Search results

1

Cechy indywidualne języka w felietonach z cyklu „Z życia polskich sfer” Henryka Martenki („Angora” 2015)

100%

Kudra B., Uniwersytet Łódzki W. F., barbarakudra@uni.lodz.pl

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2016

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vol. 32

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issue 2

EN

The article presents the individual characteristics of the language (idiolect/idiostyle) of the columns written by Henryk Martenka from “Angora” in 2015. These are among others: humour, irony, colloquial, lexical innovation, original epithets, styling, quotes with argumentative function, rhetorical strategy questions, making understatements. They demonstrate the originality, conceptualization of subsistence of his author, his consciousness and metalinguistic reflection and bring the reader closer to world’s attitudes, opinions and values.

2

Метафорика света и цвета как способ выражения авторской модальности в идиостиле Максимилиана Волошина

100%

Alimpijewa R., Taran S.

Acta Polono-Ruthenica

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2010

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vol. Tom 1 Nr XV

189-199

EN

Metaphorics of light and color as means of the author’s modality expression, being realized through the use of mineralogical lexics, is considered on the poetic texts of M. Voloshin, the original poet of the Silver Age. Peculiarities of the mineralogical lexics metaphorical usage as a method of representation of the emotional-ethical and axiological poet’s guidelines, determining the essence of the author’s modality as a text-building category, are stated.

3

Cechy indywidualne języka w felietonach z cyklu „Z życia polskich sfer” Henryka Martenki („Angora” 2015)

100%

Kudra B.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2016

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vol. 32

|

issue 2

95-106

EN

The article presents the individual characteristics of the language (idiolect/idiostyle) of the columns written by Henryk Martenka from “Angora” in 2015. These are among others: humour, irony, colloquial, lexical innovation, original epithets, styling, quotes with argumentative function, rhetorical strategy questions, making understatements. They demonstrate the originality, conceptualization of subsistence of his author, his consciousness and metalinguistic reflection and bring the reader closer to world’s attitudes, opinions and values.

4

Українські літописи як джерело формування фразеологічного арсеналу ідіостилю Пантелеймона Куліша

88%

Ustenko L.

Studia Ucrainica Varsoviensia

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2016

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vol. 4

283-300

PL

This article is about a source of phraseological units which were identifi ed in Panteleymon Kulish’s linguistic creativity. The language valuation of Kulish’s writings in the Ukrainian language of different historical periods was characterized. The writer’s information about his biography and epistolary was analyzed as evidence of chronicles’ interest. Attention is paid to the Ukrainian spoken of the phraseology in Samovydets’s Chronicle, Grygoriy Grab’yanka’s Chronicle, Galicia-Volyn chronicle. The infl uence of the old Ukrainian written tradition on selection phraseological units in Panteleymon Kulish’s creativity was shown. The function of stylistic categories of idioms in Kulish’s idiostyle in the context of the adoption of chronicle tradition was partially described. This was done in an attempt to estimate the achievement of modern phraseography according to the codifi cation of phraseological units which actively function in the writer’s lingual practice.

5

Лексико-семантический анализ стихотворения Н. С. Гумилева „Сады души”

76%

Kasperova L. Т.

Stylistyka

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2015

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vol. 24

229-236

EN

This article presents a lexico-semantic analysis of Nikolay Gumilev’s “Garden of the Soul” poem (1907). In the early 20th century, there appeared a special type of depiction in art – a depiction of the author’s inner state. Analyzing the idiostyles (individual styles) of the poets from the Silver Age, we have defined it as a psychological self-portrait, the type of character depiction wherein the poet uses the artistic format to characterize his or her mental state when creating the work of art. One of NikolayGumilev’s early poems, “Gardens of the Soul” (1907), fits into the category of the psychological self-portrait. In his early poems, the poet had already demonstrated the basic features of the future neo-romantic trend in Russian poetry, known as acmeism (from the Greek Üêìç (acme), the height of the blossoming season), founded by Nikolay Gumilev himself. By opposing themselves to the symbolists, the acmeists turned to the description of the material world. First and foremost, they tended to replace the referent with characterization in metaphorical constructions, and describe abstract notions through analogies with the material world. In his poem “Gardens of the Soul” the author describes his inner world through the metaphor of the garden. On route from referent denotations of the words garden and soul to the metaphorical meaning of the phrase “gardens of the soul”, the readers find themselves neutralizing the concrete semantic components, while other semantic components are actualized. The study uses lexicosemantic analysis and socio-philological experiments. The article summarizes the results of a survey, in which the respondents of various age and social groups interpret the text of the poem. The metaphorical transfer between the notions of the soul and the garden is carried out through not one, but several ways: epidigmatic (3%), lexicosemantic (39%), attributive (25%) and lexico-derivational (33%).

6

О лексикографическом методе изучения идиостиля (материалы одноязычных и двуязычных словарей писателя)

75%

МИЛЮТИНА Т. A.

Stylistyka

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2011

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vol. 20

125-144

RU

The author presents an oven iew of bibliography deahrg wuh Polish and Russian writer’s dictionaries. He shows a concept of lexicographic research on idiostyles proposed by B.A. Larin. He also discusses the issues of creating monolingual and bilingual writer’s language dictionaries.

7

Linguistic portrait of a writer as the object ofstylistics and history ofliterary language

75%

MYALKOVSKA L.

Stylistyka

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2011

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vol. 20

101-108

EN

Specific of language and creativity of I. Nechui- Levytskyi’s in the context of history of Ukrainian literary language is outlined. The analysis of idiostyle writer is carried out after presence in the artistic texts of conceptual lexical units which form lexical-associative field “intelligentsia”. The basie structural and semantic types of metaphors are considered with key words dream, idea, heart, soul. Activity of comparisons and artistic definitions is marked in the system of figurative and stylistic language means of the researched prose. The last definitions are concemed such concepts, as “intelligentsia”, “nationalism”, “life”.

8

Uwagi na temat dziennikarskiego stylu Bolesława Prusa na podstawie kronik o Ogrodzie Saskim (wybrane cechy)

75%

Czachorowska M.

Studia Językoznawcze. Synchroniczne i diachroniczne aspekty badań polszczyzny

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2019

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vol. 18

43-54

EN

The journalistic output of Bolesław Prus is so vast that it requires adetailed analysis. Therefore, the present article is not acomprehensive study of the writing technique of the Warsaw chroni-cler, and neither is it afull presentation of his journalistic idiostyle; instead, it is supposed to depict the most typical features of his style. Two indicators of his journalistic internal style – the genre fluency and stylistic easiness – have been discussed at length; both features indicate an exceptional character of the style of Aleksander Głowacki. The characteristic elements of his idiostyle have been taken from 16 texts of different lengths, which are joined by the common topic, the Ogród Saski, apublic garden in central Warsaw.

PL

Niniejszy szkic nie ma za zadanie kompleksowej analizy idiostylu Bolesława Prusa, realizowanego w tekstach publicystycznych (jest to niemożliwe ze względu na ogrom dorobku dziennikarskiego pisarza), wskazuje jedynie na pewne charakterystyczne elementy warsztatu pisarskiego kronikarza Warszawy. Omówiono dwa wyznaczniki wewnętrzne stylu dziennikarskiego – płynność gatunkową i swobodę stylistyczną. Obie cechy wskazują na wyjątkowość kronikarskiego pióra Aleksandra Głowackiego. Charakterystyczne elementy idiostylu zaczerpnięte zostały z 16 tekstów różnej długości, które łączy wspólny temat: park miejski w centrum miasta – Ogród Saski. Analizie poddane zostały m.in. takie środki stylistyczne, jak peryfraza, metafora, metonimia, neologizmy czy paralelizmy składniowe.

9

ИНДИВИДУАЛЬНО-АВТОРСКАЯ ЛЕКСИКА В ПРОИЗВЕДЕНИЯХ ВАСИЛИЯ ШУКШИНА

75%

Marszałek M., Tołkaczewski F.

Slavia Orientalis

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2018

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vol. LXVII

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issue 1

10

Ulterior lexical markers of sacredness in Boris Grebenschikov’s song lyrics (a linguoconceptual analysis)

75%

Leszczak O., Robak M.

Przegląd Wschodnioeuropejski

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2022

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vol. 2

345–359

EN

The study presented in this article is based on a corpus of 200 songs by a Russian poet and singer Boris Grebenschikov. The cognitive space of sacredness is one of the key spaces in the artistic discourse worldview of Boris Grebenschikov. The authors emphasize that the sacredness in the interpretation of the Russian poet does not relate to any specific religion. It is universal and mystical but, at the same time, it is emphasized anthropocentrically. The authors demonstrate the specifics of the poet's artistic depiction of sacred phenomena, physical objects and substances through explicit and implicit lexical nominations and descriptions. Descriptions of impossible or unknown spatial-temporal phenomena, events, and hidden knowledge are referred to as markers of the implicit representation of the sacred. The same goes with the names of especially important substances, e.g., salt, water, dust and unnatural phenomena. The linguoconceptual analysis of Grebenschikov’s idiostyle aimed at uncovering the cross-cutting motives and characteristics of the poet’s entire work is of a functional and pragmatic nature.

11

Kreatywność językowa Roberta Makłowicza: styl językowy programu TV „Makłowicz w podróży”

63%

Soćko A.

Prace Językoznawcze

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2014

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issue 16/2

81-93

EN

The article presents the analisys of language idiostyle of Robert Makłowicz, the presenter and author of television cuisine program „Makłowicz w podróży” and his characteristic language elements. The author also discusses the place of television cuisine programs in the medial environment and tries to describe elements characteristic for Makłowicz’s idiodiscourse.

12

Translating Anna Karenina - to the Question About the Pragmatics of Translation

63%

Gurina E.

Journal of Education Culture and Society

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2016

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vol. 7

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issue 2

307-315

EN

The article deals with the stylistic peculiarities of the translations made by R. Pevear and L. Volokhonsky, L. and A. Maud, J. Carmichael of the novel Anna Karenina by L. Tolstoy on the basis of pragmastylistics and comparative analysis. It tries to analyze the text of the novel using the lingo-stylistic characteristics in accordance with the national bias in the way of thinking and individual creative preferences of every translator taking an attempt to introduce a foreign picture of the world to his countrymen. It underlines the impact of Tolstoy’s complicated attitude towards the customs and traditions of the Russian Orthodox church and the specific relationship of the author of the novel with God and its manifestation in the description of the heroes’ characters. In stresses how vital it may turn out to preserve the author’s ideostyle - lexis and syntax (the word order, the choice of them and the length of the sentences) for the successful interpretation of the writer’s views and stance by the reader.

13

Henryk Sienkiewicz i poezja – krytyka, praktyka

63%

Klimek-Grądzka J.

Acta Universitatis Lodziensis. Folia Linguistica

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2016

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vol. 50

185-198

EN

Subject to analysis in this article are the poetic and the metapoetic statements made by Henryk Sienkiewicz. Even though the latter category is now and then analysed in lingustic research – as part of the analyses of Sienkiewicz’s legacy as a columnist and a reviewer – the former category remains terra incognita for language researchers. The first part of the article analyses the key concepts of Sienkiewicz’s metapoetic statements (e.g. talent [gift, talent] or prostota [simplicity]) as well as the stylistic qualities of these statements (e.g. poetic nature, emotionality). The second part of the article features a linguistic analysis of the idiostylistic qualities of Sienkiewicz’s poetic works: grammar of rhymes, selection of stylistic means (e.g. parallels and epithets) as well as his choice of the lexical stock.

PL

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14

«Русские мужики? Какие же, как не русские…», или Почему трудно переводить Гоголя

63%

Blizniuk-Biskup J.

Przegląd Wschodnioeuropejski

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2019

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vol. 2

315-324

EN

The author addresses the issue of how peculiarities of Gogol’s narrative style can be retained in the translations of “Petersburg Stories” and “Dead Souls”, with special focus on the attitude of the narrator towards what is reported. The main attention is paid to constructions with the qualificator russkij ‘Russian’ referring to phenomena deeply rooted in Russian culture and, on the face of it, serving to highlight the national “local color”. Still, on a closer inspection one finds that, contrary to expectations, relevant constructions reflect alienation of the narrator with respect to reported events, being a kind of exoticisms and thus additionally complicating translation. It is well-advised for Gogol’s translators to be mindful of this special variety of exoticization characteristic of his prose.

15

Изобразительная модель натурализации человека и антропных феноменов в идиостилевой картине мира Бориса Гребенщикова

63%

Лещак С.

Prace Językoznawcze

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2018

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vol. XX/3

91–101

EN

The paper is devoted to the analysis of presentation of a human and his demonstration by natural phenomena and objects in artistic idiostyle of a Russian bard and poet Boris Grebenshchikov’s. Particular explicational schemes that belong to the general pictorial model of human naturalization were described with respect to the concepts of the naturefacts, which are most characteristics of poet’s aesthetic picture of world.

PL

Artykuł poświęcony jest analizie prezentacji osoby i jej przejawów poprzez zjawiska i przedmioty naturalne w artystycznym idiostylu rosyjskiego barda i poety Borysa Griebienszczikowa. Opisane zostały poszczególne schematy eksplikatywne, które są częścią ogólnego modelu naturalizacji człowieka z uwzględnieniem konceptów – faktów naturalnych najbardziej charakterystycznych dla estetycznego obrazu świata poety.

16

Wzniosłość i potoczność w pismach bł. siostry Bernardyny Marii Jabłońskiej

63%

Nowak M.

Zeszyty Naukowe KUL

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2018

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vol. 61

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issue 2

19-28

EN

The article presents language idiosyncracies of Sr. Bernardina Maria Jabłońska (187-1940), co-founder of the Congregation of Albertine Sisters Serving the Poor (ZSAPU). Sr. Bernardina Jabłońska’s variable feature of religious idiostyle is a combination of sublime qualities (which may be embodied as poetic) and colloquial style. Sublimeness is achieved primarily through artistic means, mainly comparisons and metaphors. Colloquialism is represented by diminutive and hypocoristic formations, lexical and phraseological colloquial expressions (including colloquial comparisons), and quasi-dialogical syntactic constructions.

PL

W artykule przedstawia się osobliwości języka s. Bernardyny Marii Jabłońskiej (1878-1940) współzałożycielki Zgromadzenia Sióstr Albertynek Posługujących Ubogim. Cechą znamienną religijnego idiostylu s. Bernardyny Jabłońskiej są łączące się cechy wzniosłość (mogąca być ujęta jako poetyckość) i potoczność. Wzniosłość osiągana przede wszystkim poprzez środki artystyczne głównie porównania i metafory. Potoczność wyrażana zaś przez formacje deminutywne i hipokorystyczne, potocyzmy leksykalne i frazeologiczne (w tym potoczne porównania) oraz budujące (quasi)dialogowość konstrukcje składniowe.

17

ОКАЗІОНАЛІЗМИ ЯК ОСНОВА СИНЕРГЕТИКИ ІДІОСТИЛЮ МИКОЛИ ВІНГРАНОВСЬКОГО

54%

МІНІЧ Л.

Studia Ukrainica Posnaniensia

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2020

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vol. 8

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issue 2

45-55

PL

Podstawą do stwierdzenia, że słowotwórcze leksemy innowacyjne są powszechne w poezji Mykoły Winhranowskiego jest ich systematyzacja i klasyfikacja. Wśród nich najliczniejszą grupę stanowią leksemy utworzone przez złożenie podstaw; utworzone za pomocą przyrostków jako formantów słowotwórczych; utworzone z wykorzystaniem jednocześnie przedrostków i przyrostków. Rzadko spotykane są neologizmy utworzone za pomocą wyłącznie przedrostków. W niniejszym artykule przedstawiono różne rodzaje okazjonalizmów poety, które autorka analizuje na podstawie wymienionej klasyfikacji. Istotną rolę odgrywa także postawa autorska Winhranowskiego, którą badaczka odbiera jako ważny aspekt psycholingwistyczny w procesie kształtowania indywidualnego stylu twórczego.

EN

The systematization and classification of neolexemes in Mykola Vingranovkyi’s poetry prove that the author used them for creating his own literary idiostyle. Among such kinds of words, the most widespread are formed by compounding the stems. The other variants of the poet’s words are formed by suffixation and also prefixal-suffixal derivatives. Much less common is to find neologisms formed by only prefixation. In the article, the researcher studies different types of occasional lexemes, analysis of which had been based on the aforementioned classification. In this case, the writer’s position is very important. The author shows how the psychoanalytical aspect of the poet’s outlook is present in his linguistic presentation of the world.

18

Gnój Wojciecha Kuczoka w chorwackim i serbskim przekładzie, czyli o dwóch strategiach tłumaczenia gwary śląskiej

51%

Pycia-Košćak P. A., Košćak N.

Przekłady Literatur Słowiańskich

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2022

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vol. 12

1-19

HR

U radu se analiziraju strategije i tehnike prevođenja šleskog dijalekta kao posebnog jezičnog koda i naziva kulturno specifičnih elemenata vezanih uz Šlesku na hrvatski i srpski jezik. U obzir se uzimaju replike likova romana Gnój Wojciecha Kuczoka (hrv. Glib, srp. Pogan) koje je autor posebno istaknuo u tekstu pomoću navodnika, drugim riječima „živi šleski govor“. Polazišna je točka definiranje stilizacije književnog teksta u stručnoj literaturi, a potom slijedi prikaz posebnosti dijalektizacije u izvornom tekstu romana. Nadalje se opisuju, uspoređuju i ocjenjuju metode stilizacije teksta koje su prisutne u hrvatskom i srpskom prijevodu. Na osnovi prikupljenih podataka hrvatsku se strategiju prevođenja zbog potpune neutralizacije može opisati kao „prešućivanje“, dok je srpska strategija prevođenja svojevrstan „dijalog“ s originalnim tekstom, u kojemu se rabi supstitucija temeljena na kolokvijalizaciji i djelomičnoj dijalektizaciji idiostila likova.

EN

This article deals with the Croatian and Serbian translation of the Silesian dialect, which appears in Wojciech Kuczok’s novel Gnój. The analysis includes the dialect stylization present in the source text, as well as the strategies and techniques used for its translations. The various translation solutions used by the translators also were compared and evaluated.

19

ELEMENTY MITU W STAROGRECKIM ROMANSIE LONGOSA „DAFNIS I CHLOE”

51%

MAKAR I.

Acta Scientifica Academiae Ostroviensis. Sectio A, Nauki Humanistyczne, Społeczne i Techniczne

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2014

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issue Nr 4(2)

95-101

PL

Longos, pisarz starogrecki końca II w., autor pastoralnego romansu „Dafnis i Chloe” żył w epoce „drugiej sofistyki”. Jego stosunek do religii i wiary dość poważny: wiara w istnienie bogów i pietyzm wobec kultu bóstwa autentyczne, a obrazy bogów i opowiadania o cudach przez nich tworzone, nie stanowiły dodatku do opowieści fabularnych, a ważną ich część. Tak samo należy rozpatrywać poświęcenie romansu Erosowi, Nimfom i Panowi. Zdaniem autorki, kwestia stosowania elementów mitycznych w romansie Longosa pozostaje aktualna.

EN

Longus, the ancient Greek writer of the end of the second century, who wrote the pastoral novel „Daphnis and Chloe”, lived in the epoch of the „second sophistry”, when artistic and moral values were actively overvalued, in the epoch, when vision and treatment of religion was changed and rural gods, Pan and Nymphs, were honoured only as a tradition and mainly among villagers. Longus’ attitude toward religion and beliefs was serious enough: faith in gods’ existence and worship to the cult of deity were real for him, and images of gods and narrations about wonders, which they create, were not just an addi-tion to artistic narrative, but an important part of it. Moreover, there is a necessity to ex-amine the dedication of the novel as a gift to Eros, Nymphs and Pan. We consider the elements of myth as not an artistic reception, but as an important component of the writer’s idiostyle, his world outlook. A question about using mythical elements in the Lon-gus’ novel, the subject of our scientific research, is considered to be actual.

20

Доминантные и факультативные компоненты лексических комбинаций в русской поэзии

51%

Павлова Л., Романова И.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2020

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issue 13

103-117

EN

The article reflects the experience of using the original software system “Hypertext Search for Companion-Words in Author’s Texts”, which allows one to find recurrent lexical combinations in the work of an author (the “corpus” direction of research) or in a thematically (by key lexical items) defined corpus of poems by various authors, right up to all Russian poetry (a “thematic” line of research). In the identified lexical combinations, a common lexical set is distinguished, due to the commonality of actual life or of language material, to common features of human perception, or to widespread associations. In this way a leitmotiv-based lexical environment emerges. It contains the dominant components of lexical combinations. Outside the leitmotiv set remain variations – lexemes that are occasionally added to the leitmotiv core in specific texts and thereby individualize those texts. These are optional components of combinations. Identifying the dominant and the optional components of lexical combinations is effective for comparing different authors and for establishing what they have in common and where they differ in their poetic interpretations of the same topic.

RU

Статья отражает опыт применения оригинального программного комплекса «Гипертекстовый поиск слов-спутников в авторских текстах», который позволяет обнаружить повторяющиеся лексические комбинации в творчестве того или иного автора («корпусное» направление исследований) или в тематически заданном определенной ключевой лексемой корпусе стихотворений разных авторов вплоть до всей русской поэзии («тематическое» направление исследований). В выявленных лексических комбинациях выделяется общий лексический ряд, обусловленный общностью объективного жизненного или языкового материала, общими особенностями человеческого восприятия, распространенными ассоциациями. Так создается лейтмотивная лексическая среда. Это доминантные компоненты лексических комбинаций. За пределами этого лейтмотивного ряда остаются вариации – лексемы, которые изредка добавляются к лейтмотивному ядру в конкретных текстах и тем самым индивидуализируют эти тексты. Это факультативные компоненты комбинаций. Выявление доминантных и факультативных компонентов лексических комбинаций эффективно для сравнения разных авторов и установления общего и отличного в их поэтических интерпретациях одной и той же темы.

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Cechy indywidualne języka w felietonach z cyklu „Z życia polskich sfer” Henryka Martenki („Angora” 2015)

Метафорика света и цвета как способ выражения авторской модальности в идиостиле Максимилиана Волошина

Cechy indywidualne języka w felietonach z cyklu „Z życia polskich sfer” Henryka Martenki („Angora” 2015)

Українські літописи як джерело формування фразеологічного арсеналу ідіостилю Пантелеймона Куліша

Лексико-семантический анализ стихотворения Н. С. Гумилева „Сады души”

О лексикографическом методе изучения идиостиля (материалы одноязычных и двуязычных словарей писателя)

Linguistic portrait of a writer as the object ofstylistics and history ofliterary language

Uwagi na temat dziennikarskiego stylu Bolesława Prusa na podstawie kronik o Ogrodzie Saskim (wybrane cechy)

ИНДИВИДУАЛЬНО-АВТОРСКАЯ ЛЕКСИКА В ПРОИЗВЕДЕНИЯХ ВАСИЛИЯ ШУКШИНА

Ulterior lexical markers of sacredness in Boris Grebenschikov’s song lyrics (a linguoconceptual analysis)

Kreatywność językowa Roberta Makłowicza: styl językowy programu TV „Makłowicz w podróży”

Translating Anna Karenina - to the Question About the Pragmatics of Translation

Henryk Sienkiewicz i poezja – krytyka, praktyka

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