Search results - CEJSH

1

Parateksty w polskich przekładach powieści Marka Twaina. The Adventures of Tom Sawyer i The Adventures of Huckleberry Finn – między pomijaniem a dopisywaniem

100%

Dybiec-Gajer J.

Między Oryginałem a Przekładem

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2011

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vol. 17

54-83

EN

The article discusses paratexts of Polish translations of Mark Twain’s The Adventures of Tom Sawyer and The Adventures of Huckleberry Finn, which make up large translation series of respectively 14 and 7 texts. The corpus of the article includes almost all Polish translations of the two novels. The analysis has revealed features characteristic of the paratextual framework of the novels. The most striking one is a nonchalant approach to authorial paratexts, especially to its most significant type such as the preface. While the preface is absent from the majority of the editions of Mark Twain’s Przygody Tomka Sawyera (11 out of 18), none of the Polish renderings of The Adventures of Huckleberry Finn analyzed includes Twain’s Notice and Explanatory. As for translators’ and editors’ paratexts, they are generally rare and modest; a rich paratextual framework is characteristic of the editions for pupils in the series of „well-prepared reading” (Lektura dobrze opracowana). Most of these paratexts, however, can raise objections due to their quality and pedagogical and didactic usefulness. Summing up, the paratextual framework of the analyzed translations shows that the two novels are in the Polish context addressed almost exclusively to young readers while critical editions are absent. This taps into the reception of Mark Twain in Poland as well as publishing, editorial and marketing practices related to children’s literature, in particular to the obligatory reading from the primary school canon.

2

Niewyrażalne, a jednak wyrażone prawdy żywe romantyzmu. Tajemnica miłości romantycznej

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Danek D.

Konteksty - Polska Sztuka Ludowa

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2018

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vol. 72

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issue 1-2(320-321)

PL

Przedmiotem analizy jest miłość romantyczna jako szczególne doświadczenie młodego bohatera literatury okresu romantyzmu. Autorka przeciwstawia się rozpowszechnionemu w badaniach historycznoliterackich ujmowaniu miłości romantycznej jako li tylko literackiej konwencji czy stylizacji albo pozy bohatera romantycznego, a więc jako wymysłu literackiego pozbawionego wartości poznawczych. Wykazuje, że łącząc warsztat badacza literatury z warsztatem psychoanalitycznym można dostrzec w miłości romantycznej wyraz pewnych istotnych, a nawet prekursorskich odkryć psychologicznych. Analizy autorki wykrywają w doświadczeniu miłości romantycznej określone reminiscencje wczesnodziecięcej przeszłości emocjonalnej bohatera związanej z osobą matki, przeszłości, która u każdego człowieka, mimo że zazwyczaj znika z pamięci świadomej, zachowuje się w pamięci nieświadomej i wpływa na całe dalsze życie.

EN

This analysis focuses on Romantic love conceived as a particular experience of the young protagonist in literature from the era of Romanticism. The author opposes the interpretation of Romantic love – widely disseminated in studies on the history of literature – as a mere literary convention, stylisation or pose of the Romantic protagonist, i.e. a literary concept devoid of cognitive values. In doing so she demonstrates that while combining the workshop of the researcher dealing with literature and the psychoanalytical workshop it is possible to perceive Romantic love as an expression of certain essential and even precursory psychological discoveries. The author’s analyses discover in experiencing Romantic love distinct reminiscences of the protagonist’s emotional past going back to early childhood and connected with the mother figure; this is a past that in the case of each person is retained in unconscious memory and impacts a whole life despite the fact that it usually vanishes from conscious memory.

3

Nie potrafię tego powiedzieć

100%

Rumiz P.

Konteksty - Polska Sztuka Ludowa

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2018

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vol. 72

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issue 1-2(320-321)

93-96

PL

Refleksje na temat niewyrażalnego, niewysłowionego. Autor dzieli „niewysłowione” na sekcje: niewypowiedziane – to czego nie da się powiedzieć; nieopisane – to czego nie da się opisać, i te dwie kategorie można zawrzeć w słowie „niewyrażalne”, którego granice nie są takie same dla wszystkich. Istnieje niewyrażalne uniwersalne, które jest poza czasem, ale istnieje też niewysłowione właściwe tylko naszej epoce.

EN

Reflections about the inexpressible and ineffable. The author divides the “ineffable” into sections: the unutterable – something that cannot be said, and the indescribable – something that cannot be described, two categories than can be contained in the word: ”inexpressible”, whose boundaries are not identical for all. There exists a universal “inexpressible”, which remains outside the two categories and time, but there also exists an “inexpressible” characteristic only for our epoch.

4

„Klatka bez drzwi i bez klucza”. Analiza aspektów poznawczych i etycznych wybranych przedstawień artystycznych niepełnosprawności i osób z niepełnosprawnościami

87%

Zamojska E.

Interdyscyplinarne Konteksty Pedagogiki Specjalnej

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2017

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issue 16

143-162

EN

The aim of my paper is to analyse the cognitive and ethical aspects of selected literary and film depictions of disabilities. Based on theoretical and methodological assumptions of sociology of literature and critical discourse analysis, I set out to demonstrate how selected literary and film works depict situations and problems related to social inclusion of people with disabilities. I focus on two questions: 1) How do artistic creations build able people’s knowledge of the social situation and position of people with disabilities? 2) What ethical problems can such depictions involve?

PL

The aim of my paper is to analyze cognitive and ethical aspects of selected literary and film depictions of disabilities. Based on theoretical and methodological assumptions of sociology of literature and critical discourse analysis I set out to demonstrate how selected literary and film works depict situations and problems with social inclusion of people with disabilities. I concentrate on two questions: 1) How do artistic creations build non-disabled people's knowledge of the social situation and position of people with disabilities? 2) What ethical problems can such depictions involve?

5

METAPHOR FOREVER – EINIGE (WENN AUCH NICHT BAHNBRECHENDE) BEMERKUNGEN ZUR GESCHICHTE UND ZUM WESEN DES (LITERARISCHEN) PHÄNOMENS

80%

Wałowski P.

Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies

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2010

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vol. 2

17-37

EN

Firstly, the analytic finger is pointed towards difficulties arising in the attempt to precisely define metaphor. The importance of the broadly understood context in which it appears is emphasized as indispensable for the emergence of (a given) metaphor’s meaning. Moreover, two theories, which appear to be the most essential points of reference in the discussion, are addressed: the ‘substitution theory’, which reverts to Aristotle’s model, and Max Black’s ‘interaction theory’, which presents the modern approach. Furthermore, the metaphor’s interpretative potential, including both its positive and negative connotations, is outlined. Finally, the role of metaphor in the literary discourse is discussed with reference to Paul Ricoeur’s texts.

6

The Discreet Horror of the Holocaust in Ida Fink’s Stories

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Waligóra J.

CLEaR

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2016

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vol. 3

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issue 1

27-38

EN

The topic of the article is writings by Ida Fink. It analyses stories of the author of Wiosna 1941 (The Spring 1941) which refer to the Holocaust. The analysis also draws attention to the poetics of “discreet horror” in which Ida Fink’s stories are embedded. In her records the author does not underline the cruelty, but shows the terror of the situation by subtle narrative and compositional manoeuvres. The picture of death is de-emphasised by the psychology of characters, and the main focus are complicated human relationships in which the author with a great delicacy presents various emotional states of people who, despite being sentenced to death, still try to survive the war. Ida Fink’s stories are different from the majority of Holocaust literature which exposes the severity and brutality of mass death. These stories stand out as an exceptional phenomenon among works by such authors as Tadeusz Borowski, Zofia Nałkowska, Leon Buczkowski, Henryk Grynberg or Bogdan Wojdowski.

7

Narrative Thickness

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McGregor R.

Estetika: The Central European Journal of Aesthetics

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2015

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vol. 52

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issue 1

3-23

EN

The purpose of this article is to demonstrate that the experience of a literary narrative qua literary narrative is an experience of narrative thickness, that is, an experience in which narrative form and narrative content are inseparable. I explain my thesis of poetic thickness in § 1, showing why it does not admit of extension from poetry to literary narratives. §§ 2–3 synthesize the work of Derek Attridge and Peter Lamarque, advancing narrative thickness as a necessary condition of literary narratives. I propose a work of didactic literature – J. M. Coetzee’s ‘The Lives of Animals’ – as a paradigmatic counterexample to narrative thickness in § 4. I show, in § 5, that narrative thickness holds for this work in particular and didactic works which are literary in general, concluding that narrative thickness is indeed a necessary condition of literary narratives.

8

Královské umění a stav české uměleckohistorické medievistiky AD 2010

80%

Bartlová M.

Dějiny - Teorie - Kritika (History - Theory - Criticism)

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2010

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vol. 7

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issue 2

261-270

EN

2010 saw the publication of two sizable volumes containing many years of work by prominent Czech medievalists - JIŘÍ KUTHAN, Th e Royal Work under George of Poděbrady and the Jagellon Dynasty; KLÁRA BENEŠOVSKÁ (ed.), The Royal Wedding 1310 (Prague City Gallery exhibition catalogue). After a recapitulation of the contents of both books the procedural methodology of both researchers (or the editors and their chief co-workers in the case of the exhibition catalogue) comes under criticism. It turns out that both share a similar approach involving their specifi c treatment of literature and particularly their antiquated method of working with historical sources. The most critical element involves their lack of attention to more recent historiographical literature and ignorance of basic approaches to cultural history. These features are shared by a considerable segment of Czech medieval art history studies.

CS

Roku 2010 vyšly dvě obsáhlé publikace, shrnující mnohaletou práci předních českých medievistů - Jiřího Kuthana Královské dílo za Jiřího z Poděbrad a dynastie Jagellonců a Kláry Benešovské (ed.) Královský sňatek. Eliška Přemyslovna a Jan Lucemburský - 1310 (Katalog výstavy Galerie, Muzea a Archivu hl. m. Prahy). Po shrnutí obsahu těchto knih je kritice podroben metodologický přístup obou badatelů (či editorky a jejích spolupracovníků v případě katalogu výstavy). Ukazuje se, že sdílejí obdobný přístup, specificky pracují s literaturou a používají zastaralé metody práce s historickými prameny. Nejkritičtějším prvkem je jejich nedostatek pozornosti k nejnovější historiografické literatuře a přehlížení základních přístupů ke kulturním dějinám. Tyto prvky s nimi sdílí značná část českých uměnovědných medievistických prací.

9

Artists’ books, czyli czym jest owoc małżeństwa książki ze sztuką

80%

Bernacki P.

Studia o Książce i Informacji

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2017

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vol. 36

29-44

EN

This text is an attempt to looking at the status of artists’ books — interesting phenomenon, which blends worlds of book and art. It includes the opinions of art critics, bibliophiles, publishers, creators of literature and artists. History of the artists’ books and external conditions, which have an influence on its birth were briefly outlined. Image of this phenomenon turns out indeterminate and internally contradictory. Theories, typologies, attempts to define or even fix the right term are often mutually exclusive. This situation raises questions about their legitimacy. Maybe we should accept the fact that certain indeterminacy and impossibility to enclose in rigid frames is an inherent feature of artists’ books because otherwise they would lose their diverse and open character.

10

Edward Stachura "po zewnętrznej stronie urwiska"

80%

Małczyńska A.

Studia Slavica

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2013

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vol. 17

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issue 2

197-201

EN

I start the paper with the assumption that Edward Stachura’s transgressions were his means to approach something that is most important. This is clearly visible in the internal and external borders of literature that he enjoyed crossing so much. His work could be characterized not only in terms of hybrid, crisis and ultimate end, but also as existing on the literary margins, or even further, „outside the cliff”. What I am trying to prove is the concept that while talking about what is outside literature, Stachura used the language of literature. Therefore, his literary output possesses plenty of points opening themselves for a kind of other space. Besides the poet’s and his fictional protagonists’ direct words, the urge to cross the borders of literature can be noticed in such editorial practices as the suggestive usage of blank pages, or special endings of some of his pieces,which implied not only the end of something, but also the beginning of something new. Together with Stachura’s unique interest in the concept of wholeness, oneness and totality, all these aforementioned practices prove that his literature can function as an example of works that Roberto Calasso called „absolute literature”.

11

„Góra szczęścia” Jonasa Biliũnasa

80%

Syrnicka K.

Góry, Literatura, Kultura

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2016

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vol. 10

71-80

EN

The oeuvre of Jonas Biliūnas (1879–1907) marks the birth of Lithuanian lyrical psychological prose, which was influenced by the modernist ideas of relativism. His works brought into the Lithuanian canon of realist story the motifs of transitoriness of human existence, fragility of life, sadness. Biliūnas was the first Lithuanian writer who was professionally prepared for his trade. He studied literature and related disciplines at universities in Switzerland, which gradually became a centre of Lithuanian intelligentsia already in the 19th century. The short stories written at that time indicated the writer’s maturing talent. The Alps played asignificant role in Biliūnas’ life; this is where in 1904–1907 he wrote his best works, three of which are thematically associated with the mountains: the literary sketch Fine Weather on the Uetliberg (Ant Uetlibergo giedra!), the short story Snowstorm in the Mountains (Pūga kalnuose) and the allegorical tale The Beacon of Happiness (Laimės žiburys) — one of the most important works written in Zurich. A serious illness prevented the writer from fully developing his talent. On 8 December 1907 he died at the age of 28 in his wife’s arms in asanatorium in Zakopane. He was buried in Pęksowy Brzysk. Thanks to the efforts of the Lithuanian writer Antanas Vienuolis Biliūnas’ remains were brought back to Lithuania, where he was laid to rest on ahill in Liudiškiai, near Anykščiai. In 1958 a monument called “Beacon of happiness” was erected on Biliūnas’ grave. The hill with the monument became asymbol the meaning of which is expressed in the tale The Beacon of Happiness. Today some people climb the hill to honour the writer’s memory, while others — believing in its sacred nature — hope that it will bring them happiness.

12

Znów o Puszkinowskich przekładach ballad Mickiewicza

80%

Stachurska M.

Acta Polono-Ruthenica

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2008

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vol. Tom 1 Nr XIII

181-192

EN

Adam Mickiewicz and Aleksander Pushkin’s mutual translations constitute an essential element of the two artists’ creative relationship. The undisputed fact is that the choice of Mickiewicz’s works for translation made by the Russian poet was not accidental. It is emphasised that the translations mattered the development of artistic awareness of the poet. They enriched his poetical output. They also enabled to extend the range of artistic styles of Russian literature, which allowed more original and reliable presenting subtlety of that reality. Two substantial factors influenced the work on ballads The Three Lithuanians and The Ambush. One of them was the poet’s great interest in folklore and folk traditions. It is proved in subject matters and forms of many pieces of work, especially those ones created in autumn in the year of 1883 (The History o f Pugachov, The Tale o f the Fisherman and the Fish, The Tale o f the Dead Princess and the Seven Knights). The next significant fact was personal acquaintance with the Polish poet. Familiarization with the fourth volume of the complete edition of Mickiewicz’s works must have induced the Pushkin’s literary riposte - the habitual guest in Moscow andPetersburg’s parlours. As a result Russian literature was enriched with two translations, existing on equal footing of independent literary works, impressing with its excellence up to now.

13

Intercultural Dialogue and Humanities from Late Antiquity to the Middle Ages

80%

Di Palma E. M.

Ethics in Progress

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2019

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vol. 10

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issue 1

12-22

EN

The aim of this articole is to discover traces of humanitas in late antique and mediaval literature. Starting from the classic meaning of this notion, the paper finds three meaningful episodes: the controversy between Ambrosius and Symmachus about the Altar of Victory, the Dialogue of a Philosopher with a Jew and a Christian by Peter Abelard and the spread of the Life of Balaam and Josaphat. Through these examples, the article builds a new idea of humanitas, free from historical restricion, a blend of literary passion, acceptance of diversity and multiculturalism.

14

Nowy Rosjanin w przestrzeni miasta‑metropolii (na przykładzie współczesnej literatury rosyjskiej)

80%

Duda K.

Politeja : Pismo Wydziału Studiów Miedzynarodowych i Politycznych Uniwersytetu Jagiellońskiego

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2015

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issue 8(39)

329-344

EN

The New Russian appeared in the former USSR just after 1991 when the communistic rules collapsed. Firstly, he was considered as a very rich man who obtained his fortune in an illegal way and employed murderers and bodyguards in order to look after his property. Modern Russian writers say that the New Russians have big mentions, the newest models of cars, expensive clothes and cosmetics. They spend their holidays in France, India and Africa and often kill these people who are richer and have more money, that is why their life is not safe., they chase money and take part in the rat race. Now, both in literature and film, the image of the New Russian changed. Authors show him as a well‑educated person who is interested in culture, charity and elegant style of life. New Russians know foreign languages and would like to establish contact with other businessmen. Not only do these people think about their business but they take care of their families as well. They have made great progress as far as their work and behavior are concerned. Unfortunately, they cannot still safe in their own country.

15

Zeitgenössische Gesellschaft und ihre Ängste. Zur sprachlichen Re-Inszenierung des Katastrophischen in Kathrin Rögglas Prosaband die alarmbereiten

80%

Rutka A.

Germanica Wratislaviensia

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2014

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vol. 139

99 - 112

EN

In her prose work die alarmbereiten, a critical language analysis from 2010, Kathrin Röggla examines “the grammar of catastrophe” which is a dominant pattern in the contemporary perception of reality. The narration of catastrophe and crisis constitutes — as convincingly proven by Röggla’s work — trajectories of equally a collective-public and an individual-private experience of the world. This paper examines the common communicative patterns, rhetoric and gestures in the public and private discourse on catastrophes and crises. The purpose of the paper is to present the discursive mechanisms of power hiding behind the facade of the omnipresent “being on the alert” (Ger. Die Alarmbereitschaft).

16

Biografistyka jako źródło poznania współczesnej Europy

80%

Grupa R.

Prosopon. Europejskie Studia Społeczno-Humanistyczne

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2011

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issue 2(2)

175-180

EN

This article presents biographical writings as the oldest type of historical writing and draws attention to its enormous role in understanding the entire humanities. It shows the unmistakable influence of this doctrine as a source of news for understanding contemporary Europe as well as distant history and biographies of various persons who may become role models for many contemporary European leaders.

17

Świat poezji Ełły Krylowej

80%

Nikadem-Malinowska E.

Acta Polono-Ruthenica

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2006

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vol. Tom 1 Nr XI

239-248

EN

Ella Krylova belongs to the generation of Russian poets whose creative path started almost simultaneously with the birth of new Russia. Today she is the author of over ten poetry collections, she regularly publishes her poems on the Internet, she is well-known abroad. She is searching for her own form of expression, adequate to the thought which can be ironic or philosophical, but always present in the words. Her oversensitive lyrical ego, listening carefully to the world problems, fights with adversities with the help of irony. The world of her poetry is deeply humane, it is the world of universal values and spiritual rebirth of man.

18

К проблеме „Своего” и „Чужого” - образ еврея в белорусской сказке

80%

Chernyavskaya Y.

Acta Polono-Ruthenica

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2007

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vol. Tom 1 Nr XII

61-75

EN

Belarusian taleThe article considers the character of the incomer as a constituent part of the ethnic self-image of the nation. The story is about the image of Jew as seen with eyes of Belarusian peasantry as imprinted in tales collected by folklorists on the verge of the 19th and 20th centuries. It is represented by „the Mine Foreigner” living in the same life and financial conditions as a Belarusian peasant, from one point, and different form a Belarusian due to another ethnic and confessional membership and the relevant customs, from another point. The character of Jew in Belarusian tale is defined through binary oppositions mine vs. foreigner, wealth vs. poverty, cunning vs. naivete, etc. Cultural necessity of foreigner inside his/her own nation is defined by two functions, the function of comparison (and relevant specification of own identity) and function of complementarity as soon as he/she posesses skills that aboriginals do not posess. Differences between the Mine Foreigner vs. Foreign or Another characters are stated.

19

Wojna w oczach dziecka. Analiza leksyki w literaturze dla dzieci i młodzieży

80%

Kaźmierczak P.

Linguistische Treffen in Wrocław

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2021

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issue 19

133-147

EN

This paper presents war literature for children and young people. The perspective of the analysis is multi-layered and the whole work deals with the important and difficult topic of warfare, persecution of ethnic, religious and national groups, expulsion and the Warsaw Uprising. It takes into account both the nature of the topic covered and the age of the audience, which is important because of the vocabulary used in the text. The article has inaccuracies resulting from the lack of specific guidelines for adapting the literature to the competence of the young addressee. (This is not the case with guidelines for computer games or school reading). These are additional difficulties that an adult has to deal with when choosing a book for a child. Therefore, it is important to know the child, their maturity level and their knowledge of the story, and often the best solution is to simply read together. When analysing the books discussed in this article, attention should also be paid to the time period of the plot – pre-war, war, post-war – the form of the narrative and the language or stylistic devices used to describe the war. The most popular ways of telling about war are metaphors, similes, personification. War is often compared to a monster or a giant that destroys everything around it – both materially and spiritually. In turn, the characters and situations described are presented on the basis of the opposition of good and evil, white and black, or in the situation of description from the perspective of time: past and present. In addition, linguistic activities that convey the emotions the reader feels while reading and experiences together with the characters are presented. The language games, e.g. Władza Ludowa described as Władza Lodowa, or the diminutive sklepiszcza, are not only interesting solutions that add variety to the text, but also facilitate the understanding of the atmosphere of the time described. An important element of the analysis is the narration from the perspective of children, both Poles who grew up during the war and Jews who were separated from their families and hidden. Such a description makes it easier for the reader to identify with the character and better understand the content.

20

Alpinizm, turystyka, literatura na przełomie XIX i XX wieku — związki i zależności. Wstępny zarys problematyki

80%

Kolbuszewski J.

Góry, Literatura, Kultura

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2016

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vol. 10

15-38

EN

The second half of the 19th and the early 20th century were marked by extremely significant changes in mountaineering, tourism and literature, changes which can be described metaphorically as the vanguard of 20th-century modernity. Of great importance to the development of both mountaineering and mountain tourism was the creation of associations bringing together tourists and mountaineers, mountain lovers. The associations focused mainly on promoting mountain tourism, making the mountains more accessible (building paths, trails, hostels) and trying to protect the mountains against the effects of human impact and other civilisational processes — economic, social and technological. The increasingly evident division into mountaineering (exploring the mountains by climbing them) and tourism, and the spread of this tourism in all mountain ranges in Europe made mountaineering aspecialised form of communing with the mountains, requiring special qualifications and equipment. At the same mountain tourism became amulti-layered phenomenon, as it encompassed, in addition to the “classic” tourism “with backpacks”, resort tourism involving walks, atype of tourism playing an important role in socialising and styles of behaviour, completely different from the models characteristic of tourism in the first half of the 19th century. This led to the emergence of characteristic styles of this tourism, which was becoming an important element of bourgeois popular culture, aprocess that immediately resonated in literature. In the second half of the 19th and the first decade of the 20th century the substantial growth in the number of tourists arriving in mountain villages led to their rapid civilisational and economic development. However, the concept of building mountain railways that were to bring people closer to the most precious asset of the mountains — their intact primeval nature — was asimple extension of the sedentary lifestyle. The development of mountaineering consisted in traversing increasingly difficult routes. This involved not just the ordinary climbing of peaks, but traversing mountain walls. In 1880 and 1881, Albert Frederick Mummery, climbing Grands Charmoz (3,455 m) and Grépon (3,482 m), became the first man to traverse extremely difficult routes (Grade 5 in the Welzenbach scale). In 1884 Walter Parry Haskett Smith decided to traverse agrade 3 (difficult) route on his own and two years later he climbed the twenty-metre Lapes Needle in the Lake District, England, which gave rise to competitive climbing, adiscipline distinct from mountaineering. Mountaineers also produced literary works (Eugčne Rambert). The so-called “Alpine literature” (“la littérature alpestre”) encompassed, as its unique variety, par excellence Alpine literature providing an image of the mountains from the point of view of mountaineering and way of approaching mountaineering. Its leading exponents were Edward Whymper and Leslie Stephen; Albert Frederic Mummery (1855–1895) won considerable renown as the author of My climbs in the Alps and Caucasus (1895) as did Henry Russel-Killough (1834–1909) regarded as excellent writer and aman who made a great contribution to the exploration of the Pyrenees (Souvenirs d’un Montagnard, 1908). On the other hand, the ideological motivation of Polish mountaineering echoed with the philosophy of Friedrich Nietzsche, Arthur Schopenhauer and Henri Bergson, introducing the subject of mountain climbing into highbrow literature.

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