A fragment of Krystyna Miłobędzka’s theatre play for children Na wysokiej górze. Commedia della lingua (1990) was published separately (2014, 2017) as a work of both Krystyna Miłobędzka and Iwona Chmielewska, an author of picture books. Chmielewska tones down the word play in Miłobędzka’s text. Instead, she introduces images of the poet at different ages, depicted in contemplative poses, and presents the character’s epiphanic experience beyond time and space. The images and the text constitute separate, sylleptic sequences. The meditative atmosphere of Chmielewska’s illustrations adequately conveys the worldview of Miłobędzka – a “linguistic” poet, who refers to the poetry of the Far East.
The author tackles the subject of children’s literature, described by Jerzy Cieślikowski as “children’s folklore”. Her area of interest centres mainly around poetry addressed to children, which is considered the closest form of literature to this age group. Poetry refers to forms of activity natural for children: rhythmic movement, rhyming, singing, creating new words, asking questions, etc. The article points to the educational role of language games (plays) in poetry, which both answer children’s natural developmental needs and stimulate their linguistic competencies. The first part of the article discusses the sources of language play in poetry. The author highlights the role of the works of Jan Brzechwa and Julian Tuwim, who in the 1930s were the first to employ word play, unconventional use of idioms and proverbs, and nonsensical linguistic associations. They became a source of inspiration for contemporary children’s poets. The paper further analyses selected poems whose common feature is the use of language games not only to entertain but to educate and inspire creativity.The poems were divided into the following categories: poems-plays on sounds (letters), poems- plays on rhyme and rhythm, poems-plays on words, poems-plays on idioms and proverbs, poems-questions and poems-associations. The conclusion points to the role of adults as guides in the world of poetry for children and their role in preparing children to receive and understand the message of poetry.
The paper discusses the openness of metaphor seen from three perspectives: from the addresser’s perspective (the openness of metaphor as the possibility of creating new meanings and semantic games), the addressee’s perspective (the openness of metaphor as the possibility of making more or less extensive interpretations) and the researcher’s perspective (the openness of metaphor as the fuzziness of the borders between the literal and figurative meanings and the more and more extended manner of capturing the phenomenon of metaphor itself).
PL
Artykuł dotyczy otwartości metafory ujmowanej z trzech perspektyw: nadawczej (otwartość metafory jako możliwość kreowania nowych znaczeń i gier semantycznych), odbiorczej (otwartość metafory jako możliwość dokonywania mniej lub bardziej rozległych interpretacji) oraz badawczej (otwartość metafory jako nieostrość granic między znaczeniem dosłownym i przenośnym oraz coraz szerszy sposób ujmowania samego zjawiska metafory).
The article discusses, both polemically and critically, a few instances in which Maciej Świerkocki, in his new translation of James Joyce’s Ulysses, renders the novel’s puns into Polish. In order to indicate other possible translations in this regard, the author of the article quotes from previous Polish version by Maciej Słomczyński and the Czech translation by Aloys Skoumal.
PL
Artykuł stanowi polemiczne i krytyczne omówienie kilku przykładowych tłumaczeń gier słownych w powieści Jamesa Joyce’a Ulisses w nowym przekładzie Macieja Świerkockiego. Aby pokazać inne możliwości translatoryczne, autor artykułu przytacza także tłumaczenia Macieja Słomczyńskiego i Aloysa Skoumala.
Humor jest ważnym narzędziem w zrozumieniu kultury kraju, którego język jest nauczany. Żart towarzyszy nam w rozwijaniu umiejętności językowych od najmłodszych lat, gdy tworzymy zabawne słowa i zwroty, podczas zabawy z rówieśnikami. Dowcip jest i powinien być wykorzystywany podczas procesu nauczania języka obcego, gdyż jest bardzo pomocnym narzędziem w podnoszeniu kompetencji językowej uczącego się. Żart językowy może być wykorzystywany na lekcjach języka obcego do zrozumienia struktur leksykalno-gramatycznych, jak również jako materiał dydaktyczny w rozwijaniu umiejętności czytania i słuchania ze zrozumieniem. Autor artykułu przedstawia i poddaje analizie typologię dowcipów językowych, proponuje również praktyczne sposoby wykorzystania żartów na zajęciach języka obcego.
EN
Humour is an important tool in understanding the culture of the country of the target language. Joking accompanies us in developing language skills since our earliest years e.g. when children use the word play to create their own lexicon, phrases or even their own language while playing with their mates. Jokes should be used in the foreign language teaching process, as it is a very effective tool in developing every learner`s linguistic competence. Word plays and linguistic jokes may be used in foreign language lessons to develop the use of syntax, lexicon as well as reading and listening comprehension. The author introduces the typology of jokes that is helpful in creating teaching curricula. A number of practical ways of using jokes in EFL as a tool to develop linguistic skills is proposed.
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