Search results - CEJSH

1

Iwona Anna Ndiaye, Hipertrofia tęsknoty za utraconym domem w poezji emigrantów rosyjskich „ pierwszej fali”, Wydawnictwo Uniwersytetu Warmińsko-Mazurskiego, Olsztyn 2008, ss. 320.

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Ojcewicz G.

Acta Polono-Ruthenica

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2010

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vol. Tom 1 Nr XV

287-290

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Национальное сознание – идея Сбережения Народа в публицистике Александра Солженицына

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Jawdosiuk-Małek A.

Politeja : Pismo Wydziału Studiów Miedzynarodowych i Politycznych Uniwersytetu Jagiellońskiego

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2013

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issue 4(26)

533-542

EN

In his publicism of the 90’s, especially in „Russia in the collapse”, Alexander Solzhenitsyn continues the discourse on the Russian idea, which was started back in the nineteenth century by Peter Chaadaev. This proves that Solzhenitsyn is a continuator of the great Russian literature. Solzenitsyn’s Russian Idea, which is the idea of the Nation Salvation (идея Сбережения Народа), is based on Orthodox ethics and belief. The idea of Salvation of the Nation is not a philosophical treatise, but the social and national program intended to reconstruct the nation identity after communist disaster in the twentieth century. First of all the program assumes to preserve memory of the culture, language, traditions and most importantly, the faith – Orthodoxy, which is the core of Russian national identity. The second important aspect is to build national unity; in the opinion of the writer nation remains divided, atomized, the Russians do not feel belonging to a community, have no responsibility for history. Thirdly, the author of „Russia’s collapse,” sees the need for transformation, reconstruction of national identity, what he calls „moral revolution”. The nation who believes in God, united by respect for common, centuries‑old tradition, aware of their culture, traditions, using pure language, not divided to the center and province, active, self‑governing, rejecting top‑down control – this is the Solzhenitsyn ideal. The writer not only believed in it – he lived in this way.

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„Польские” страницы романа Людмилы Улицкой Даниэль Штайн, переводчик

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Niefagina H.

Acta Polono-Ruthenica

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2010

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vol. Tom 1 Nr XV

133-141

EN

The author of the article analyses “Polish” pages of Daniel Stein, the translator, one of themost disputable novels written by Ulitskaya. Complicated life of frontier (eastern and western) Polish lands shown through life stories of the characters is dealt with. The subjective images ofPoland which appear in consciousness of the heroes are of the utmost importance for understandingthe ideology of the novel. In general the image of Poland in L.Ulitskaya’s novel is connectedwith semantics of losses, and the break of characters’ real connections with their homeland can beunderstood as the evidence of trouble, disintegration of integrity.

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Изобразительность - „второй язык” словесности

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Stepanyan-Rumiantseva E.

Acta Polono-Ruthenica

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2010

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vol. Tom 1 Nr XV

177-188

EN

This article covers methods of ekfrasis in literature. Author exposes the meaning of elements of visual art like light, colour, perspective etc. in verbal arts. Elena Stepanian-Rumyantseva talks about psychological and moral motivation explaining the using of different functions of visuality in literature.

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Teatralna „moda na Rosję”. Współczesna dramaturgia rosyjska na scenach polskich (po roku 1989)

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Semczuk M.

Acta Polono-Ruthenica

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2008

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vol. Tom 1 Nr XIII

169-180

EN

Since the political tranformations in Poland in 1989, theatre has been the only area, not affectedby the hostile attitude towards Russian culture.Initially, that is the years 1989-1995, the changes made Russian literature disappear from thePolish artistic marked completely. Only the second half of the last 20th century decade balance to it.The slighttest fluctuactions have been noticed at the theatre, where Russian art is the second mostpopular after Polish.In the beginning of 21th century the new Russian literature and the new Russian drama are verypopular in Poland.

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„Балтийский регион”, № 3(5), Калининград 2010.

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Rudziewicz I.

Acta Polono-Ruthenica

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2010

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vol. Tom 1 Nr XV

291-293

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Dymitr i Maryna. Dramaturgiczne uzasadnienie wątku w sztukach rosyjskich XIX stulecia

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Mazurek H.

Acta Polono-Ruthenica

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2008

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vol. Tom 1 Nr XIII

89-97

EN

The author analyses historical drama devoted to the period of confusion in the history of old Russia. Authors such as: A. Pushkin, A. Chomiakov or A. Ostrovsky also turned their attention to the relationship of the False Dimitri with Marina Mnishech, the daughter of Sandomierz province governor who helped the false tsar in his march on Moscow. The coronation of Marina awakened fears of Russians and hope on the part of the Polish since this could enable to gain control over Russia.Many playwrights make a mention of this important event, but not always is it the base for construction of their plays. The purpose of this paper is to show the plays in which plays the motif of Dimitri and Marina is essential, and, without which the architectonics of the plays would be disrupted, this motive appeared there only due to the political and historic role it played.

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Wizerunek Polki w opowieści Oko cyklonu Aleksandra Woronskiego w świetle koncepcji poznania „Innego” autorstwa Emanuela Levinasa

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Pietkiewicz N.

Acta Polono-Ruthenica

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2009

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vol. Tom 1 Nr XIV

199-210

EN

The article is dedicated to an analysis of female character from Russian story of the 30-ties of 20th Century on the basis of Wanda Dąbrowska’s example. She is playing a role of protagonist and cooperator of Russian revolutionist - Walentyn, and - on the other hand - she is an important factor, which is inspired main Hero to thinking about the human fate in history and the meaning of revolutionary activity. In this way the Reader receives a double imagine of Woman, who are representing another nationality. This double imagine is a consequence of Wanda’s character creation in the narrative strate by the main Hero - another fictional character, which is also an alter ego of the Writer, and - in the same time - by the Writer himself, who decided to set this story in the Belarussian reality from First World War and „bolshevik resolution’s” period, which are familiar to an author from his own experience. The phenomenon of different nationality of the main Heros, and than - the problem of culture dialogue, qualicifying this story to the wide and still popular stream of describing the imagine of a „Stranger” in the literature. This analysis proposes an interpretation of main female character’s plot on the basis of the Emanuel Levinas’ concept of recognizing Other (a part of the philosophy of dialogue, which is characteristic stream for the first half of 20 Century), enriched by the some features of well-known sociological categories like e.g. „familiar Stranger” or „a Stranger at the familiar place”.

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Berliński kod architektoniczny w twórczości emigracyjnej Vladimira Nabokova

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NDiaye I. A.

Acta Polono-Ruthenica

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2013

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vol. Tom 1 Nr XVIII

67-78

EN

In 1921-1923 Berlin was a centre of Russian emigration. Many poets and writers from Russia, like Maksim Gorki, Aleksy Remizow, Andriej Bieły, Ilja Erenburg, Aleksy Tołstoj, Władysław Chodasiewicz, Borys Pasternak, and for a short time also Marina Cwietajewa and Siergiej Jesienin, connected their life with this city. It was just in Berlin where was working one of the most interesting and the most intriguing writer of XX century (1922-1937) - Vladimir Nabokov. These period was characterized for him not only by happy moments (first love, marriage, birth of son), but also by tragic ones (death offather). His stay in Berlin marked out really important stage in creativity of Nabokov. It was theplace of his debut in the pages of Berlin’s newspaper “Руль” in 1921, in which he published his first poems under the pseudonym Sirin. In Berlin Nabokov wrote his first story and first novel. Itwas where he achieved his fame and formed his unique style of writing. Nabokov’s emigrant prose from 20’s constitutes an extraordinary guidebook to Berlin. In his art pieces he recreated the topography of Berlin by using architectural codes. Most often he related the code of home to a closed, domestic and peaceful circle. It is a circle tight in the meaning of space, but profound in the meaning of sensations. The lack of real home was a reason to lookingfor surrogate and it effected disorientation in the world in which poet had no place. The city hasa role of open, then foreign and hostile space. Here for the most part we can see the code in the shape of street or houses in city. This kind of code used by Nabokov, but also by other emigrantpoets, creates a feeling of disharmony, artificiality and unnaturalness.

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Dyferencjacja językowa jako (znikająca) dominanta translatoryczna. Hełm grozy Wiktora Pielewina w polskim przekładzie

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Ochniak M.

Między Oryginałem a Przekładem

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2012

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vol. 18

365-377

EN

The Helmet of Horror by Victor Pelevin is a perfect material with which to illustrate how the mechanisms operating in publishing markets are misleading for the statistical reader. The Pelevin’s work, the fact of which many readers may not be aware, functions in two originals: one being the original Russian text, and the other – its simplified version (in some parts) for foreign‑language translators. Hence, the character crucial for understanding the text is differently qualified in various circles of readers, as he uses different linguistic registers in the two variants of the text (the specific Russian internet users’ jargon and the normative language). This measure, which has not been expressly indicated to the readers, essentially prevents the performance of a classical critical and translatological study.

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Adaptacja czy egzotyzacja – strategie tłumaczeniowe w przekładzie powieści braci Strugackich Poniedziałek zaczyna się w sobotę

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Michocka-Babiuk M.

Acta Neophilologica

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2017

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vol. XIX/2

191-201

EN

Science-fiction is a literary genre which should be fairly easy to translate. The process gets more difficult when one needs to translate elements of folklore and culture. In my essay I demonstrate how the perception of the world changes with the use of certain elements of folklore. The selected examples of Russian science-fiction literature and their translations into Polish reflect the modified worldview. The essay is based on the Strugatsky brothers’ novel Monday begins on Saturday and two translations into Polish by Ewa Skorska and Irena Piotrowska. Two translation strategies – domestication and foreignization – are discussed and I consider which one the translator should use.

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Jeszcze raz o Borysie Godunowie Aleksandra Puszkina

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Stachurka M.

Acta Polono-Ruthenica

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2006

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vol. Tom 1 Nr XI

39-47

EN

The tragedy Borys Godunov should be admitted to be a picture of an essential culture space. The drama represents generally accepted stereotypes and patterns refering to the Polish nation, however it pays attention to diversity of meaning of Pushkin’s attitude towards Poland. The poet contrasted in the work culture and customs of both nations, he chose heroes, whose names and behaviour evoked readers’ doubts and associations with the biography of Pushkin. Characters of the drama are among others: the fictitious son of Andrzej Kurbski - the Kazakh hero, the nobleman Sobański - in all probability related to the emissary Karolina Sobańska, mysterious and susceptible of various interpretations Piotr Łukicz Chruszczow. Present Pushkin’s texts researches confirmed, that impossible is univocal defining the poet’s mutual relations to Poland and the Polish. Pushkin’s views on the Polish matter differed from his personal connections with Mickiewicz’s compatriots, but, probably, he had the invariable and finally specified opinion on the real weight of the Republic of Poland’s culture and its meaning for Russia and Western Europe.

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Виктор Астафьев и Сергей Залыгин

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Rudziewicz I.

Acta Polono-Ruthenica

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2010

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vol. Tom 1 Nr XV

97-104

EN

On the basis of chosen works written by Astafiev and Zalygin similar approach of both authors towards the problems of national tradition, in particular peasant’s, relations between people and nature, literatury traduition and moral-ethic norms was presented in the article. Some parts of the article were devoted to the problems of nature and ecology which are very important in the output of both writes and also to the role and significance of nature and landscape descriptions which help to depict human nature more deeply and precisely.

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Реконструкция авторских смыслов в процессе интерпретации когнитивного пространства текста (на примере анализа концепта „душа” в романе Владимира Набокова Приглашение на казнь)

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Sidorova T.

Acta Polono-Ruthenica

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2010

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vol. Tom 1 Nr XV

17-25

EN

The article deals with the problem of the text cognitive space interpretation. In the centre of attention is the concept SOUL realized in V. Nabokov’s novel Invitation to an Execution. The role of the concept’s value component is defined. In the process of the author’s conceptual reconstruction we consider cognitive, semantic structural, and communicative aspects of description of knowledge structures which are actualized in the text.

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Алексея Петрова Полонез по-русски , или Заграница.рl.ги. - сюжет русско-польской взаимности

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Dmitrovskiy A.

Acta Polono-Ruthenica

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2008

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vol. Tom 1 Nr XIII

49-56

EN

The documentary novel as a discourse of the Russian-Polish mutual relations in dramatic collisions and commonness. The architectonics of the novel in the ratio of the fabulous mutual visits of the Russian authors and his Polish friends and the structure of the deep historic insight. The compositional structure is in the exchange of Polish and Russian episodes. The friendship of the Russian spouses as a pattern of obligatory relations on the confidential (private), interstate and national level.

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Bowaryzm – nuda – melancholia. Uwagi o bohaterach XIX-wiecznej literatury rosyjskiej

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Kotkiewicz A.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2018

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vol. 49

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issue 3

169-178

EN

The article examines the notion of bovarism which can be seen in the work of the most outstanding Russian writers of the second half of the 19th century, for example Leo Tolstoy, Fyodor Dostoyevsky and Anton Chekhov. It seems that the source of bovaristic attitude, which is culturally, socially and psychologically motivated, is the extremity of the Russian character prone to self-sacrifice, offering and suffering, as well as cruelty and sadism. A Russian variant of bovarism is boredom and melancholy.

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Dramaturgia Nikołaja Kolady i jekaterynburgska bohema na łamach czasopisma Didaskalia w latach 2000-2003

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Strycharski J.

Acta Polono-Ruthenica

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2007

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vol. Tom 1 Nr XII

119-126

EN

In the article the author examines sparse mentions of the modern Russian drama which development has progressed much in Yekatirenburg. An analysis of the articles mentioning the modern drama proves the author’s statement about N. Kolada, having educated a group of talented playwrights and being the most popular modern dramatist in Russia as well as abroad in spite of his peculiar aesthetic and poetic outlook.

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«НИКТО НЕ ЗНАЕТ НАСТОЯЩЕЙ ПРАВДЫ» (ПЕРЕОСМЫСЛЕНИЕ ОБРАЗА УЧИТЕЛЯ-НАСТАВНИКА В ПРОИЗВЕДЕНИЯХ АНТОНА ЧЕХОВА)

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Францова Н.

Conversatoria Litteraria

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2017

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vol. 11

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issue XI

485-494

RU

The article is devoted to the ideals in the life and work of Anton Chekhov. In his works the Russian writer destroys the image of the elder, the teacher who knows the truth and can explain the meaning of life. He believed that every person can get rid from the "case" ideas of others and gain absolute freedom.

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Wizerunek Polki w twórczości Mariny Cwietajewej

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Mazurek H.

Acta Polono-Ruthenica

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2009

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vol. Tom 1 Nr XIV

137-146

EN

Cvetaeva was always intrugued with her Polish roots. She had no chance of meeting her mother’s moher so she used her poetic imagination to create her grandmother’s portrait in her poetry. Personal characteristics such as: extraordinary beauty, pride, self-restraint rebellious facial expression or secret of life are fund in Polish female characters in Her works (e.g. princess Izabela Czartoryska, Marina Mnishek). Mnishek is the most complex and controversial personality. Out of contrariness so typical of Cvetaeva, while creating the Mnishek’s image the poetess focused on positive characteristics and opposed stereotypes connected with this character, which always characterised artistic expression of the poetess. Another feature of her poetry was identification with her female characters and creation of imaginary, usually ideal life attitudes.

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Некоторые социальные и культурные корни платоновской антиутопии

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Biełousowa W.

Acta Polono-Ruthenica

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2008

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vol. Tom 1 Nr XIII

299-306

EN

The author of this article analyses the socio-cultural basis which shows the unique of an artistic world in the novel Tchevengur written by A. Platonov. The splitting of „un-fortunate personality”, Utopian dreams, barbarisation of culture, chaos, eschatology of the way of thinking, as well as emotions and feelings; all of these are reflected to a considerable degree on the pages of the analysed piece of work. „Double-belief” of the Russian mockery culture, Slavonic mythology, polemic about N. Fiodorov’s ideas, a dialogue with Rosanov’s philosophy of gender characterizes this literary work which is regarded as a significant monument of the epoch’s awareness.

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