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Had it not been for Romantic poets, the term auto‑da‑fé, which originated from Portuguese and is invariably connected with the institution of Inquisition, would probably be linked in our culture only with Spain. However, Romantic contexts of this term show various associa tions. Mickiewicz refers to it without exception in a serious and tragic mood, fitting patriotic‑martyrological circumstances that heroise his characters. Słowacki enriches it with irony and auto‑irony that may approach the comic, treating auto‑da‑fé as a metaphor for burning his own or – in the textual world – fictional writings. Similarly, Krasiński makes reference to the hypothetical annihilation of his manuscripts. Finally, Norwid turns to parody and proposes its allegorical interpretation to draw attention to the nineteenth century crisis of readership.
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The purpose of this article is to discuss the comic of Pamiątki Soplicy [The Memoirs of Soplica] by Henryk Rzewuski. The comic effect evoked here is most prominent in the description of particular characters. To create Soplica, the author refers to the comic of a naive person, whose worldview is one‑sided, the comic of the difference between the appearance and the reality and the comic of contrast between temperaments of his protagonists. He also humorously rehabilitates some historically and morally controversial figures, such as Mikołaj Potocki, Karol Radziwiłł and Priest Marek. Rzewuski creates verbal humour through repetition, language mixing and robust comments of the narrator. Situational humour, although limited, is enriched with the context of manners. The article underscores also the comic value of the anecdotes that appear in the text, connected with the war, the law, hunting, and social life, with particular emphasis placed on their role in shaping the characters of magnates (Radziwiłł and Potocki). It also seeks answer to the question of what Rzewuski uses in place of the comic, which in some fragments disappears from the text.
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The article attempts to analyse various forms of repetition and reduplication in Pan Jowialski [Mr. Jovial]. This typical comic device is frequently used by Fredro and in this comedy features particularly often. It takes various forms, including repetition of words, which brings to mind the monomania of the characters, linguistic parodies, characters mirroring other characters, the motive of recreating the extratextual world in a literary world or in a piece of art, and the device mise en abyme, which is evoked in the “play within a play” theme. This dense network of internal reflections contributes to the strongly geometrical composition of the play and, on the level of ideas, to the theoretical reflection on the world as theatre.
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The article attempts to interpret the symbols used in Aleksander Groza’s short story Biała róża Pinettiego [Pinetti’s White Rose] in terms of the role they play in creating the comic and the tragic effect. Special emphasis is placed on the interpretation of the title, which serves as an introduction to the merging of these aesthetic categories. The author also draws attention to meaningful names, such as Pinetti, Amelia and Daria, and analyses the symbol of cat, whose appearance marks a crucial point in Groza’s story. She refers to a text by another Romantic, The Black Cat by Edgar Allan Poe, which complements the interpretation of the short story by the Polish writer.The aim is to present in detail the situations depicted in Biała róża Pinettiego [Pinetti’s WhiteRose], which are treated as comic or tragic, but which appear ambiguous after their elements have been interpreted symbolically. This demonstrates that the comic and the tragic blend together.
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According to Mikhail Bakhtin, in Romanticism the ludic element of the mask blurs. The mask gains a number of new meanings, at the same time losing its associations with rebirth, characteristic of folk culture, and acquiring a new, gloomy expression. This article traces this gloomy and tragic aspect of masquerades as presented in Romanic literature. The analysis is based on three texts: Mikhail Lermontov’s Masquerade, Juliusz Słowacki’s Jan Bielecki and Antoni Malczewski’s Maria. The motif of masquerade, present in all three works, is discussed both from the perspective of the theory of literature and with reference to the cultural contexts of the mask.
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The article concerns the notion of animal magnetism in selected prose of Polish Romanticism. The first part focuses on the reception of mesmerism in the 19th century and the influence of Mesmer’s doctrine on the literature of this epoch. The second part presents an analysis of two short stories: Siła woli [The Will Power] by Józef Bohdan Dziekoński and Lekarz magnetyczny [The Magnetic Doctor] by Józef Dzierzkowski. The way in which mesmerism and its followers are shown by the authors is presented and confronted with the nineteenth century reality. The main aim of the article is to demonstrate the influence of the references to Mesmer’s theory on the tragic quality of the discussed texts.
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In the novel Sędziwój by Józef Bohdan Dziekoński, alchemists are shown as people strongly connected with the night. In accordance with Romantic poetics, the night makes it possible for the human being to reach beyond the limitations of rational thinking, traditionally associated with the day. Alchemists’ way of life, different from the widely adopted one, contributes to their isolation from the society – a situation which they themselves treat as one of the factors indispensable for the development of their skill. In Dziekoński’s view, alchemists are melancholic geniuses, forever alone, consciously sinking in despair and aware of the fact that happiness is one of the greatest obstacles on the way to excellence. The real value of the protagonists’ life consists in the determination and readiness to sacrifice everything to achieve their set goals rather than in any tangible effects of their work. The sacrifice of earthly life is the proof of reaching the height of humanity, which in the novel is symbolically expressed as possessing the secret of the philosopher’s stone.
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The article attempts to analyse Balladyna by Juliusz Słowacki in terms of its intertextual references to popular tales by the Brothers Grimm: Snow White, Hansel and Gretel, and Little Red Riding Hood, and to two Ukrainian folk tales: Daughter and Stepdaughter and How the Emperor Married an Orphan Girl Maryjka. The main aim of this analysis is to discuss the analogies between the genre of tale and that of drama, visible in the structure of particular characters, and to identify the contradictory aesthetic categories which determine the text reception: the comic and the (dominant) tragic. The conclusions are as follows: firstly, Balladyna features a mixture of dramatic and fairy‑tale elements. Secondly, it is a two‑plane text, which can be read as a tale on the one hand, and as an anti‑tale on the other. Thirdly, the dominant aesthetic category here is the tragic. This final conclusion can be related to the question – very important in the Polish culture – whether a Pole has the right to laugh, especially at a time of national bondage, and to the nineteenth century sense of the tragic, which turned this category into a permanent element of the Romantic image of the world.
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This paper affirms that the subject-predicate relationship is characteristic of the verb phrase, and not of the sentence. The subject is a syntactic function that is carried out within the verb phrase not outside it. If the sentence is defined as the sequence which includes the above-mentioned relationship, the concept of sentence would be redundant. However, there are strong differences between the two. The author of this paper argues that the sentence is a paradigmatic unit, as opposed to the verb phrase which is a category of the syntagmatic unit, the phrase. Furthermore, the sentence belongs to the declarative level of the textual part of grammar in contrast to the phrase (including the verb phrase) that belongs to the syntactic part of grammar. The concepts of sentence and phrase are thus both necessary but they do not converge.
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The purpose of this article is to present a few observations on verbal politeness in the culture of Spanish language by paying particular attention to characteristics of the pragmatic category called ‘face’. In this short presentation, the author tries to emphasize the general nature of this category (in principle homogeneous) in the investigated culture as well as its certain shades affecting differences in the linguistic expression of politeness in Spanish speaking countries.
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The present paper has as a goal to present a panoramic view of the linguistic situation of the Peninsula in the Late Middle Ages. Based on written documents we are able to outline the process of evolution and the main characteristics of the five peninsular dialects descended from Latin, i. e.: Galician, Astur-Leonese, Castilian, Aragonese, Catalan. We also intend to roughly evaluate the popular opinion that it is Castilian which overtook in its evolution other medieval dialects of Latin.
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In Pragmatics, censure is considered to be part of a triadic interaction, in which a third participant impedes or tries to impede communication between a sender and a receiver. In the case of self-censorship, one participant in the interaction, because of his understanding of mind theory, predicts what might constitute a threat to the ideology of the censor and try to avoid it. In such a situation, we can distinguish between the self-censorship of the sender of a message and that of the receiver. When the sender self-censures, as is most common, he or she may effect total censure – by avoiding, suppressing, or replacing the message – or may only effect partial censure, whereby he or she is limited to modifying the message to make sure the censor is not offended.
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The aim of this paper is the analysis of the behaviour of honorific formulas with the superlative suffix -ísimo in the Spanish Golden Age (XV–XVII centuries). This period was selected because of the true case of “isimomania” attested in the texts from that periods. This paper will be focused only on two of the most frequent honorific treatments: ilustrissimo, as well as excelentissimo. With the help of a relatively large textual corpus, mainly from electronic database CORDE, the author will try to find the semantic, pragmatic and morphosyntactic reasons that led to its lexicalization in the Spanish language.
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The lists of available lexicon of each language community sort words according to the availability index, which indicates the degree of ease with which a word comes to mind of the members of a community. However, beyond the hierarchy defined by this index, a qualitative analysis of the word lists shows a very varied lexical composition, which causes at the same time, different degrees of availability for each word. In this paper, taking as example the center of interest 02 ‘Clothes’, from the available lexicon of the province of Córdoba (Bellón Fernández, 2011), I analyze the composition of word lists, using three criteria: a) the value of the index of lexical availability, b) the lexicological description of lexical items, and c) the levels of language (styles).
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In the presented paper, the author presents her own experience of working with learners of Spanish in the university. It also presents the advantages of using theatre as an activity to help in the foreign language class. Drama in education is an invaluable contribution to the development of oral communication competence in learners of foreign languages. It facilitates group interaction during the process of learning.
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Public spaces and transport play a very important role in the life of the society. They act as a “self-organising public service,” a shared resource in which experiences and values are created (Mean and Tims 2005). These are places where people are in the presence of other people. The success of a particular public space is not only in the hands of the architect and the urban planner, but it also depends on the people using it. In public spaces and transport, one can read notices which provide their users with instructions how to behave and interact with others, what is acceptable in a particular place and what is not, constituting the so-called traffic rules of social interactions (Goffman 1967). Others are expressions of friendliness, intended to make passers-by and customers feel good. The aim of the study is to analyze this type of inscriptions present in American and Polish urban public spaces and transport. Due to the specificity of the discourse, I decided to employ Critical Discourse Analysis to analyze it.
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