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EN
Firstly, this article briefly presents the results of earlier studies of philologists and linguists who were interested mainly in the issue of the territorial origins and affiliations of the Polish part of this relic (W. Nehring, A. Brückner, W. Taszycki, S. Rospond, V. Kyas), and monographs on its language and style arising out of the Lodz environment. Some recent work on the Psalter vocabulary was also described (B. Grzeszczuk, S. Koziara), concerning its Latin (M. Kuzmicki) and German parts (H. Tiefenbach and R. Hanamann). Then the linguistic issues were noted, worthy of a more accurate description, and possibly a new interpretation that could lead to a revision of the existing findings. Some parts of monographic works could lose their value concerning chromatography and especially phonetics, if they are not based on an analysis of the manuscript. The issue of dialecticism requires reconsideration. Although the current studies of vocabulary retain some value, there are large gaps - in particular, the lexical compounds of Part A with the Czech Psalters did not receive a new interpretation. Also, in terms of stylistics there is still much to explore. Even now a systematic description of word formation is missing; the syntax of part A and the syntax of a whole complex sentence is not elaborated, and therefore a dictionary of synsemantic words has not yet been created. At the end there is an example shown of the description and interpretation of one of the attested linguistic phenomena in the Psalter, which is the tendency to equalize the number of syllables in the inflectional paradigm, seen here in the declension of possessive pronouns.
PL
Polish word hala “mountain pasture” is generally derived from the Slovak hol’a, and this borrowing, combined with the introduction of pseudo-correct a, was supposed to be credited to Romantic literature, and precisely was the result of etymological experiments of Seweryn Goszczyński. The present paper demonstrates that the word hala, written exclusively with a and often with ll, is a quite frequent phenomenon in the texts of Księga państwa żywieckiego (“The Book of the Żywiec State”) from the year 1681. The pronunciation hala instead of hola may have been used at that time by literate inhabitants of the Beskidy Mountains, familiar with the standard of the literary language, although rather poorly, thus inclined to adjust to the tendency of hypercorrectness. The German typographic influence cannot be excluded.
PL
Autor analizuje przykłady obecności elementów jednej odmiany stylowej (np. potocznej) w gatunkowo określonych tekstach innej odmiany (np. urzędowej) w XVI–XVII w. i rozważa, czy to przykłady świadomej stylizacji, czy relikty hipotetycznego pierwotnego „amorficznego continuum stylowego”, w którym nie było jeszcze ukształtowanych odmian stylowych.
EN
The author analyses examples of occurrence of the elements of a particular stylistic variety (f.e. colloquial) in stylistically categorized 16th–18th century texts belonging to other variety (f.e. formal). The author examines whether these are the examples of a conscious stylization or the relics of primary hypothetical “amorphic stylistic continuum”, in which particular stylistic varieties had not yet been developed.
EN
There has been presented a variety of religiously derived phrasemes and they have been analysed in order to determine a feature of style and a linguistic manner of creation of the world presented in the novel. In mental world of the characters of Trilogy, religion is the only worldview, and religiousness is the approach affecting all aspects of life. For instance, Swedish invaders are characterized as people wandering off religion, whereas Poles emphasise their „folk” religiousness, f.e. among gentry, soldiers, servants, etc.
PL
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Poradnik Językowy
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2018
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vol. 753
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issue 4
49-60
EN
The taboo was identifi ed in the content plan and in the expression plan applicable in the 19th century and in the described period, i.e. in the 17th c. Emphasis was put on the linguistic exponents of the examined phenomenon. It was stated that Sienkiewicz did not care about a pedantic faithfulness to the language and custom of the described period. He selected such a manner of expression as was comprehensible to Polish readers and at the same time hidden from the Russian censorship. The major scopes of the language taboo is the Polish-Russian war and human sexual behaviours. The methods of disguising political contents are persistently repeated, probably in order to draw the reader’s attention. Camoufl aging the Muscovy invasion consists in blending Russia, named with the use of euphemisms, with the background of nationalities which are similar to Russians in some respects, in pars pro toto metonymy, in a metaphor of fl ood and/or fi re that blurs facts, and in periphrases. There is h ardly any periphrasis and manner of concealment in the presentation of eroticism, metaphors derive their vocabulary from various fi elds and various stylistic genres, the metonymy of the effect of an action instead of the action is used frequently.
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2015
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vol. 10
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issue 1
54-62
EN
Franciszek Sędzicki (1882–1957), a Kashubian poet, in the poems Gôdka o Januszu Skwierku and Jôchim Czwaruch createt a volk vision of the world where good wins and evil is punished, a real life is entwined with the supernatural one. The main characters – artists: a musician (Janusz Skwierk) and a painter (Jôchim Czwaruch) deal with difficult experience during numerous adventures maintained in the convention of folk realism. The artists are guided by the demands of Christian ethics in the folk version trying to outsmard God who is strict and aged.
PL
Franciszek Sędzicki (1882–1957), poeta kaszubski, członek grupy literackiej młodokaszubów, w poematach: Gôdka o Januszu Skwierku i Jôchim Czwaruch stworzył ludową wizję świata, w której dobro zwycięża, zło zostaje ukarane, a życie realne splata się z nadprzyrodzonym. Bohaterowie – artyści: muzyk (Janusz Skwierk) i malarz (Jôchim Czwaruch) podczas licznych przygód, utrzymanych w konwencji ludowego realizmu, zmagają się z ciężkimi doświadczeniami, kierując się nakazami etyki chrześcijańskiej w ludowej wersji, nierzadko starając się przy tym niejako przechytrzyć Boga, surowego sędziego.
EN
In Nowa kolęda kaszubska (New Kashubian Carol) published in 1937 by “Straż Gdańskaˮ, a periodical of Polish community from the Free City of Danzig, Franciszek Sędzicki (1882–1957), a Kashubian poet and publicist, a member of a literary group of Young Kashubians (Młodokaszubi), creates a folk vision of the world. According to the carol-like work “Przybieżeli do Betlejem pasterzeˮ Kashubians pay tribute to the Saviour. Within this work the author’s antisemitism and the beliefs of National Democracy are noticeable.
PL
W Nowej kolędzie kaszubskiej, opublikowanej w r. 1937 w „Straży Gdańskiej”, periodyku Polonii Wolnego Miasta Gdańska, Franciszek Sędzicki (1882–1957), poeta i publicysta kaszubski, członek grupy literackiej młodokaszubów, kreuje ludową wizję świata. Według utworu napisanego na wzór kolędy „Przybieżeli do Betlejem pasterze” Zbawicielowi składają hołd Kaszubi. W utworze przejawia się antysemityzm autora i jego przekonania endeckie.
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2018
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vol. 13
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issue 2
55-65
EN
The author of the paper describes five non-scientific etymologies of place name Oliwa. They have the following onomastic interpretations: 1. the place where the Pomeranian prince Subisław or Sambor dreamed of St. Mary with Child in the crown of an olive tree or an angel with an olive twig or a Cistercian with an olive twig formed in a cross, and to commemorate that dream the monastery was built’. 2. the town with a monastery whose patron is St. Olive. 3. The place where the chosen nation wondering through the Kashubia, their promised land, still had olive, 4. the place where the Treaty of Oliva was signed, 5. The place where there is a cathedral which looks as if it spilled. They perform explanatory and prestige generating functions.
PL
Artykuł opisuje pięć etymologii nienaukowych toponimu Oliwa. Mają one następujące wykładnie onomastyczne: 1) ‘miejsce, w którym księciu pomorskiemu Subisławowi lub Samborowi przyśnili się Matka Boska z Dzieciątkiem w koronie drzewa oliwkowego lub anioł z gałązką oliwną albo cysters z gałązką oliwną ułożoną na krzyż, i na pamiątkę tego snu wzniesiono tu klasztor’, 2) ‘miejscowość z klasztorem, którego patronką jest Święta Oliwa’, 3) ‘miejsce, w którym naród wybrany wędrujący przez Kaszuby stanowiące ziemię obiecaną miał jeszcze oliwę’, 4) ‘miejsce zawarcia pokoju oliwskiego’, 5) ‘miejsce, w którym jest katedra wyglądająca jak ulana’. Pełnią one funkcję objaśniającą i prestiżotwórczą.
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