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Odpowiedzialność tłumacza a skutki subiektywnego postrzegania dominanty translatorskiej. Na przykładzie starych i nowych polskich tłumaczeń Eugeniusza Oniegina A. Puszkina

100%
Gajewski W.
Między Oryginałem a Przekładem
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2012
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vol. 18
193-214
EN
The author considers the translatability of poetry, defines the responsibility of a translator and analyzes it in the context of particular translation strategies. The material to be analyzed consists of a series of Polish translations of Pushkin’s poem masterpiece Eugene Onegin. The quality of translation largely depends on the choice of metre, or Onegin stanza, a 14 verse stanza, of which there are approximately 400, and of which the novel in verse is made, or , to be more precise, it depends on the quantity and quality of the rhymes. In the original version they are 4 pairs of oxytonic, or ‘masculine’ rhymes and 3 pairs of paraxytonic, or ‘feminine’ rhymes. The author analyzes the versions by well-known translators such as Tadeusz Bobiński, Feliks Netz, Andrzej Sycz, Andrzej Lewandowski. What is being considered is the effect achieved by the choice of a particular rhythm pattern of Onegin stanza in the translation as such. In addition, the work contains quotations and classification of typical translation errors. At the end of his discourse the author proposes a compromise: his own pattern of Onegin stanza applied in his translation of the novel in verse. It is based on applying two pairs of oxytonic, or ‘masculine’ rhymes in verses 7 and 8 as well as 13 and 14, which gives the stanza a touch of artistry both in the middle and at the end. The suggested pattern of Onegin stanza, created for the purpose of translation, is parallel to the rhythm network present in the translation of Onegin by Wiktor Gomulicki, who translated the scene of Onegin and Lensky’s duel. It also meets the criteria of the “golden ratio” as a measure of beauty and harmony, expressed by Fibonacci’s numerical sequence (1, 2, 3, 5, 8, 13, 21, 34, 55, 89...).
2
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On Im/Pure Rhymes in Shakespeare’s Venus and Adonis

100%
Wełna J.
Anglica. An International Journal of English Studies
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2016
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issue 25/3
133-146
EN
The pronunciation of Early New English, a period of the language when William Shakespeare lived and worked, still hides many puzzles. Although linguists have worked out a model of pronunciation of at c1600, there still remain controversies concerning the speech of Shakespeare and his contemporaries, such as u-centralization (cup), contrast of [æ:] : [a:] (last, dance) with sociolinguistic factors involved, etc. The conflicting views on Shakespeare’s pronunciation emerge when it comes to the interpretation of vowels in the rhymes of his poetic texts. The present brief study which is confined to the rhymes in his poem Venus and Adonis aims at offering a relatively uniform interpretation of the value of vowels in such rhymes. The main goal is determining whether they are pure rhymes, eye rhymes, or quasi rhymes, the last ones based neither on phonological nor spelling similarities. The solutions suggested are of course not final so that modifications and amendments are welcome.
3

Uczniowskie zabawy nazwami dźwięków w polskim języku

100%
Wiśniewska H.
Kształcenie Językowe
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2017
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vol. 15 (25)
11-26
EN
The article deals with sound values of the Polish language described with the idea of using them in the teaching of Polish. The author compiles a list of onomatopoeic words — nouns, verbs, interjections and idioms — suggesting ideas for exercises to be used in classroom. Teachers are en­couraged to use the linguistic material provided, rhymes, puns and linguistic jokes, which are some­times unintentional. This will enable them to move from “humour from pupils’ notebooks”, betray­ing the incompetence of not only pupils but also their teachers, to methodical playing with words.
4
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«Мед на ноже»: казус из истории русской стихотворной топики XVII–XVIII вв.

100%
Ałpatow S., Kuzniecowa O.
Slavia Orientalis
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2018
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vol. LXVII
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issue 2
5

Współczesna polska pieśń kościelna ku czci Bożego Miłosierdzia na przykładzie dwóch zbiorów: Pieśni do Miłosierdzia Bożego oraz Bóg bogaty w miłosierdzie

67%
Garnczarski S.
Roczniki Teologiczne
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2016
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vol. 63
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issue 13: Muzykologia
141-161
EN
The contemporary song in honor of Divine Mercy develops relatively quickly. The study involved a collection of 56 songs included in the collection formed in the environment of Sanctuary in Łagiewniki in Krakow. The source of texts is St. Faustina’s Diary: Divine Mercy in My Soul and psalms, and the poetic works of more than 20 authors. The melodies are original and come from 25 artists, with one exception the use of contrafactum. Structure of the text fits generally in the overall tendencies of Polish poetry, where the popular and dominant metric measurements are reflected in the studied texts (11-, 13-syllable), rhyme (female, perfect paroxytone), stanzas (4 verses of even rhymes and alternating, with predominance of the latter). Similarly, in the musical layer dominates two-parts form, with different elements (AB) systems of internal links: ab+cd, aa+a1b, aa1+bc, ab+cc1 and ab+ca1. Less numerous are three parts forms with types of structures AA1B, ABA1, ABB and ABC. Moreover, we find forms of refrains and psalms.
PL
Współczesna pieśń ku czci Bożego Miłosierdzia rozwija się stosunkowo szybko. Badaniom poddano 56 utworów, zawartych w zbiorach powstałych w środowisku Sanktuarium Łagiewnickiego w Krakowie. Źródłem tekstów jest Dzienniczek s. Faustyny Kowalskiej oraz psalmy, a także twórczość poetycka ponad dwudziestu autorów. Melodie, poza jednym wyjątkiem zastosowania kontrafaktury, są oryginalne i pochodzą od 25 twórców. Struktura tekstów wpisuje się generalnie w ogólne tendencje poezji polskiej, gdzie popularne i dominujące miary metryczne znajdują swoje odbicie w badanych tekstach (11-, 13-zgłoskowce), rymy (żeńskie, paroksytoniczne dokładne), strofy (4-wersowe o rymach parzystych oraz naprzemiennych, z przewagą tych ostatnich). Podobnie w warstwie muzycznej dominują formy 2-częściowe, o różnych członach (AB) i układach wewnętrznych powiązań: ab+cd, aa+a1b, aa1+bc, ab+cc1 i ab+ca1. Mniej liczne są formy trzyczęściowe o typach struktur: AA1B, ABA1, ABB i ABC. Ponadto spotykamy formy refrenowe i psalmowe.
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