Авторские коды Марины Цветаевой в символике Лютни . . .
In the article attention is concentrated on the comprehension of influence of authorial codes on the specific of symbolity of lute on material of the same name poem of M. Tsvetaeva.
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In the article attention is concentrated on the comprehension of influence of authorial codes on the specific of symbolity of lute on material of the same name poem of M. Tsvetaeva.
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The essay expands upon Lesley Saunders‘ poetry, approached via varied cognitive structures/conceptual metaphors and how these enrich readers‘ dimensions of experience. Starting from the assumption that ontological metaphors - the most significant type of George Lakoff ‘ s conceptual metaphors - are grounded by virtue of systematic correlates with our experience, we will then focus on various experiential poems belonging to Lesley Saunders through various cognitive theoretical lenses in order to reveal how they fit and enrich perceptions of the world we live in.
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Satire 3 is one of the most acclaimed and most peculiar poems of Juvenal. Beside a short introduction, the satire consists of the 300-line-long monologue of the interlocutor named Umbricius, who explains why he leaves Rome for Cumae. Compared with other Juvenalian interlocutors, Umbricius is a much more complex figure: his different characteristics can be traced back to different sources and inspirations, which is also true of the whole satire, in which the effects of the epic tradition, the bucolic poetry and Martial are equally significant.
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Lajos Vargyas (1914–2007) studied music and poetry, folk music and folk poetry parallel in their dual entities. As a result of his complex way of looking at things, his major works (the monograph of the village Áj, the genre study of the ballad, and the comprehensive book on Hungarian folk music) all stand for this, in spite of their varying aspects coming from their different topics. Here his third monumental synthesising book is examined as far as the interrelationship of melody and text from multiple points of view is manifest in it, with its various consequences. The method of introducing the different aspects in regard to the correlations is first focusing on some select subdivisions of the entry “melody and text” in the subject index, then following the way of one certain tune along the book.
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This critical edition of correspondence between Josef Kainar (1917–1971) and the Melantrich publishing house in Prague (which existed from 1897 to 1998) presents a small set of 39 archive items, which, except for one, were published before. This correspondence between the young poet and the renowned Czech publishing house was carried on from 1941 to 1946, and reveals efforts to publish his collections of verse entitled Dvůr (Courtyard) and Osudy (Fates) in the well-established Poezie series. These eorts, made during the Occupation and Second World War (1939–45) and in the hectic years immediately afterwards, were unsuccessful. The set is supplemented with a letter from Josef Träger (1904–1971), a former manager of Melantrich, to Josef Kainar from 1958, and the edition includes two of Kainar’s unpublished poems, ‘Masopust’ (Carnival) and ‘Salome’.
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The hero of new style “hospital ballads” is either the patient or a well-known, highly esteemed eye specialist or head surgeon of a regional hospital. In the ballads, he is usually a real historical person mentioned by name. On the basis of these data, it can be claimed that the ballads were composed in the 20s or 30s of the twentieth century. A fragmentary text, lacking real tragedy of ballads and interwoven with lyric elements, was collected in 1961 in Orosháza (Békés County, South-East Hungary). Some variants of the “hospital ballad” collected earlier and several other variants found later as well as similar pieces show that it must have been a well-known, popular folk poetry genre, at least in the eastern part of the Hungarian language area.
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Reminiscences on Matti Kuusi (1914–1998), Finnish folklorist and cultural personality, innovator of Finno–Ugric and comparative paremiology, as well as of Finnish folk epic poetry.
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F. J. Child argued that it is “mainy through women everywhere” that the ballads are preserved and yet to him, as to Percy, Herder, Motherwell or Grundtvig before, women are only the mediators of an older male form of literature (heroic ballads, minstrel song, etc). The essential maternal feminity of orality is part of the German Romantic myth of origin. The ‘Volk’/people had to be (kept) anonymous in order to produce ‘VOLKSballaden’/popular ballads. What has come down to us in writing are very often ballads sung by women, recorded by men and presented as the ‘manly’, powerful, genuine ballads of the people. By arguing for women everywhere being the chief preservers of traditional ballad poetry, F. J. Child paved the way for seeking out these women locally.
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The Lithuanian “baladés” should be held to be narrative lyrics. Because of a strong lyrical trend in Lithuanian folk poetry, very often they seem to be cases between folksongs and folkballads. An attempt to explain the untragic nature of part of Lithuanian ballad-sujets is done in the article. The cause could be not only the lyrical mood of folk singers or the lack of epic as well as dramatic traditions in Lithuanian singing folklore, but on the great part the answer may be found in the medium those foreign sujets got in. In the oldest strata of Lithuanian ballads the role of mythology is of great importance, the archaic conception of death and love. It is the avoidance of rude cruelty in Lithuanian ballads that causes the absence of certain parts; the structure of sujet becomes obscure, and the inner logic of sujet is ruled out. Dramatical manner of performance is present only sometimes, but not always in Lithuanian ballads. The expression of the individual; traditional occasions to perform ballads; some poetical artificies of Lithuanian ballads; suppositional meaning of some ballads motifs; the classification of Lithuanian ballads as well as their origin is also reviewed shortly in the article.
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Der Brauch, daß Kinder ein kleines Buch führen, in dem sie Zeichnungen und kurze Texte von Verwandten, Freunden und Bekannten sammeln, erfreut sich auch gegenwärtig großer Beliebtheit. Im Gegensatz zu anderen kurzlebigen Modeerscheinungen lebt diese Gepflogenheit bei Kindern in einem bestimmten Alter jedes Jahr wie eine Grippenepidemie wieder auf. Außenseiter dürften wenig Verständnis dafür haben, daß Wissenschaftler ein solches kindliches Phänomen ernst nehmen. Das Poesiealbum hat aber respektable Vorfahren, ist es doch aus dem „liber amicorum“ oder Stammbuch entstanden; weiter bieten vor allem die Alben der vorigen Generationen als „document humain“ oft interessante Einblicke in persönliche Erlebnisse (das Poesiealbum ist auch eine Art Ego-Dokument); und schließlich ist es eine wertvolle Quelle der Lebenskultur heutiger Kinder und Jugendlicher.
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W poezji Andrzeja Zawady, autora dwóch tomików wierszy Dziecię nomadów. Wiersze i uwagi (Kłodzko 1998) i Murzynek (Wrocław 2001), motyw Wielunia przewija się wyraźnie. Poeta nie może uwolnić się od wspomnień związanych z miastem dzieciństwa. W obu tych książkach lirycznych znajdują się teksty odwołujące się do wieluńskich początków poety. Są to: Odwiedziny, Krótka podróż w zaświat, Murzynek oraz poemat Zwiedzajcie miasto. Utwór pod tytułem Chwila z Dziecięcia nomadów w drugim tomiku przyjmie nazwę Czereśnie, zaś Piosenka o utracie połowy duszy zmieni się w Piosnkę o utracie połowy duszy. W zbiorku Murzynek do tekstów „wieluńskich” dołącza Taniec z duchami.
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Ziemia wieluńska nie jest krainą poetów, tak jak na przykład Wileńszczyzna czy Mazowsze. Jednak kilku współczesnych poetów tutaj właśnie się urodziło. Poza omawianym w poprzednim numerze „Rocznika Wieluńskiego” Andrzejem Zawadą należy wymienić Zbigniewa Adamskiego, Marię Ewę Aulich, Henryka Pustkowskiego i Henryka Wolniaka. Oprócz Adamskiego, któremu zamierzam poświęcić osobny szkic, wszyscy oni opuścili powiat wieluński, stając się – jak to trafnie określił Zawada – „dziećmi nomadów”. Henryk Wolniak osiedlił się we Wrocławiu, Henryk Pustkowski pozostał po studiach w Łodzi, a Maria Ewa Aulich – w Warszawie. Warto też dodać, że ziemia wieluńska wydała kilkunastu twórców, których wiersze określane są mianem poezji ludowej. Mam tu na myśli między innymi Genowefę Niewczas, Helenę Drosińską, Walentego Jareckiego i Marię Marchewkową. Ich utwory opublikowano w zbiorze Mój wymarzony świat.
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The author of the article discusses communicative-pragmatic and cultural information in the poem “Dauno nezhyvy batska polem idze” by Jan Chykvin. The following problems are analyzed: types of antinomy, style-forming devices, textual structure and meaning, organic link with the Parable of the Sower, Old Ruthenian art and synergic image of the world in Christian anthropology.
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W poezji Andrzeja Zawady, autora dwóch tomików wierszy Dziecię nomadów. Wiersze i uwagi (Kłodzko 1998) i Murzynek (Wrocław 2001), motyw Wielunia przewija się wyraźnie. Poeta nie może uwolnić się od wspomnień związanych z miastem dzieciństwa. W obu tych książkach lirycznych znajdują się teksty odwołujące się do wieluńskich początków poety. Są to: Odwiedziny, Krótka podróż w zaświat, Murzynek oraz poemat Zwiedzajcie miasto. Utwór pod tytułem Chwila z Dziecięcia nomadów w drugim tomiku przyjmie nazwę Czereśnie, zaś Piosenka o utracie połowy duszy zmieni się w Piosnkę o utracie połowy duszy. W zbiorku Murzynek do tekstów „wieluńskich” dołącza Taniec z duchami.
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The article discusses “experimental” poem by Jan Chykvin “Razmova susvietau”. The meaning of the non-traditional approach and its sources appear in the theory of communicative nature of art. The ideational content of the poem is represented by the belief that aesthetic harmony of poetry is a potential to solve ethical problems of human existence.
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The goal of this article is to present the attitude of the seeking subject (homo quaerens) in the most recent contemporary Polish poetry as an answer to what is called by sociologists of religion the privatization of sacrum. By referring to the poetry of Radosław Kobierski and other contemporary poets, I prove that despite desacramental and individualist tendencies there is a strong need in Polish poetry to confront ceremonial and liturgical tradition of Catholicism. This confrontation occurs especially in the dimension of the biggest church holidays. It is with regard to them that homo quaerens establishes his not so obvious position. On the one hand, he is uncertain and doubtful, which reflects significant difficulties in forming relations with sacrum; on the other hand, he is continuously attempting to show a trace of religious faith and hope.
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This article presents colour names used by Maria Pawlikowska-Jasnorzewska in her lyrics to portray the elderly, together with their roles and connotations. The analysis of the lexical material shows that white is the most common colour used to describe senior citizens. It is frequently followed by black and yellow, and occasionally, by the colour names in the semantic Fields of green, red, and blue. There are no instances of the hues of pink, orange or purple.
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The paper intends to show the way in which Z. Herbert presents in his works the paschal mystery of Jesus Christ, by the virtue of which the Christian redemption took place. Is the meaning of „redemption” in Herbert’s poetry to be identified with the one presented in biblical theology? To answer that question the author of the article discusses five poems that speak about the Passion of Christ (Namarginesie procesu, Męczeństwo Naszego Pana malowane przez Anonima z kręgów mistrzów nadreńskich, Hakeldama, Rozmyślania Pana Cogito o odkupieniu, Domysły na temat Barabasza). There the references to the core of Christian faith are very clear. Special attention should be paid, however, to poetical allusions that also show Herbert’s personal approach to the Christian message.
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The review of: Waldemar Woźniak, „Metodyka pracy resocjalizacyjnej – ze szczególnym uwzględnieniem poezjoterapii“, Fundacja Europejskie Centrum Wspierania Inicjatyw Społecznych im. prof. Kazimierza Twardowskiego, Poznań 2012, ss. 123
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In this article, the author focuses on the subject of poetry used in the Word of God. The forms of poetry presented during ancient times, the middle ages and a short correlation to biblical poetry, which is the basis to Christian poetry, are introduced with clear originality. The reader who is familiar with the forms of poetry used in homiletics as well as in lyrical preaching fragments, beginning from Clement of Alexandria and finishing with today’s Polish poet-preachers, will discover that poetry is a perfect tool to transmit homiletic and dogmatic contents. It represents itself as a privileged instrument to express the Word of God. The subject of poetry at the service of the Word of God has as its goal on one side to call attention to today’s preachers to the richness of Church poetry, and on the other side, to make one more sensitive to the beauty of the Word.
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