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1

The world of lofty feelings and good manners, or Norwid’s law of inversion

100%

Kącka E.

Studia Norwidiana

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2020

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vol. 38 English Version

95-105

EN

This article regards Norwid’s Tajemnica Lorda Singelworth in the context of his anthropology as well as historical and cultural background. The author’s notion of “cleanliness,” inspired in some measure by the Gospels, is connected to the circumstances of both Norwid himself and the main character of his puzzling novella. This reading revolves around the image of a balloon flight during which the Lord – as it is argued, following hints already present in studies of Norwid – discards a piece of paper with “physiological content.” This scene is placed in the context of other literary balloon flights and the eccentricity of Baudelaire’s friend Philoxène Boyer. Finally, the article discusses Norwid’s law of inversion, which can be applied in the case of Singelworth.

2

Embedded Inversion Worldwide

86%

Kolbe D., Sand A.

Linguaculture

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2010

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vol. 2010

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issue 1

25-42

EN

The inversion of (auxiliary) verb and subject in subordinate interrogative clauses (embedded inversion, or EI) is a feature that occurs in many non-standard varieties of English, especially in varieties that have developed in language contact situations, such as Irish English, East African English or Indian English. Various sources of origin have been proposed in previous research, among them substrate influence or transfer errors of learners in language contact situation. This paper introduces the phenomenon in question and provides an overview of previous research. Drawing on data of the International Corpus of English (ICE), it then presents the results of probabilistic statistic analyses (logistic regression) in order to identify which external and internal factors are strongest in elciting the inverted word order.

3

Word Order and Composition of Lyrical Discourse

86%

Zeldowicz G.

Slavia Orientalis

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2019

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vol. LXVIII

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issue 2

4

Matoš and Whitman: a Comparison of Two Poems

75%

Mitrovich K., Swanson M.

Poznańskie Studia Slawistyczne

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2014

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issue 7

PL

This essay compares Utjeha kose, translated as The Solace of Hair, by Antun Gustav Matošand Death’s Valley by Walt Whitman. We analyze similarities in theme, metaphor and poeticstyle. We also offer a close analysis of verse, together with meter, together with syntax andphonology of the two poems. Matoš and Whitman approach similar themes from differentperspectives. However, we find coincidental similarities in both techniques and stylistic devices and the underlying messages of the pieces. We also draw upon our personal vision ofthe pieces as well as, in the case of Death’s Valley in particular, outside sources, to form ouropinions. It is necessary to say that we had no access to any materials on Matoš, and, therefore, all our statements on The Solace of Hair are our personal conclusions and have no intext or works cited documentation.

EN

This essay compares Utjeha kose, translated as The Solace of Hair, by Antun Gustav Matoš and Death’s Valley by Walt Whitman. We analyze similarities in theme, metaphor and poetic style. We also offer a close analysis of verse, together with meter, together with syntax and phonology of the two poems. Matoš and Whitman approach similar themes from different perspectives. However, we find coincidental similarities in both techniques and stylistic devices and the underlying messages of the pieces. We also draw upon our personal vision of the pieces as well as, in the case of Death’s Valley in particular, outside sources, to form our opinions. It is necessary to say that we had no access to any materials on Matoš, and, therefore, all our statements on The Solace of Hair are our personal conclusions and have no intext or works cited documentation.

5

Рецепция романтических моделей в драматургии эпохи постмодерна (на материале пьесы Дмитрия Липскерова „Семья уродов”)

72%

Прохорова Т. Г.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2013

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vol. Zeszyt specjalny 2013

95-104

EN

The article shows how the romantic type of artistic mentality manifests itself in postmodern epoch. The main goal here is to study the reception of romantic plot, romantic heroes and conflict on the basis of Dmitriy Lipskerov's drama The Family of Freaks – to show their transformation, peculiarity of the structure and its intertextuality.

6

Smooglaya муза. Степная дуэль

58%

Кунарёв А.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2021

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issue 14

39-57

EN

The aim of the paper is to argue that the scene of the poet’s “duel” with the Kalmyk woman he met (not included in the final text of Pushkin’s “A Journey to Arzrum”) most likely has a literary basis rather than being based on reality. The claim is substantiated by an analysis of the texts that reflect the “Kalmyk” episode of Pushkin’s Arzrum journey (“Caucasian Diary”, 1828; “To a Kalmyk Maiden”, 1829), as well as biographical data on the corresponding period. A number of details about the encounter raise doubt as to its “authenticity”, in particular, the climax - a blow with a dombra on the head of a traveler who has tried to kiss the “Circe of the steppe”. Such an encounter between a stranger and a beauty, culminating in the lady-killer receiving an unexpected and often humiliating rebuff, had been a subject depicted by such eminent writers as Voltaire (the poem The Maid of Orleans, 1762) and Shakespeare (The Taming of the Shrew, 1590–1592). From the late 1810s to 1830, Pushkin himself repeatedly presented such “duels” (in the poems Ruslan and Lyudmila and “Count Nulin”, in his “Caucasian Diary” and the story “The Lady Rustic”). A connection of particular interest is that with Cinq-Mars ou Une conjuration sous Louis XIII by Alfred de Vigny (1826), mentioned in the epistle “To a Kalmyk Maiden”. This novel, mediocre but once very successful, contains a pivotal episode in which the title character punishes an “unjust judge” by hitting him on the head with a red-hot crucifix. A number of inconsistencies, however, turn the scene into a farce against the author’s intention. In “To a Kalmyk Maiden”, de Vigny is contrasted with Shakespeare, who consciously sought a comic effect by having Katherine break a lute on the head of an unwelcome teacher. In Pushkin’s text the scene in the kibitka contains a number of unmistakable references to The Taming of the Shrew. Furthermore, the use of biographical data allows the author of the paper to identify a number of semantic nuances in the epistle “To a Kalmyk Maiden” that have not been noticed earlier by researchers.

RU

Анализ aрзрумского путешествия А. С. Пушкина (Кавказский дневник, 1828, Калмычке, 1829), а также биографических данных соответствующего периода позволяет сделать вывод о том, что не вошедшая в окончательный текст Путешествия в Арзрум сцена «поединка» поэта с встреченной им калмычкой скорее всего имеет не реальную, а литературную ос- нову. Сомнение вызывает ряд деталей описанной встречи, в частности, кульминационный момент – удар домброй по голове путешественника, попытавшегося поцеловать «степную Цирцею». Поединок между незнакомцем и красавицей, в финале которого охотник до жен- ских прелестей получает неожиданный и зачастую унизительный отпор, становился пред- метом изображения таких художников слова, как Вольтер (поэма Орлеанская девственница, 1762) и У. Шекспир (комедия Укрощение строптивой, 1590–1592). С конца 1810-х до 1830 г. Пушкин не раз изображал такого рода «дуэли» (поэмы Руслан и Людмила и Граф Нулин, Кав- казский дневник, повесть Барышня-крестьянка). Особый интерес вызывает упоминаемый в послании Калмычке посредственный, но снискавший шумный успех роман А. де Виньи Сен-Мар, или Заговор времён Людовика XIII (1826), в сюжетосложении которого исключительно важную роль играет эпизод наказания заглавным героем «неправедного судьи» ударом по голове раскаленным распятием. Масса не- сообразностей, однако, превращают сцену в фарс вопреки воле автора. В послании Калмычке А. де Виньи (со)противопоставлен Шекспиру, осознанно добивавшемуся комического эф- фекта, рассказывая, как Катарина разбила лютню, надев ее на голову непрошенного учителя. Сцена, разыгравшаяся в кибитке, содержит ряд несомненных перекличек с Укрощени- ем строптивой Шекспира. Привлечение биографических данных позволило выявить в послании Калмычке ряд смысловых нюансов, не замеченных ранее исследователями.

7

Świat wzniosłych uczuć i dobrych manier, czyli Norwidowskie prawo inwersji

58%

Kącka E.

Studia Norwidiana

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2020

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vol. 38

99-110

EN

First of all, the presented article offers a novel interpretation of Lord Singleworth’s Secret in the context of Norwid’s anthropology on the one hand, and a historical and cultural background on the other. Norwid’s understanding of “cleanliness,” which was inspired in some measure by the Gospels, had interesting connections with the life circumstances of Norwid himself and the main character of his puzzling short story. The reading of Lord Singleworth’s Secret revolves around the image of a balloon flight during which the lord-according to this interpretation, not alien in Norwidology-throws a paper with “physiological content.” This scene is put in the context of other literary balloon flights, and also, due to Lord Singleworth’s eccentric behaviour, confronted with the manifestations of bizareness organized by Baudelaire’s friend Philoxène Boyer in the 19th century. So it seems that Singleworth is one ofthe most interesting weirdos of the 19th-century literature. Nonetheless, he remains one of the characters for whom we may invoke Norwid’s law of inversion-inferred in the article.

PL

Artykuł stanowi przede wszystkim propozycję nowego odczytania Tajemnicy lorda Singelworth w kontekście Norwidowskiej antropologii z jednej, a tła historyczno-kulturowego z drugiej strony. Rozumienie „czystości” przez Norwida, niewolne od inspiracji ewangelicznych, wchodzi w ciekawe zależności z realiami, w których przyszło funkcjonować nie tylko samemu poecie, ale też bohaterowi jego zagadkowej noweli. Odczytanie Tajemnicy lorda Singelworth skupia się wokół obrazu lotu balonem, z którego lord – wedle tej interpretacji, nieodosobnionej zresztą w norwidologii – zrzuca papier zawierający treść natury fizjologicznej. Scena ta umieszczona zostaje w kontekście innych literackich lotów balonem, a także – w związku z ekscentrycznym zachowaniem lorda – skonfrontowana z manifestacjami dziwności, jakie w Paryżu XIX wieku urządzał przyjaciel Baudelaire’a, Philoxène Boyer. Singelworth wypada zatem na jednego z ciekawych dziwaków literatury dziewiętnastowiecznej. Jednocześnie pozostaje jedną z figur, w związku z którymi przywołać można – wyprowadzone w artykule – norwidowskie prawo inwersji.

8

Duch Święty w ziemskim życiu Chrystusa w ujęciu Hansa Ursa von Balthasara

51%

Faltyn J.

Tarnowskie Studia Teologiczne

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2021

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vol. 40

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issue 1

7-22

EN

Hans Urs von Balthasar (1905–1988) presents the original and unique kind of reflection on the relations within the Holy Trinity, especially those concerning the terrestrial existence of Jesus Christ - from the Incarnation to the Resurrection. What is worth noting in this respect, is the concept of Trinitarian inversion in which a temporary reversal of the Divine Persons’ relations takes place. The Holy Spirit, who proceeds from the Father and the Son (the immanent Trinity) is the one who leads Jesus - the incarnated Son of God, sent by the Father - during the inversion. In Balthasar’s theology the Holy Spirit is defined as the Father’s Spirit - giving orders to the Christ, and the Son’s Spirit is the Spirit who takes the Father’s orders. The Christ accomplishes everything, from the Incarnation to the Resurrection, in obedience to the Father, the obedience which is synonymous with God’s eternal love.

PL

Hans Urs von Balthasar (1905–1988) prezentuje oryginalny sposób refleksji nad relacjami w Trójcy Świętej dotyczącymi zwłaszcza ziemskiej egzystencji Chrystusa - od wcielenia do zmartwychwstania. Na uwagę w tym względzie zasługuje pojęcie inwersji trynitarnej, w której dokonuje się czasowe odwrócenie relacji Osób Boskich. Duch Święty, który od Ojca i Syna pochodzi (Trójca immanentna), podczas trwania inwersji prowadzi Jezusa - wcielonego Syna Bożego, posłanego od Ojca. Duch Święty w teologii Balthasara jest określany Duchem Ojca - dającym polecenia Chrystusowi, a Duch Syna jest Duchem, który przyjmuje polecenia Ojca. Chrystus dokonuje wszystkiego, od wcielenia po zmartwychwstanie w absolutnym posłuszeństwie Ojcu, które jest synonimem odwiecznej miłości Boga.

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2 Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2 Kącka E.

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1 Kolbe D.

1 Mitrovich K.

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1 Swanson M.

1 Zeldowicz G.

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