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PL
The article concentrates on the etymological and quasi-etymological considerations of Julian Tuwim, his fascination with Slavism and the future of language and word-formative experiments. Of course, there is no mention here about a program manifesto forming a logically ordered lecture in an academic sense. The linguistic knowledge of the poet “can be recognized” in his opinions appearing in Pegazie dęba or in funny poetical puns and metalinguistic utterances. It must be emphasized that in the writer’s opinion, language is not only a substance used for creation of the literary vision of the world. The artist makes efforts to comprehend the secrets of a language system and even draws conclusions of theoretical nature, turning language into a kind of a “protagonist” of his own poetic texts, journalistic texts or texts on the theory of literature.
Polonica
|
2015
|
vol. 35
179-189
EN
The article presents conception of research into linguistic stylization used by screenwriters. In the first part, the author discusses the theoretical assumptions. He believes that research into stylization should include three aspects: grammatical, semantic and pragmatic. Taking into account the visual context is also necessary for a full description of linguistic phenomena. In the second part of the article, the author applies the proposed method to empirical material. Archaization in a Polish horror film Wilczyca (She Wolf, 1982) is analyzed.
Stylistyka
|
2020
|
vol. 29
427-439
EN
The Czech language is socially stratified and regionally differentiated, although there are also processes of the opposite character going on in it, like unification and equalization. Language development includes in itself antinomies opposing each other, but which are mutually complementary and converting into each other. The paper presents an interpretation of the functioning of selected antinomies in the language and in speech, such as the relationship between the standard and non-standard forms, represented by the common Czech. As early as in the middle of the last century the tendency to blurring of boundaries between them occurred, while various linguists have had different opinions on that process. These opinions are reflected in inconsistencies present in normative books (dictionaries, grammars, orthographic norms, normative educational handbooks), and this raises the uncertainty of users in the choice of language means. The users are now perhaps more influenced by the media than by teaching. The level of media speech is reflected in the speech of ordinary users, the frequent phenomena being overused, they become fashion, they insinuate themselves into the speech regardless of their functionality or non-functionality. In general, the current situation of the Czech can be characterized as dynamic, with developmental features, both systemic and irregular. Linguistics should not only capture this situation and describe it, but influence it by linguistic awareness, as the followers of the Prague School claimed. However, some linguists refuse it, considering it wrongly as intervention and manipulation.
EN
The article presents the text of Solomon’s The Song of Songs in the translation of Bohdan Drozdowski and constitutes an attempt at answering the question about the comparison of Drozdowski’s interpretation with other 20th-century “literary” translations of The Song of Songs. The translations by Jerzy Żuławski, Roman Brandstaetter and Czesław Miłosz have been a point of reference for the author. The author makes the designations oblubieniec (“bridegroom”) and oblubienica (“bride”) the objects of detailed research. A comparative analysis leads to the conclusion that in the translation by Drozdowski there appears a rich network of terms for Him and Her composed of nouns and adjectives (Drozdowski gives primacy only to Żuławski). Naming lovers, Drozdowski makes use of, among ¬others, diachronic synonymy (luba, luby) as well as regional terms and loanwords (serdeńko, lubow¬nik). The formations used in the translation are confirmed in the dictionaries of the Old Polish and tradition (vocabulary of Polish love poetry). A stylistic feature of the translation by Drozdowski is its versified and rhymed form (Żuławski provides an analogy here), and in the context of the contemporary translations also archaizing and emotiveness.
PL
Artykuł poświęcony jest kwestii językowej poprawności zabiegów stylizacyjnych stosowanych przez twórców tekstów artystycznych ze szczególnym uwzględnieniem scenariuszy filmowych. W pierwszej części artykułu autor omawia dotychczasowe poglądy polskich badaczy na ten temat i przedstawia własne stanowisko, opowiadając się za umiarkowanym autentyzmem i uwzględnianiem przez twórców ustaleń językoznawców. W drugiej części omawia przykłady zabiegów stylizacyjnych zastosowanych w polskich filmach o średniowieczu i pokazuje, jak językoznawca mógłby pomóc w ich ulepszeniu. W zakończeniu wskazuje na możliwości włączenia problematyki poprawności stylizacyjnej do językoznawstwa stosowanego.
EN
The article is devoted to language correctness of stylization procedures used by the authors of artistic texts, screenplays in particular. In the first part of the article, the author describes the current views of Polish researchers upon this issue and presents his own position declaring for moderate authenticity and respecting the linguists’ decisions by text writers. In the second part of the article, the author discusses the examples of stylization procedures used in Polish movies about the Middle Ages and shows the way a linguist could help to improve them. Finally, the author indicates the possibility of including the problem of stylization correctness to applied linguistics.
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