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Uwagi o roli języka w dziele literackim na tle niektórych nowszych badań stylistycznych

100%
Skubalanka T.
Annales Universitatis Mariae Curie-Sklodowska, sectio FF – Philologia
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2014
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vol. 32
EN
The author refers to a few stylistic elaborations, which are focused on the theory of language style. She discusses key element of Polish linguistic works investigating style and discourse. She analyses Theoretical poetics by M. R. Mayenowa and other works made by her continuators. The author gives her own definition of literature style and propounds a different stylistic method.
PL
W rozprawie Autorka omawia kilka znaczących opracowań stylistycznych, których autorzy zajmują się teorią stylu językowego. W rzędzie tych prac znajduje się Poetyka teoretyczna M. R. Mayenowej, wywierająca znaczny wpływ na poglądy innych badaczy polskich, szczególnie J. Bartmińskiego. Według niektórych założeń tej doktryny styl jest eksponentem wartości społecznych, a analiza stylistyczna winna obejmować także elementy treściowe dzieła. Zwolennikamitakiej integrującej metody okazali się także S. Gajda i B. Witosz. Rozprawa przedstawiona przez Autorkę nawiązuje do pewnych koncepcji estetycznych, wyróżniających w dziele jego treść orazformę i na tym tle usiłuje wyznaczyć miejsce języka w strukturze utworu.
2
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Pragmatyczne wyznaczniki rozmowy

100%
Skubalanka T.
Stylistyka
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2016
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vol. 25
123-131
EN
The paper deals with the description of so called conversational operators in the contemporary Polish literary language. The research is based on the markers included in the Polish Language Phraseological Dictionary [Słownik frazeologiczny języka polskiego] edited by S. Skorupka. The following types of the operators have been distinguished – orders, insults, prayer phrases, contact phrases, swearwords, polite phrases, wishes and greetings, questions, positive descriptions of people and situations, spells, confirmations of truthfulness.
3
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Norwid a poezja współczesna. Szkic stylistyczny

100%
Skubalanka T.
Colloquia Litteraria
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2008
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vol. 3
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issue 1/2
171-191
4
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Elementy kodu miłosnego w liryce Haliny Poświatowskiej

100%
Skubalanka T.
Stylistyka
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2010
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vol. 19
209-238
EN
The author exhibits the presence o f various elements o f traditional love code in the lyrics of the poet. These elements include appeals and allusions to love divinities, phraseology of heart and amorous fires, some fragments of descriptions of lovers’ beauty, and selected connections with the world of nature. Stylistic innovativeness o f these lyrics consists in the formation of the style, which is brief and full of simplicity, and in the exploitation of symbolism connected to the nature.
5
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Styl poezji Norwida na tle tradycji poetyckiej romantyzmu

100%
Skubalanka T.
Studia Norwidiana
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1990
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vol. 8
25-59
EN
The author confronts Norwid’s poems (those appearing in the first two wolumes of Gomulicki’s edition) with the stylistic and linguistic tradition of Romanticism as represented by Romantic poems that antedated Norwid’s work. She distinguishes four types of links between the poems of Norwid and those of other authors: (1) Echoes, whose function in Norwid’s poetry is a general structural one; only a few selected, stylistically marked features are taken over from the reference text.(2) Pastiches, which serve a variety of purposes, such as establishing contact with the poem’s addressee.(3) Oppositions in the stylistic or ideological sense; this category is the most characteristic of Norwid.(4) Parallelisms, i.e. parallel stylistic tendencies manifested by the texts compared; they represent loose connections rather than direct references. References to the texts of other poets mostly appear in Norwid in his first lines, versification structures and key words. In many poems we can see convention vying with innovation. Type 1. This is illustrated by such poems as Italiam! Italiam!, which represents the genre of barcarole and invokes first of all a passage from Krasinski’s Przedświt; Słuchacz, with its first line an imitation of the Goethe/Mickiewicz Znasz-li ten kraj (Kennst du das Land); and Trzy strofki, which mirrors the rhetorical structure of Krasinski’s Zawsze i wszędzie. Type 2. The foremost example is Norwid’s Na przyjazd Teofila Lenartowicza do Fontainebleau, which imitates the style of Lenartowicz’s Lirenka. Type 3. Oppositions may have many different realizations. For instance, in Do Józefa Bohdana Zaleskiego Norwid makes use of the range of vocabulary characteristic of Zaleski’s poetry but introduces an atypical repulsive comparison. The tragic poem Czemu stands in opposition to Mickiewicz’s playful sonnet Do D. D. Wizyta, and Moja piosnka [II] to Slowacki’s Hymn. The description of Aniela in Beniowski is matched by Norwid’s poem which begins with the words „Jak gdy kto ciśnie w oczy człowiekowi / Garścią fiołkow”, where Norwid draws on the traditional elements of description of feminine beauty while transforming them in a creative way; one example is the comparison of a woman to a goddess. Type 4. Parallelisms are represented for instance by Norwid’s archaizing poems such as Bema pamięci żałobny-rapsod; the poem Na portret generała Dembińskiego is a case of heroic stylization parallel to many Romantic poems. The author of the study also examines various parallel stylistic tendencies as revealed by the poetic figures in Norwid and in Romantic texts. The conclusion of the analysis is that Norwid’s poetic style was more innovative than the style of his predecessors.
6
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Styl językowy poezji Zbigniewa Herberta

100%
Skubalanka T.
Stylistyka
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2008
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vol. 17
49-76
EN
The linguistic analysis of Zbigniew Herbert’s style of poetry leads to the conclusion that the poet’s innovativeness relates mainly to semantics and syntax. The basic stylistic category of his works is his allegorisation. Besides, there are found the following as well: antropomorphisation, personification, a symbol (of a particularly flashing meaning), trans-categorial metaphor connecting the spheres of abstract and reality as well as irony. His style connections with the scientific style and colloquial style belong to the very few pieces of evidence for a linguistic stylisation.
7
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O gramatyce stylistycznej

100%
Skubalanka T.
Stylistyka
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2012
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vol. 21
423-424
EN
The author makes a revision of the newest Polish publications dealing with stylistic gram mar and claims that there are many research possibilities still open in these works.
8
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Styl poezji Norwida na tle tradycji poetyckiej romantyzmu

100%
Skubalanka T.
Studia Norwidiana
|
1990
|
vol. 8
25-59
PL
The author confronts Norwid’s poems (those appearing in the first two wolumes of Gomulicki’s edition) with the stylistic and linguistic tradition of Romanticism as represented by Romantic poems that antedated Norwid’s work. She distinguishes four types of links between the poems of Norwid and those of other authors: (1) Echoes, whose function in Norwid’s poetry is a general structural one; only a few selected, stylistically marked features are taken over from the reference text.(2) Pastiches, which serve a variety of purposes, such as establishing contact with the poem’s addressee.(3) Oppositions in the stylistic or ideological sense; this category is the most characteristic of Norwid.(4) Parallelisms, i.e. parallel stylistic tendencies manifested by the texts compared; they represent loose connections rather than direct references. References to the texts of other poets mostly appear in Norwid in his first lines, versification structures and key words. In many poems we can see convention vying with innovation. Type 1. This is illustrated by such poems as Italiam! Italiam!, which represents the genre of barcarole and invokes first of all a passage from Krasinski’s Przedświt; Słuchacz, with its first line an imitation of the Goethe/Mickiewicz Znasz-li ten kraj (Kennst du das Land); and Trzy strofki, which mirrors the rhetorical structure of Krasinski’s Zawsze i wszędzie. Type 2. The foremost example is Norwid’s Na przyjazd Teofila Lenartowicza do Fontainebleau, which imitates the style of Lenartowicz’s Lirenka. Type 3. Oppositions may have many different realizations. For instance, in Do Józefa Bohdana Zaleskiego Norwid makes use of the range of vocabulary characteristic of Zaleski’s poetry but introduces an atypical repulsive comparison. The tragic poem Czemu stands in opposition to Mickiewicz’s playful sonnet Do D. D. Wizyta, and Moja piosnka [II] to Slowacki’s Hymn. The description of Aniela in Beniowski is matched by Norwid’s poem which begins with the words „Jak gdy kto ciśnie w oczy człowiekowi / Garścią fiołkow”, where Norwid draws on the traditional elements of description of feminine beauty while transforming them in a creative way; one example is the comparison of a woman to a goddess. Type 4. Parallelisms are represented for instance by Norwid’s archaizing poems such as Bema pamięci żałobny-rapsod; the poem Na portret generała Dembińskiego is a case of heroic stylization parallel to many Romantic poems. The author of the study also examines various parallel stylistic tendencies as revealed by the poetic figures in Norwid and in Romantic texts. The conclusion of the analysis is that Norwid’s poetic style was more innovative than the style of his predecessors.
9

O dywergencjach systemu językowego

100%
Skubalanka T.
Roczniki Humanistyczne
|
2014
|
vol. 62
|
issue 6: Językoznawstwo
051-057
PL
Artykuł omawia różne typy relacji dywergentnych (tj. zaburzonych) w systemie języka. Autorka dochodzi do wniosku, że istnieją one we wszystkich podsystemach, przy czym najbardziej nieregularny okazuje się podsystem leksykalny. W pracy podaje się liczne przykłady dywergencji.
EN
This article discusses various types of divergent (that is disturbed) relations in the language system. It is claimed here that such disturbances are a regular matter of fact in all language strata, yet the lexical level seems the least regular of all. The article shows numerous cases of the divergences in question.
10
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Norwid and Contemporary Poetry: A Stylistic Sketch

63%
Skubalanka T.
Colloquia Litteraria
|
2018
|
issue 4
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