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Próba ujęcia poetologicznego
The paper is an attempt to disambiguate a set of phenomena forming a new Romantic paradigm in Adam Mickiewicz’s “Poezje” (“Poetry”). It describes the mode in which, in connection with the constitutive occurrence of ballads, namely the breaking of empirical vision of the world, all the crucial (textual, imagery, existential, and subjective) phenomena of the work mingle into a multi-layer model to generate new relations and shapes. This event core of the ballads is also linked with developing a personal ethic horizon and individual romantic identity based on it. The paper reveals that this identity is substantially formed in the subjective sphere of the literary piece, on the level of the narrator and the author of “Ballady i romase” (“Ballads and Romances”). Parallel phenomena are examined in the lyrical pieces of the “Poetry”.
More...„Poezje” Mickiewicza z 1822 roku na tle prasy warszawskiej i wileńskiej
A question about the footnote to “Pierwiosnek” (“Cowslip”) (the initial poem from “Ballady i romanse” <”Ballads and Romances”>) that contains the Latin name of the plant—Primula veris—opens considerations about Adam Mickiewicz’s 1822 “Poezje” (“Poetry”) in the context of the then Warsaw and Vilnius press. The press material is considered here as a collection of images, formulas, sequences of associations forming a peculiar verbal environment of the poems, and also a mediatory space between the author and the reader. Confrontation of Mickiewicz’s work with the poetic content of “Pamiętnik Warszawski” (“Warsaw Memoir”) reveals a smooth shift from the topoi of pastoral poetry to ballad one. By contrast, reading the poetry alongside the Vilnius press (“Tygodnik Wileński” <“Vilnius Weekly”>, “Dziennik Wileński” <“Vilnius Daily”>) discloses the connections of ballad-romance matter with the problems of scientific and prescientific understanding, marked in articles in natural history, including botany, and botany-inspired cultural practices (herbaria).
More...Komentarz do lektury „Ballad i romansów”
The author of the paper explains the role that the problem of memory plays in “Ballady i romanse” (“Ballads and Romances”). He also poses a question about the significance of the romantic turn which is taking place in Polish literature, and in doing so he challenges the state of research completed to this day in Mickiewicz’s cycle of ballads (especially with the works by Zgorzelski, Stefanowska, Fieguth, and Miłosz). Trybuś exploits the issue of romantic memory, resorts to Aleida and Jan Assmann’s cultural studies reflection, as well as allows both for the rhetoric tradition of memory reflection, and the epistemological tradition (“eye of memory”). In his reading of the ballads he concentrates mainly on the subject of romantic memory and on the places of memory, indicating memory-forming experience of death. The considerations are thought of as justification of the paper’s hypothesis about two culminating points of the development of memory problems in Mickiewicz’s creativity—in “Ballady i romanse” and in the consecutive parts of “Dziady” (“Forefathers’ Eve”).
More...Nota o autointertekstualności młodego Mickiewicza
In his sketch, the author analyses the thematic, situational, and personal relations between “Romantyczność” (“Romanticism”) and “Dziady” kowieńsko-wileńskie (“Forefathers’ Eve” Part II and IV), and his assumption is that Mickiewicz in his drama enters into an autointertextual dialogue with his own ballad composed earlier. The concerns, such as a possibility of contact between the living and the spirits of the deceased, unsettled in “Romantyczność”, in “Dziady” are unquestionable and experienced by many, especially during the Forefathers’ Eve ceremony. The central focus of the investigation is Karusia’s existential-metaphysical drama and the mode of transforming the collection of issues and problems connected with this figure in “Dziady” kowieńsko-wileńskie.
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The paper takes up an interpretation of earliest literary pieces and letters by Adam Mickiewicz (1798–1855) from the years 1817–1819, when the poet studied at Vilnius University and taught at a Kaunas school. Satirical and mock-heroic poems from that time (“Mieszko, książę Nowogródka” [“Mieszko, Prince of Novogrudok”], “Pani Aniela” [“Lady Aniela”], “Dziewica z Orleanu” [“The Maid of Orleans”], “Kartofla” [“Potato”]) are adaptations of Voltaire’s plots adjusted to Polish conditions. The interpreter asks about the mode in which young Mickiewicz pictures the historical, human nature, and existential (misfortune) evil. The adaptations from Voltaire are compared with a tale of “Żywila” [“Zhivila”] and letters written in a diction of despair. A combination of a private thread with a historical thread of evil experienced by a community devoid of freedom is a characteristic feature of Mickiewicz’s image of evil.
More...Analiza przemówień Towarzystwa Filomatycznego z lat 1818–1821
At the turn of the 18th and 19th centuries in Europe, as a result of political and social transformations, youth unions and associations were established en masse. According to researchers, the main principle organising their emergence and development was youth, the assumptions and ideals of which lay at the foundations of many literary, artistic, and reformative programmes. In Poland, such an association was Philomath Society, perceived as the first generation community aware of its youth. However, an analysis of the language of speeches delivered during formal union meetings in the years 1817–1821 raises doubts about the belief that the Philomaths made youth a supreme value. Youth was a subject of polemics within the union, and its different understanding by the Philomaths became a factor that inhibited and ultimately prevented the implementation of their self-education and general social program.
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The paper is devoted to the birth of the Philomath myth, namely the shaping of cultural memory about imprisonment, investigation and following it deportation from Lithuania to exile into Russia of a group of Vilnius interns, students and professors in 1823 and 1824. The author of the paper focuses on announcing and first accounts of so-called Philomath and Filaret trial, the associations to which, traditionally, an anonymous brochure published during the Polish November Insurrection “Nowosilcow w Wilnie w roku szkolnym 1823/24” (“Novosilcov in Vilnius in the Schoolyear 1823/24”, 1831) by, as was later proven, Joachim Lelewel, and Adam Mickiewicz’s “Dziady” (“Forefathers’ Eve”) part III (1832) belonged. As based on those autobiographical accounts, and also on the regained manuscript of “Nowosilcow w Wilnie”, the author formulates a thesis about the existence of pre-Mickiewicz, nameless, collective memory about the Philomaths strengthened, and also substantially changed by the issuing of “Dziady” part III.
More...W stronę paradygmatu polskiej polityczności
The paper is devoted to Adam Mickiewicz’s political thought. Its chief thesis refers to the breakthrough that took place in his thought after the year 1831. The breakthrough entailed quitting from the vision of politics shaped within the framework of Enlightened modernity to develop a programme of Messianic politics anchored in modernity criticism. The change is presented as a paradigmatic choice, a choice of the only accessible tools to pursue politics; it became an exemplary, repeated until today motion of the Polish politics, breaking with modernity. The model proposed by Mickiewicz comprises criticism of liberal democracy, setting politics into religious and moral frame, national symbolic field, and treating politics as an agon.
More...Weltliteratur między historią intelektualną a historią literatury
The author of the paper attempts to reconsider the relations between Adam Mickiewicz and Weltliteratur and discloses the factors referring to the idea, formulated for the first time by Johann Wolfgang Goethe, that played special function in the Polish poet’s output. As based on Paris lectures, particularly the first five of them, the author insights into the way in which Mickiewicz takes advantage of world literature and discusses the context of Slavonic studies debate that took place at that time.
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While Adam Mickiewicz’s life has been closely examined, sometimes even scrupulously, the knowledge about the poet’s ancestors and relatives is scanty. This refers to, inter alia, the Orzeszko family, from which the poet’s grandmother—Anna Majewska, née Orzeszko—descends. The paper presents, as based on information included in documents, the ancestral relations of this particular line of Mickiewicz’s family, and the situation of Mateusz and Anna Majewscy before their settlement on the property in Czombrów.
More...O twórczości poety w szkole lubelskiej
The Lublin school of the research in Romanticism made a considerable turn in the studies in Mickiewicz’s output. Its founder, Czesław Zgorzelski, the author of pioneering studies in the artistic complexity of the poet’s pieces, editor and leading interpreter of his poems, shifted the research into, inter alia, the field of literary genetics. Accompanied by his students, Marian Maciejewski and Ireneusz Opacki, he made critical discoveries connected with, inter alia, the structure of ballads, sonnets, romantic tales, Roman-Dresden and Lausanne lyric. In case of the latter, the studies, the achievements of which are unsurpassed until this day, were fundamental and sublime. In the following ones (by Danuta Zamącińska or Małgorzata Łukaszuk), a marked place is occupied by the examinations of the 20th c. Romantic poets. A salient feature of this group of scholars was (is) a detailed and improved explorations of artistic achievements organically related to evocation of Mickiewicz’s idea.
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The author of the paper gives an account of an unknown to this day Cyprian Norwid’s letter preserved in Archives nationales (National Archives), Paris, where it was catalogued as “Projet de réformes des arts” (“A Project of Fine Arts Reform”). The letter, dated September 1871, was addressed to Charles Blanc (1813–1882), the director of Les Beaux-Arts in the French Ministère de l’Instruction publique, des cultes et des beaux-arts (Ministry of Public Instruction, Cults, and Fine Arts). The author sees the origin of the correspondence in the then press sources on Blanc’s activities linked to his position. In his letter, Norwid raises, inter alia, the issue of material condition of his fellow artists, and pays attention to the necessity of appreciating the sketch which he viewed as an autonomous, full-value work.
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The article analyses two Czech translations of T. S. Eliot’s The Waste Land, both by members of the Group 42. Jiřina Hauková and Jindřich Chalupecký were the first to translate a complete text, including author’s notes. Jiří Kolář and Jiří Kotalík translated the fifth part of the poem. After a brief introduction describing the genesis of the original text and listing the existing Czech translations, the article analyses both translations separately, as well as in comparison, considering all the relevant criteria. Through a detailed analysis of the poetic devices used by Eliot and his translators, the article delivers a complex description of the methods used by respective translators showing that Hauková and Chalupecký emphasize meaning to the detriment of sound, the translation lacking rhythm and rhymes. The version by Kolář and Kotalík is much more condensed, rhythmical, and more accomplished.
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The contrastive analysis of two modern Czech translations of John Keats’s The Eve of St. Agnes by Jiřina Hauková (1961) and Hana Žantovská (1977) shows differences on three levels: the translators’ refashioning of the Spenserian stanza, different preferences in rendering Keats’s imagery, and different levels of deliberate archaizing in lexical choices and syntax, especially in direct speeches. Žantovská’s version is more euphonious with a higher percentage of full rhymes and, with a rhyming scheme of ababcdcdd and a final alexandrine line, keeps closer to the original rhythmical and rhyming pattern. It also keeps closer to the original in preserving the highly stylized nature of most direct speeches in the poem. Hauková’s earlier version relies more on imperfect rhyming or assonance and departs more radically from the Spenserian scheme, with a rhyming pattern of ababcdcdc, and a frequent lack of a clear caesura in the last line. It also tends to make the direct speeches less ornate and, even outside direct a dress, resorts less frequently to highly formal, poeticized or archaic lexical choices or syntax. Žantovská’s rendering of Keats’s imagery shows preference for precision and logical consistency while the poetic effects in Hauková’s version depend more often on combining seemingly disparate images and notions.
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In the present paper, the author has carried out a comparative analysis of Boris Pasternak’s rendering of Hamlet, which first appeared in 1940 and was republished time and again between 1941 and 1957, sometimes with major cuts and revisions. Recounting the disturbing history of the most famous Shakespearean translation in the Russian language and re-evaluating previous research on it, the author arrives at a conclusion that Pasternak’s Hamlet, by and large, aims at holding a mirror up to the times of the Stalinist Russia. The translation’s extensive political engagement is documented by juxtaposing Shakespeare’s original with Pasternak’s striking allusions to the times of terror in which he had to live.
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The article analyses student interpreting internships and voluntary interpreting between 1990 and 2018, focusing on Charles University’s Institute of Translation Studies. The introductory portion focuses on the lack of theoretical literature devoted to this topic. The empirical section contains a statistical analysis of the data on the internships held between 1990 and 2018, which was extracted from 2,190 reports written by 618 students, as well as an analysis of students’ comments regarding their internships. The article examines the trends in the field of student interpreting internships, their chronological evolution, and the personal opinions of participating students.
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This article is related to the study of specialized translation, specifically to lexical and phraseological variation in legal translation. In fact, this study arises from the need to delve deeper into the study of Spanish phraseological units using larger corpora, considering the varieties that reflect the convergences and divergences of this language throughout the places where it is spoken. To this end, the paper approaches sentences using a comparative corpus-based approach analysing phraseological units used in Argentine and Spain. The research provides a brief contextualization of the legal systems of the selected countries, and, by using corpus linguistics, the PUs are extracted and compared. The main objective is to detect similarities and differences at the phraseological level in both languages and to provide functional equivalents in German that can be useful for students and translators. The findings show that at the methodological level corpus linguistics is a useful tool for the identification of PUs in specialized texts. Furthermore, the analysis of the examples from the corpus of sentences shows the evidence of lexical variants referring to the same reality both within a single variety of Spanish and between different varieties. This consequently determines the need to further study the PUs of Spanish by using a more extensive corpus, considering the different countries in which Spanish is an official language.
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