pieśniach (lais) Marii z Francji

71%

Gęsicka A.

Prace Filologiczne. Literaturoznawstwo

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2012

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issue 2(5)

221-236

EN

A motif of tomb appears in lais of Marie de France, a writer-poet of the 12th century, in two categories: as a description of tomb really existing or under construction and as the idea of a planned tomb. It seems that for the author the connotation of tomb is of fundamental importance. As this motif occurs in the context of an inseparable triad of love, death and memory, the tomb becomes not only a place-mark of the union of lovers, but also a place-mark of a commemoration of the terrestrial position of the deceased refl ected in constant prayers. The attitude the author takes toward the motif seems to necessitate an active approach of the reader, inviting the reader to look for an adequate interpretation.

3

KOBIETA TŁUMACZKA W ŚREDNIOWIECZU (KILKA PRZYKŁADÓW TRANSLATORSKIEJ AKTYWNOŚCI KOBIET)

57%

Strzelczyk J.

Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ

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2010

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issue 2(24)

21-33

EN

Translatory achievements of medieval women are rarely discussed. In antiquity Greek and Roman writings were practically all composed in two languages. Because Latin women’s writing did not reach sophistication, or at least we do not possess the evidence for it, Greek dominated. In the early Middle Ages the situation changed: Latin became dominant, and the writing in Greek was no longer well recognized. While the literary examination used to focus on high culture, the value of such high-brow products was assessed according to the criterion of originality. Low culture and its writings were largely disregarded. Translation, a low-brow representative, could not easily prove its originality. Comments about it are rather infrequent in early compendia of medieval literature. This absence may be partly explained by the fact that originality itself was not held in high regard in the Middle Ages. Only recently has the growing research into social and legal conditions of early women as well as into their varied cultural and literary expressions brought them a deserved recognition.

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1 Prace Filologiczne. Literaturoznawstwo

1 Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ

1 Quêtes littéraires

2 Gęsicka A.

1 Strzelczyk J.

1 2013

1 2012

1 2011

Sacrum et profanum dans Yonec de Marie de France (XIIe siècle)

Motyw grobu w pieśniach (lais) Marii z Francji

KOBIETA TŁUMACZKA W ŚREDNIOWIECZU (KILKA PRZYKŁADÓW TRANSLATORSKIEJ AKTYWNOŚCI KOBIET)