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The contacts of the popular Russian humorist and the representative of the first wave of emigration with Poland begin at the level of family connections. Teffi used to visit Warsaw where she became acquainted with the representatives of the local literary world. Her works, translated into Polish, were published both by numerous magazines, separate collections and showed on stage. Polish themes appear in Teffi’s works too.
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In this sketch, the author attempts to analyze the spectacle of the Bialystok group PAPAHEMAcreated on the basis of the drama Bulgakov Molier, or conspiracy of the saints. In the spectacle,the display of biographical threads for the purpose of universal aim`s has been dispensed with.According to the author, the creator of the spectacle, while remaining faithful to the assumptionsof the text, created a universal spectacle, presenting motifs of human behavior and, above all,exposing the theatricality of the text.
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Nikolai Kolada’s, by critics called also the “Almodovar of Russian theatre”, artistic work for yearsis very popular in Poland. This article is an attempt to present the profile of Nikolai Kolada andchosen aspects of his literary output and dramatist’s works reception in Poland. The author also triesto put attention to “father’s of new Russian dramaturgy” cooperation with representatives of Polishtheatrical environment and to solve the secret of his popularity in Poland phenomenon.
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In article was analized emigration’s journalism of Artsybashev from journal “Za svobodu!”.Journalism takes a very important place in the works of Mikhail Artsybashev. The writer witnessedhistoric changes in Russia of the early 20th century and emigration period and condition of Russianculture and literaturę in Russia and emigration. In his many works included a great numberof valuable comments and insightful analysis of the processes taking place on the territory of thedecaying Russian Empire
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The aim of the study is to characterise a genre pattern of a condolence telegram in Russian.A telegram is one of many genres of diplomatic correspondence, used to give condolences andexpress sympathy and support on the occasion of calamities and natural disasters. The senders andreceivers of telegrams are heads of state (official institutinal communication), as well as nationsof both countries and people afflicted with the disaster. The study conducted on a corpus of 150 texts(50 telegrams and 100 press releases) analyses the structure and lexico-pragmatic features of texts toestablish the most frequent pattern of telegram in the current textual corpus. The results of the studyshow that a condolence telegram is a highly conventionalized genre.
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Russified words concerning army field have been presented in the given article. They wereexcerpted from “Tygodnik Ilustrowany”. The author explores all annuals of the questionednewspaper, namely the period 1918–1939. She tried to interpret in a semantic way the collectedlexical russicisms in respect of their definitions in definitional dictionaries of Polish language, inetymological dictionaries and in other sources. The following topic groups concerning the army weredistinguished taking into consideration the noted lexicon, topic groups differing as far as the meaningis concerned: weapon names, military reinforcement, divisions and subdivisions, rank and militaryoccupational specialty, soldiers designation and armies names. Formal and semantic borrowingsdominated in the field. Word-formative calques were found on the second place. Semantic calquesrepresented the smallest group.
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This article deals with the specifics of the language and the translational difficulties of Teffi(Nadezhda Lochwicka), one of the most recognized figures of pre-revolutionary Russia, poet,columnist and author of humorous stories.The author verifies the thesis essence on the material the novel’s title from the collectionDemonic woman and her Polish variant in the translation of Julian Tuwim. Evaluating the choicevalidity of translator equivalents from the standpoint of the author’s individual style, the ideologicaltheatricaland the stylistic aspects were taken into account.
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The article is concerned with Shukshin’s occasionalisms and their Polish equivalents extractedfrom translations done by I. Bajkowska, Z. Gadzinianka, T.G. Lipszyc, E. Niepokólczycka,I. Piotrowska, B. Reszko, and A. Tyszkowska. The study material consists of 43 equivalents and is presentedin three separate groups referring to structural-and-semantic, semantic as well as affixationaloccasionalisms. The author claims that the most common translation equivalents are either neutralor colloquial units belonging to the lowest register, for they are the most frequently used regardlessof the type of occasionalisms.
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The article is an attempt to analyse the folklore and monastery legends about St. Nahum and his monastery collected and published in 1925 in Skopje by St. Nicolai Velimirovich, who was bishop of Ochrid from 1920 to 1934. The collection carries material known from earlier publications – local legends that reflect old-time mythologems (about Nahum and Clement seen as heroes of their time and milieu, elements of a cultus of saints-twins, etc.) as well as oral narratives heard by Bishop Velimirovich or written monastery legends that present St. Nahum chiefly as a healer or protector of the monastery from pillagers and people of alien faiths. The choice and the interpretation of the folklore material reveals a tendency for ideologization linked with the historical vicissitudes around the jurisdiction of the Ohrid archbishopric, which after the First World War was joined to the Orthodox Church of Serbia.
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Artykuł poświęcony jest analizie tradycji szekspirowskiej w twórczości współczesnego białoruskiego dramatopisarza Aleksieja Dudaraua. Nawiązania do dramaturgii Szekspira widoczne są w ujęciu danego tematu (zwykle realizowanego w perspektywie historycznej), sposobie przedstawienia zdarzeń i związków między nimi, relacji między poszczególnymi postaciami dramatu, a także w umiejętności wnikliwej analizy ludzkiej psychiki, ukazaniu niezwykle wyrazistych i niepospolitych postaci. Znamienną cechą dramatów Dudaraua jest także łączenie w jednym utworze różnych kategorii estetycznych: tragizm miesza się z liryzmem, dramat z opowiadaniem, fantazja z realizmem.
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The article analyses the significance of silence and how the ability to speak is developed by the main character in My Name is Lucy Barton by Elizabeth Strout. The voice she finds not only enables her to talk about certain events from her past but also express herself as an artist. The paper draws on Frank Kermode’s studies of memory and secrecy: Secrets and Narrative Sequence, Memory and The Man in the Macintosh as well as Esther Rashkin’s psychoanalytically grounded analysis of secrecy. The paper aims to show that silence is the driving force of the narrative.
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Having analysed Cicero’s opinions about wild animals demonstrated in some of his works (De finibus bonorum et malorum; De natura deorum; Tusculanae disputationes), we may conclude that on the one hand a human as a rational being is definitely opposed to other living creatures that just follow their carnal instincts, on the other hand even among representatives of various species of animals one can observe behaviour to some extent rational, or even “ethical”, that make them similar to human beings. We may explain this phenomenon with the concept based on the Stoic doctrine of rational or even somehow divine character of nature that contains in itself elements of gradation, and allows the presence of divine ratio in particular beings to differ in intensity, what locates animals in the hierarchy of beings slightly lower than the humans.
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In this article the author tries to present the images of two great heroes of The Iliad, Achilles and Hector, that emerges from the Roman poetry and compare them with those present in the Greek tradition. In this analysis, focus is primarily put on The Aeneid of Virgil and on Ovid’s works, with minor remarks to the works of other authors. The article concludes that in the case of Achilles there is a huge difference between the image of this character in the Greek tradition and in Roman poetry. Achilles, who for Greeks was an object of universal esteem, in the eyes of Romans has become a synonym of a criminal, a ruthless murderer and the personification of the destroyer of Troy. The image of Hector in Roman literature is also different from the Greek perspective, since Roman authors idealized the prince of Troy to such an extent that they saw him as the greatest hero of the Trojan War.
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I will discuss the connection between Linos and Orphics as it is outlined in the Description of Greece. Pausanias writes that Linos propagated in his songs the genealogy of the first deities of the Greek pantheon. According to Pausanias, this genealogy was similar to the one in Hesiod’s Theogony. Pausanias himself believed that the majority of Linos’ works were inauthentic. He was of the opinion that if Linos wrote anything, none of it has survived. However, no one has tried to explain why so many works were attributed to Linos. In my article I try to answer to this question.
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The purpose of this article is to analyse an anonymous homily written in ninth century northern Italy. Linguistic analysis of the text strongly supports the hypothesis that this example and similar texts would have been understood by listeners of the era when read aloud. This comprehensibility is ensured above all by the fact that the Latin vocabulary and morpho-syntax of this text are based not only on the classical norm but on the late and patristic norms. Even if the listeners had only passive competence of the language, this proves that Latin was still widely understood in the ninth century.
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The article offers insights on the reception and literary transmission of the religious and biblical threads running through the astronomical treatise Introductorium compendiosum in Tractatum sphaerae materialis Ioannis de Sacrobusto of Jan of Głogów. As a narrative and historical book, the Bible offered a broad market for tales in both oral and written form and apocryphal works of fiction, which were adopted and adapted in Jan’s dissertation in order to meet the scientific tasks and expectations of young listeners, thus making the practical realization of the scholastic educational standards and needs. Among others, the article examines in Jan’s treatise popular biblical tales, such as Adam and Eve, Moses, Noah, Abraham, and Jerusalem and the Hell together with their geographical and astronomical features. The history of Pontius Pilatus is also discussed with his alleged German descent. This combination of such disparate narrative and research material shows both the wealth of Jan’s storytelling and his ability to teach astronomy.
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Since antiquity man has been studying irony, it has always been in the center of a continuous debate of scholars of many different scientific disciplines: from Socrates to Aristophanes, from Plato and Aristotle to Cicero and Quintilianus, St. Thomas Aquinas, Baldassarre Castiglione, to the German Romantics. Irony is a world with many acceptations: for this reason, as irony is a rethorical component and a very important element of italian language and culture, it is a very interesting element, which can be used in glottodidactics. The following pages provide a brief overview on the various conceptions of irony, then move on to the suggestion of practical exercises where irony can be used in teaching italian language.
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Józef Łobodowski’s pre-war translations were published in the weekly “Wołyń” which he was the editor of in the years 1937–1938, and in “Biuletyn Polsko-Ukraiński”. Among them, the translations of poems by Yuriy Kosach, Natalya Lyvitska-Kholodna, Oleh Olzhych and Yevhen Malanyuk can be found. Łobodowski had personal contacts with was Malanyuk as he was his long-time acquaintance.They both published their works in “Biuletyn Polsko-Ukraiński” and in “Kultura” based in Paris. Łobodowski translated in total over 20 works of the Ukrainian poet, the majority of which were published in “Kultura” after the war, together with a number of literary critical articles, such as Scylle i Charybdy poezji ukraińskiej (The Scyllas And Charybdas of the Ukrainian Poetry), Poezja Jewhena Małaniuka (Yevhen Malanyuk’s Poetry), Ostatnia wiosna (The Last Spring), or a memoir notePo śmierci Małaniuka (After Malanyuk’s Death).In the 1930s, Łobodowski became interested in the poetry from the collection Земля й залізо(Earth and Iron). In the interwar period, three translations were published: An Inscription on a Book of Poems (Напис на книзі віршів), 13 November 1920 (13 листопада 1920 р.) and fragments of theEpiphanies (Прозріння) cycle.In his translations, the author for Lublin was guided mainly by the principle of the hierarchy of values and equivalence. His works include Malanyuk’s poems close to his own poetry. Moreover, in his translation work he tended to avoid texts speaking against Poles and dividing the two nations. Łobodowski is characterised by his interpretational talents and the ability to preserve the main meanings of the original versions. In spite of the fact that his translations are characterised by dynamic equivalence, they are not spontaneous, they do not stem from emotions, but they have a solid theoretical foundation and are based on his excellent knowledge of the Ukrainian poet’s works.
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Piotr Kupryś was the first Polish translator to fully translate two classical works fundamental for Ukrainian literature. These were: Kobzar by Taras Shevchenko and Eneida by Ivan Kotliarevsky. Kotliarevsky’s Eneida is a vivid example of adapting diverse elements of oral folklore culture in modern Ukrainian literature. The article analyses types of translation procedures the translator applied when dealing with cultural context. Generally speaking, Kupryś followed two strategies of rendering cultural elements: domestication – in order to adapt the target text to target readers’ knowledge; as well as foreignisation with explanation – thanks to which he enriched target readers’ knowledge about reality and culture of the source text.
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In order to encourage the minimal reader to reach for Russian literature, one needs to presentelements of the foreign reality in such a way that would encourage them to get to know alien phenomena and extend their cognitive base, rather than discouraging them with complexity and strangeness. One of the elements which are rooted in culture and which require proper management in translation are proper names. In translation from Russian into Polish it is worth focusing on managing hypocorisms (diminutives), colloquial forms of vocative and patronymics.
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