Wokół „Trenów” Jana Kochanowskiego. Szkice historycznoliterackie

Author(s): Teresa Banaś-Korniak / Language(s): Polish

The monograph comprises a series of essays discussing various aspects of the elegiac poetry of Jan Kochanowski, whose most profound literary achievement were undoubtedly the “Laments”, dedicated to his departed thirteen-month-old daughter. Chapter One, “The Issue of Genetics” constitutes a discussion of the early elegiac poetry of Jan of Blackwood, particularly a text written in Polish and dedicated to Jan Tarnowski, a distinguished Polish commander. The author, quoting passages from a 16th-century scholar Julius C. Scaliger, proves that Kochanowski, by directing his poetic message to the son of the late commander, was inspired by the generic characteristics of consolation speech (Consolatio), discussed by Scaliger in his theoretical treatise. The two following subchapters of the first part of the monograph are respectively devoted to metapoetic themes in “Laments” as well as the issue of genology of the series of poems dedicated to Orszulka Kochanowska. The metapoetic themes which exemplify the poet’s creative awareness and his aspiration to compete with the ancient tradition (aemulatio) are present primarily in the “seminal” texts and include: the title, which references the ancient Greek literary tradition of laments; the dedication; the epigraph; the epitaph for his other departed daughter, Hanna, added to the cycle; as well as the opening poems in the cycle, especially “Lament I” and “Lament II”.The author, on the basis of the conducted analysis, postulates that the poet of Blackwood accepted the ancient rule of decorum but understood it in a different, innovative way, thus setting himself apart from his contemporaries as he suggested that each person had the right to individual opinions and values. The content of the dedication which precedes the “Laments” testified to the subjective relationship of the mourner to the close relative. Thus the little girl—the subject of “Laments”—is presented not from the perspective of social or general human judgments, but rather she is presented through the lens of the values characteristic of a given person. For the poet, that departed child was a prominent figure, worthy of the lofty style, as a poem about the suffering and moral quandaries of the humanist thinker practically demands that sort of style. Thus, both the “seminal” (delimitative) texts which accompany the “Laments” and intratextual utterances which are metapoetic in nature testify to the fact that Kochanowski, even though he accepted and applied poetic norms as dictated by tradition as well as the rules of poetics of that time, still insisted on searching for new poetic solutions and new interpretations of normative rules originating in the ancient times.The last subchapter on “the issue of genetics” concerns the genological characteristic of the “Laments”. Analysing various formal elements of the poem (the type of the lyrical I, the addressees, the character of the world of the poem, composition, versification, the perspective on the subject, and others), the author concludes that the text was influenced by various literary forms, e.g. philosophical poem, classical epicedium, ancient tragedy, psalm, ancient Greek lament. “Laments” are characterised by a peculiar syncretic form, and the thesis that one of the genological forms is superior to others constitutes only one avenue of interpretation.The aim of Chapter Two, “The Expression of Silence in the “Laments”,” is to discuss the function of one of the tools which Kochanowski draws from the literary tradition. The expression of silence constitutes a literary means of expression which was used successfully by ancient tragedians such as Aeschylus and later on was adapted for the purposes of the planctus in the Middle Ages, and both their influences can be seen in the “Laments”. Moreover, Kochanowski skilfully and tastefully adapted this poetic tool to let it reflect new meanings and allow for the posing of existential questions.Chapter Three, entitled “ ‘Understanding through suffering…’ In Search of the Tragic Formula in the “Laments”,” focuses on the issue of suffering and tragedy in the poem dedicated to Orszulka. The author attempts to reveal the conflicting mechanism of the poetic world of the “Laments”. This conflict is exemplified by the struggle, the act of choosing and the deeds of man—and it is precisely that which constitutes the essence of tragedy. These contradictions are noticeable even in the very construct of being, which the lyrical I of the “Laments” comes to recognise, in the chaos of various phenomena and the multiplicity of meanings of particular words and symbols emphasised in the work. These antinomies are present also in the human subject—the lyrical I, who struggles with himself as well as the ever-present, insidious evil. Thus, the mind of the subject shaped by the Renaissance principle of humanism, which emphasises the importance of order and harmony, experiences an internal battle between opposing forces. The shocking experiences and reflections of the lyrical I—the father—allow for the emergence of the will to overcome the tragedy, but at the same time they contribute to a certain intellectual scepticism on the part of the subject (see: the word “uncertain” at the beginning of the last verse of “Lament XIX”).In Chapter Four, “Towards Allegoresis. Allusions to Greek and Roman Mythology and Mythological Figures in the “Laments”,” the author discusses the allegorical dimension of Kochanowski’s references to mythological figures. The truth concerning reality, which exists on the allegorical level of the myth, i.e. the truth about the connection between the human life and the cycle of nature and the connection with earth, the truth about the inexorable passage of time and the inevitability of death regardless of age or experience—this truth remains unacceptable for the lyrical I. The confrontation of human, subjective logic with the logic of nature reveals the lack of acceptance on the part of the subject and certain rejection of the objective laws of the universe (“wretched Persephone”), which appears as mysterious, uncertain and impossible to understand completely by the human mind. The only thing which remains unsusceptible to death seems to be love (Orpheus), but love neither soothes nor eradicates suffering.The last chapter, entitled “Stone as a Motif and as a Symbol in Kochanowski’s Works,” is devoted to the analysis of the motif of the stone in Jan Kochanowski’s poetry. In the chapter, the author ventures beyond the elegiac texts and analyses not only the “Laments”, but also “Psalms”, “Songs”, “Epigrams”, “Forricoenia” (written in Latin) and other—less well-known—works. Comparing Kochanowski’s paraphrase of the psalms with other 16th-century translations of “David’s Psalter” testifies not only to Kochanowski’s excellent craftsmanship but also makes evident the peculiar and omnipresent symbolism of the motif of the stone in his poetry. The motif of an uncut stone as an element of nature or, in a broader sense, an element of creation, appears usually in his works which allude to the Judeo-Christian tradition. In “Psalms”, it reflects the power of God, and, as an element which supports the enormous weight of a symbolic edifice, it symbolises Jesus Christ. Moreover, the motif of the rock (pillar of strength, mountain) appears in “Psalms” far more often than in his other works. The rock, thus, comes to symbolise the holy place, the glory of God, safety and support which God grants righteous and pious men. On the other hand, the motif of a carved stone, one which has been adapted for everyday use, is present predominantly in poems which allude to the Greek and Roman ancient order. These poems are primarily metapoetic or meditative in character, but there are several elegiac or love poems among them as well. Similarly to the psalms, the symbolic nature of the stone seems to be vast, encompassing a variety of meanings. The stone can symbolise both values highly regarded by the human subject, and, on the other hand, the negative aspects of reality, including the evil present in the world.In “Conclusions,” the author emphasises that the rejection of schematic thinking expressed in the poems, as well as their apology of individual choices made by a subject, the preference for not only a particularly understood “virtue” but also subjective systems of values appear to have been so far mostly ignored by the literature on the subject. The author’s individualism is manifested not only in his search for new artistic solutions and his innovative attitude towards the literary legacy of antiquity (aemulatio). Quite the opposite, the content of his works also betrays a deep conviction concerning the necessity of respecting all human lives. Looking back at Kochanowski’s works from the perspective of the 21st century, when the threat of schematic thinking—for various reasons, including perhaps the influence of contemporary media—has finally become real, we can appreciate not only the artistry, but also the lyrical and meditative attitude, built on extremely strong foundations (Bible and the Greek and Roman antiquity), which remain omnipresent in the works of Jan of Blackwood—a poet, a sage, and a humanist.

L’hybridité du roman français à la première personne (1789–1820)

Author(s): Andrzej Rabsztyn / Language(s): French

The present study proposes a systematic diachronic analysis of the French novel, with the focus on the relations between diverse narrative forms present in it (such as a letter, a diary, and an intimate journal). The main goal of this work is to investigate the hybridity – i.e., the blurring and transcending of the limits of narrative genres – of the novel form, which emerged in consequence of the profound transformation the novel underwent in the 18th century. Notably, this study discusses hybridity in the context of the first person narration which is distinguished by its sentimental, erotic, ironic, and socio-moral character. The phenomenon is particularly apparent in the French narrative prose at the turn of the 18th and 19th centuries, the period of historical and political turbulence. It is then that the French first-person novel takes its hybrid form, which leads to its fragmentariness. As the genre which addresses the reader in the most direct manner, it also aims to make the reader realize that s/hecan become the center of, and the witness to, the most significant historical events, as well as the subject of self-reflection and auto-analysis characteristic for the literary works of the First Romanticism. Furthermore, the present study attempts to systematize and popularize the research on the French and European first-person novel at the turn of the centuries. The methodological basis for this analysis is the aesthetic literary criticism focused on the novel genre. The detailed examination of the first-person novel requires a chronological presentation of the changes the genre underwent in the 18th and 19th centuries on the level of paratext, as well as the accentuation of the relations between various narrative forms (as the reflection of their common use in the given period) in the light of mimetic formalism. In accordance with the concept of genre syncretism, this analysis investigates a number of genres and literary forms (letters, diaries, journals) in one literary work, which can appearin turns, overlap, and permeate one another. The borderlines between these genres and forms are often blurred. In the rich tradition of the French and European novel (e.g. in the works of Lawrence Sterne) one can see the characteristics of hybridity which consists in absorbing allsocial forms of communication. In the novel of the second half of the 18th century, one can see the changes that prognosticate new aesthetic aspirations of Romanticism.The present monograph extends the research on the French first-person novel at the turn of the 18th and 19th centuries which is still referred to as “no man’s land” due to its unexplored, difficult to define, and heterogenous character. In fact, the bibliography of the novel genre in France (A. Martin, V. G. Mylne, R. Frautschi) ends in the year 1800. The global approach to the first-person novel is reflected in research on various types of the novel, such as the epistolary novel, the journal, or the intimate diary. The literary material which is discussed in this work is the result of the social practices in the field of paraliterature (exchange of letters,diary and journal writing), which enriches the project with valuable information on the society and culture of France and Europe. The monograph is then inscribed within the historical, theoretical, and socio-literary research devoted in particular to the 19th century novel, as the hybridity of the French first-person novel between 1789 and 1820 is more than a mere continuation of the tendency from before 1780. The blurring of borderlines between the genres, and the merging of different narrative forms, is, in fact, an indication of new aesthetic aspirations which evolved in Romanticism. The analysis of the hybrid character of the first-person novel is a key to the understanding of the transformations French and European novel underwent after 1820.

Od surrealizmu do poezji symbolu. Tendencje artystyczne w twórczości poetyckiej Janusza Stycznia

Author(s): Aleksandra Zasępa / Language(s): Polish

The present work is devoted to the lyrical artistic activity of Janusz Styczeń, one of the most interesting contemporary poets, whose artistic path (delineated already in the mid 1960s) gradually led from linguistic experiments characteristic for the accomplishments of Tymoteusz Karpowicz, through the poetics of liberated imagination inspired by surrealistic imagery, and finally up to increasing symbolic tendencies, which stemmed from the poet’s sensitivity based on his fascination with the symbol. In this, to some extent, self-contradictory collation of superrealistic imagery (subjected to the freedom of associations, absurdity, dark, oniric images with a whole repertoire of oddities) and symbolic imagination is rooted not only in a specific, individual quality of his lyric poetry, which makes the author of Wieczna noc miłosna simply a poet „detached”, but also its astonishing cohesion. The present book is an attempt at the interpretational conceptualization of Styczeń’s poetry in terms of surrealistic and symbolic connections, whose roots can be foundboth in the conceptions or works of superrealists, as well as in the sphere of the timeless, superindividual ideas. The respective parts of the book encode the links of the artist’s individual imagination with the symbolic meanings and superrealistic images (literary, artistic), pointing out to the artistic tendencies that are the most important for the poetry of Styczeń, and at the same time unfolding the multiplicity of plots and interpretational perspectives. The avant-garde tendencies, which in the light of tenuous superrealistic tropes in Polish literature can be called a returning echo ofsurrealism, have been described by the author in various chapters of the present book. Chapter 1 has been devoted to onirism and imagination, which in the poetry of the author of Rozkosz gotycka are characterized by surrealistic provenance, which is evidenced most of all in the typical for superrealistic tendencies circle of the most representative plots, elements, and associations. In the case of this particular lyrical poetry, their indication becomes confronted with a dream (as the basis source of superrealistic fantasy) which at the same time becomes a point of departure for the typology of motifs related to surrealism discussed in this chapter.An extremely individual creative method of Styczeń is manifested, among others, in the unusual world he portrays, which is a compilation of objects, phenomena, processes, events, and ideas. This world creates for Styczeń’s poems the aura of strange words, obsessively recurring symbols, which aspire to the name of extremely individual symbols, to a large extent borrowed from the modernistic „props room”. The most characteristic key-symbols for this poetry are inspected in the next chapter of the present book. The attempt at reviewing the figures of speech has been broadened with their interpretation, both in terms of their connections and relations to literary-study ideas, as well as in terms of the most important tenets of psychoanalysis and psychocriticism, which treats the symbolic system as a pictorial, enigmatic, and metaphoric portrait of mental reality. Also characteristic in Styczeń’s surreal-symbolic poetic creativity is his turn towards artistic visions and the presence of numerous analogies to iconographic depictions. The juxtaposition of the poetry of the author of Boski paragraf with visual art is contained in the chapter entitled W kręgu malarskiej metafory (Within pictorial metaphor). Here, the intersemiotic space of pictures and words becomes for the author of the present study first of all the point of departure that enables to refer the poetic structure to a specific iconography. The poetry of Janusz Styczeń is considered by many critics as the only conscious continuation of surrealistic program in general, and his poetic tactics – according to some literary researchers – reveals the poet’s wish to make up for the missing link of the Polish superrealistic poetry. The problem of Styczeń’s poetry put against the context of literary fates of Polish surrealistic imagery has been undertaken in the final chapter of the present book, which is a compilation of various research attitudes and the most important interpretational suggestions related to the creative method adopted by the poet. The present book constitutes an attempt at inspecting the poetry of this contemporary poet (situated still somewhere at the periphery of literature) in terms of cognitive paths as well as artistic tendencies employed, which drive, inspire, and determine this captivating lyrical poetry. At the same time, the study proves that over the years that witnessed the publication of subsequent texts and volumes, the poems of Janusz Styczeń have still remained aesthetically consistent, submerged in the oniric world of a dream, full of philosophical and cultural references, stretched out somewhere between visionary metaphorics of superrealism and an symbolic space as an alternative to the world.

Фигура гуслара

Author(s): Smiljana Đorđević Belić / Language(s): Serbian

Arystoteles na nowo odczytany

Author(s): Elżbieta Jung / Language(s): Polish

Prezentowana książka jest efektem wieloletnich badań dotyczących wyjątkowego okresu w historii nauki średniowiecznej, mianowicie początków fizyki matematycznej. Składaj się na nią dwie części: monografia, w której autorka odpowiada na pytanie, czy czternastowieczna fizyka matematyczna, inspirowana nominalistyczną. filozofią Wilhelma Ockhama, doprowadziła do zerwania z jakościową fizyką Arystotelesa już w wieku czternastym, oraz tłumaczenie Kwestii o ruchu Ryszarda Kilvingtona – jednego z twórców szkoły Oksfordzkich Kalkulatorów. W swoich kwestiach Kilvington podejmuje analizę zagadnienia zmian, rozumianych, zgodnie z definicją. Arystotelesa, jako ruch przestrzenny, zmiany jakościowe oraz ilościowe w ujęciu nominalistycznym, czyniąc matematykę właściwym językiem opisu przyrody. Jakiego rodzaju są te „obliczenia” i jakie dzięki nim osiągamy rezultaty, Czytelnik dowie się z lektury obydwu części tej książki.

Au carrefour des esthétiques. Rachilde et son écriture romanesque 1880-1913

Author(s): Anita Staroń / Language(s): French

Rachilde, qui a toujours aimé les poses et les effets théâtraux, a le don de se dérober à des affirmations catégoriques lorsque l’on en vient à l’analyse de son œuvre. Elle présente à ses lecteurs des visages multiples et contradictoires. Aussi n’est-il pas étonnant que les chercheurs arrivent, dans leurs analyses, à des conclusions très variées. En fonction de la perspective choisie, ils peuvent, en effet, découvrir une facette parmi plusieurs de cette personnalité miroitante. Cependant, l’œuvre de Rachilde est le plus souvent perçue comme représentative de la Décadence ; la présente étude entreprend de la montrer également tributaire d’autres esthétiques. Après des débuts décadents, la romancière trouva sa place au sein du mouvement symboliste, avant de s’intéresser au concept du roman d’aventure.

Ethos rycerski w kulturze. Tradycje i kontynuacje. T. II: Ethos sarmacki i jego tradycje

Author(s): / Language(s): Polish

The second volume of this multiauthored monograph concerning the chivalric code aims to draw attention of those interested in the culture of Sarmatism and its traditions. The contributors include prominent literary and cultural scholars working on the Polish Republic of Nobles [szlachta]. Polish nobles were fascinated with the values originating in the ancient Rome and considered themselves as their rightful heirs. Even though the heroic acts among the Polish army in the 16th and 17th centuries were noted, the everyday life of the militaries back then was often detached from the high ideals derived from the chivalric code. Most of the contributions are concerned with the vernacular culture, literature, and writings in the 16th and 17th centuries; still, this work also consists of the chapters devoted to the traditions of Sarmatism recurring throughout the epochs much closer to our contemporary position.

Antologia literacka. Przemiany, ekspansja i perspektywy gatunku. Seria pierwsza

Author(s): / Language(s): Polish

“Our age is the age of anthologies” – Władysław Tatarkiewicz’s thesis, articulated as early as at the turn of the 1980s, continues to be relevant. The anthology seems to be one of the forms of a unit of silva of paramount importance for modern culture – which is indeed condemned to a sort of selection of writing which floods the bookshelves of bookstores. In the volume which we present to the reader we examine above all the modern literary anthologies (of the 20th and the 21st centuries), although we do not fail to take into account the historical context which enables us to perceive and to understand the changes which take place. The articles collected in the book present the form in question in terms of its theoretical, historical-literary and legal aspects; they take into account the extremely important environment-related situation – the social and the geographical situation of the anthology, its association with a certain symbolic community in the country and in emigration; they also present two factors which determine the form of the selection – the subject and the figure of the anthologist. The poetics of anthologistic forms is also considered in a broader context: as a phenomenon which is directly associated with the culture of quotation, as one of the more interesting and heretofore unexplored manifestations of intertextuality.

Od oświecenia ku romantyzmowi i dalej… Autorzy – dzieła – czytelnicy. Cz. 6

Author(s): / Language(s): Polish

The next, already the sixth volume of works published under the title Od Oświecenia ku romantyzmowi i dalej. Autorzy – dzieła – czytelnicy (From the Enlightenment to Romanticism and Beyond. Authors – Works – Readers) is – like the previous volumes – directed at the Readers who have a deeper interest in the Polish literature of the 18th and 19th centuries, especially in the issues of the Enlightenment and romanticism, inspirations of authors and reception of their works in later periods. Thus, we dedicate it to researchers, doctoral students, and students of not just strictly philological degree courses. The authors and works analyzed in the following volume include first of all (in historical order) Jan Potocki, Antoni Malczewski, Adam Mickiewicz, Juliusz Słowacki, Calderón de la Barca, the Warsaw Bohemia, Jan Tysiewicz, and the motif of fado (Danilewicz-Zielińska, Stasiuk...).

Dziedzictwo (nie)pamięci. Holocaustowe doświadczenia pisarek drugiego pokolenia

Author(s): Natalia Żórawska / Language(s): Polish

The aim of this monograph is to depict the Holocaust motif in women’s autobiographical prose after 2000. As the author of the book shows, for the last few years more and more female writers of the Second Generation after the Holocaust have been writing down their traumatic experiences caused by their – socially stigmatised – Jewish descent. In the first chapter, the author describes in general the notion of women’s Holocaust prose; she stresses that the Shoah is a culturally tabooed issue and, similarly to the prose written by women, is often ignored or negatively valorised. In the subsequent chapters, the author provides the examples of autobiographical books by Ewa Kuryluk, Agata Tuszyńska, Roma Ligocka, and Magdalena Tulli, which testify to the strengthened position of women’s autobiographical prose within the literature of the Shoah. While interpreting literary pieces, the author focuses primarily on the aspects of memory, forgetting, and postmemory, which are the foundations for Tulli’s short stories, Tuszyńska’s saga, and Ligocka’s novels. The reflections presented are grounded upon the motif of trauma of the first generation – represented by the writers’ mothers – and that of wounds of the second generation, which is the generation that has inherited the past tragedies from its relatives. The aim of this work is to show the relations between that which is bygone, and the present and future, as well as to make one sensitive to the individual experience of the writers in reference to the whole Jewish community. The chosen research perspective makes it possible to compare the analysed pieces along with emphasising their similarities and differences, and to stress that which is particularly popular in Holocaust narrations. „Legacy of (non-)Memory. Holocaust Experiences of the Second Generation Women Writers” is a voice in a discussion on the Shoah and adds to constantly extending reflections on trauma studies in Poland. A detailed analysis of the abovementioned pieces of women’s prose is supported with historical, sociological, and psychological contexts, but also fragments of interviews, providing a sui generis commentary on the discussed issues. The monograph is an attempt at outlining women’s Holocaust prose in reference to Polish-Jewish literature and at drawing attention to the characteristics of this issue.

Staropolskie teksty i konteksty. Tom 8: Tom jubileuszowy, poświęcony pracy twórczej i organizacyjnej Profesora Jana Malickiego w siedemdziesiątą rocznicę Jego urodzin

Author(s): / Language(s): Czech,Polish

The publication is another (eighth) volume in the series “Old Polish texts and contexts”, intended for people who are interested in Old Polish writings and the variety of their contexts. This is an anniversary volume, developed to mark the occasion of Professor Jan Malicki’s 70th birthday. The scholarly articles which are a part of this publication were written by the collaborators and the students of the Professor.

Czytanie między językami. Szkice komparatystyczne z literatury polskiej i hiszpańskojęzycznej / Leer entre lenguas. Acercamiento comparativo entre la literatura hispánica y la polaca

Author(s): / Language(s): Polish,Spanish

The monograph aims to investigate the intertextual relations between Polish and Spanish written literature. The authors analyze the following issues: links between art and everyday life in Wislawa Szymborska’s and Carlos Bousoño’s poetry; the quest for harmony in the work of both Zbigniew Herbert and Antonio Colinas; characteristics of the literary essay written by Zbigniew Herbert, Octavio Paz and Rafael Argullol; the literary pictures of the political transformation in Poland and Spain (Cercas, Pilch, Karpowicz); the problem of grammatical gender in Polish-Spanish translation on the basis of Michal Witkowski’s novel; Witold Gombrowicz’s presence in Argentinian and Latin American contemporary literature, in particular, in its autofictional aspects and, finally, literary innovations in Alejandro Zambra’s literary work. // Czytać to porównywać, ponieważ każdy akt poznania odwołuje się do zjawisk znanych z poprzednich doświadczeń. Porównując, nie tylko poszerzamy pola tego, co znane, lecz przede wszystkim stawiamy w nowym świetle kategorie już przyswojone, podając je w wątpliwość dzięki odświeżającym kontekstom inności. To wstępne założenie przyświeca prezentowanym szkicom, których celem jest przyjrzenie się wielości związków między literaturami języka hiszpańskiego (zarówno hiszpańską, jak i hispanoamerykańską) a literaturą polską. W tak rozumianym akcie porównania rachunek zysków i strat jest zawsze dostatni: teksty tracą wprawdzie najbliższy i najbardziej oczywisty kontekst (w którym skądinąd funkcjonują w jakimś sensie wygodnie, a w każdym razie naturalnie), ale zyskują nową przestrzeń lektury i nowe możliwości oddziaływania. // Leer es comparar, porque cada acto de percepción remite a objetos ya incorporados a nuestro conocimiento desde experiencias previas. Así, el acto de comparar significa no solo ensanchar el ámbito de lo conocido sino también, y tal sobre todo, arrojar luz sobre lo conocido, poniéndolo en entredicho revalorizando sus fundamentos.Desde presupuesto básico, los autores del presente libro pretenden acercarse a la multitud de relaciones que se cruzan entre la literatura hispánica y la polaca. En esta lógica de “comparación universal”, el balance de ganancias y pérdidas es siempre positivo: si bien los textos pierden su contexto de recepción más cercano y evidente -donde funcionan de manera acomodada o natural- ganan, en cambio, un espacio de lectura nuevo y posibilidades de resonar más poderosamente.

Ритмични структури в старобългарски глаголически паметници (= Кирило-Методиевски студии. Кн. 11)

Author(s): Krassimira Kostova / Language(s): Bulgarian

The study is dedicated to the rhythmic structures in the Old Bulgarian glagolitic manuscripts Psalterium Sinaiticum, Codex Marianus and Codex Assemanius. The results are given in three classifications of the isocolic patterns in the Old Bulgarian translation of Psalter and Gospel. The rhythmic models are devided into three groups: simple columns (one-, two-, three-, four-, five-, six-, seven-, eight-, nine-, ten- accented columns), recurrent series and series in frame. Isocolic parallels between the Greek texts and the Old Bulgarian translations are drawn. A conclusion is made that the brothers SS Cyril and Methodius had known the isocolic structures in the Byzantine literature and had preserved them in their translations from Greek into Old Bulgarian language and that the Old Bulgarian and Middle Bulgarian men of letters had adopted in their works the rhythmic structures of the Byzantine rhetorics and poetics.

Liryka ks. Jana Twardowskiego. Spotkanie ze św. Teresą z Lisieux

Author(s): Alicja Mazan-Mazurkiewicz / Language(s): English,Polish

The dissertation therefore seeks to read the whole poetic work of Jan Twardowski in the context of Theresian inspiration

DIABLI Z CZUBAMI. Niemcy oczami polskich chłopów w XIX i na początku XX wieku

Author(s): Elżbieta Wilczyńska,Elżbieta Wilczyńska / Language(s): Polish

Autorka oferuje nam dostęp do świata wyobrażeń, pieczołowicie odtwarzając ślady wielosetletniej tradycji radzenia sobie z odmiennością sąsiadów. Wartość książki polega z jednej strony na zapoznaniu czytelnika ze źródłami, których nie znają nawet zawodowi historycy, od kalendarzy i twórczości ludowej po przysłowia. (…)Drugi walor książki to stworzenie bazy porównawczej, przygotowanej w trakcie badania codzienności stosunków w Polsce zachodniej i centralnej, a przydatnej także w badaniach innych regionów: Prus Wschodnich i Pomorza Gdańskiego, Śląska Górnego, Opolskiego i Cieszyńskiego, obu Galicji i Wołynia, wreszcie powstałej w latach 1918–1919 Łotwy (...).Wilczyńska wydobywa ze źródeł to, czego w raportach urzędowych i opiniach inteligentów na ogół brakuje: codzienność, przetrawioną tak, by jakoś pasowała do polskich chłopów obrazu własnego. Świetna lektura nie tylko dla historyków. Z przedmowy prof. dr. hab. Włodzimierza BorodziejaKsiążka nagrodzona w X edycji konkursu Fundacji na rzecz Rozwoju Polskiego Rolnictwa „Polska wieś – dziedzictwo i przyszłość” w kategorii prace naukowe, popularnonaukowe i inne nienależące do tych dwóch kategorii, ale prezentujące szczególnie inspirujące i innowacyjne spojrzenie na problematykę rozwoju wsi.Elwira Wilczyńska – absolwentka Uniwersytetu Mikołaja Kopernika w Toruniu, magister filologii polskiej (licencjat z etnologii), doktor nauk humanistycznych w zakresie historii. Jej zainteresowania badawcze skupiają się na polskiej kulturze ludowej, w szczególności na tradycyjnym folklorze ustnym i jego antropologicznej interpretacji. W tym obszarze zajmuje się głównie zagadnieniami związanymi z wykorzystywaniem tekstów folkloru w badaniach historii kultury i mentalności. Publikowała m.in. w Literaturze Ludowej i Roczniku Antropologii Historii.

Krzysztof Mętrak

Author(s): Barbara Giza,Piotr Zwierzchowski / Language(s): Polish

tom 3 serii Polscy Krytycy FilmowiKrzysztof Mętrak był cudownym dzieckiem swojej epoki. Najmłodszy członek Stowarzyszenia Pisarzy Polskich, którym został w wieku zaledwie 21 lat, nie tylko pisał wiele, lecz także na wiele tematów. Był bardzo wrażliwym, może nawet nadwrażliwym, obserwatorem rzeczywistości społecznej, politycznej i kulturalnej swoich czasów. Spojrzenie na Mętraka jako krytyka, który stworzył własną definicję tej profesji i konsekwentnie działał w jej ramach, jako erudytę, poetę, miłośnika sportu i kultury popularnej, uczestnika oraz aktywnego członka warszawskiej elity intelektualnej okresu PRL i wczesnych lat dziewięćdziesiątych, daje portret skomplikowany, wymykający się niejednoznacznym ocenom, ale z pewnością uświadamia znaczenie tej twórczości w kształtowaniu krytyki filmowej jako domeny intelektu najwyższej próby. Kolejne tomy serii dotyczyć będą innych ważnych dla polskiej krytyki filmowej postaci, m. in. Marii Kornatowskiej, Jerzego Płażewskiego, Bolesława Michałka, Krzysztofa Teodora Toeplitza, Zygmunta Kałużyńskiego. Zamiarem redaktorów jest naszkicowanie obrazu krytyki oraz zrekonstruowanie roli, jaką niegdyś odgrywała. Być może okaże się to pomocne dla podjęcia dyskusji o specyfice, funkcji, a nawet zasadności istnienia krytyki filmowej w dzisiejszej rzeczywistości.Barbara Giza i Piotr ZwierzchowskiW tomie publikują: Mariusz Czubaj, Barbara Giza, Karol Jachymek, Monika Jacygrad, Rafał Koschany, Marcin Maron, Robert Mielhorski, Adam Wyżyński, Janusz Zaorski, Piotr Zwierzchowski.

Maria Kornatowska

Author(s): Barbara Giza,Piotr Zwierzchowski / Language(s): Polish

tom 4 serii Polscy Krytycy FilmowiMaria Kornatowska doskonale czuła ducha czasu, wychwytywała zmiany społeczne i obyczajowe, świetnie orientowała się we współczesnym życiu artystycznym, ale przede wszystkim wierzyła w kino, w jego magię i sztukę obrazu. Szukała w nim niejednoznaczności, nieoczywistości, tego, co ukryte. O niektórych filmach opowiadała, odsłaniała ich znaczenia, wychwytywała konteksty, tworzyła ich sensy, te najważniejsze (jak Federica Felliniego i Wojciecha Jerzego Hasa, jej dwóch wielkich filmowych miłości) były dla niej towarzyszami podróży w wędrówce przez kulturę, obraz i tajemnicę. Skupiamy się zaledwie na kilku tematach, motywach przewodnich jej twórczości, które jednak pozwalają pokazać wnikliwość interpretacyjną, zanurzenie w kulturze, kunszt pisarski, nie tylko krytycznofilmową osobowość. Maria Kornatowska oferowała czytelnikowi styl i nieoczywistość spojrzenia. Bezbłędnie odczytywała światy kulturowych znaczeń, także je tworzyła. Miała wszystkie te cechy, które sprawiają, że krytyk staje się autorem, kimś, kto kreuje świat tak samo jak artysta.Kolejne tomy serii dotyczyć będą innych ważnych dla polskiej krytyki filmowej postaci, m.in. Jerzego Płażewskiego, Bolesława Michałka, Krzysztofa Teodora Toeplitza, Zygmunta Kałużyńskiego. Zamiarem redaktorów jest naszkicowanie obrazu krytyki oraz zrekonstruowanie roli, jaką niegdyś odgrywała. Być może okaże się to pomocne dla podjęcia dyskusji o specyfice, funkcji, a nawet zasadności istnienia krytyki filmowej w dzisiejszej rzeczywistości.W tomie publikują:Barbara Giza, Alicja Helman, Annette Insdorf, Karol Jachymek, Małgorzata Jakubowska, Katarzyna Mąka‑Malatyńska, Anna Osmólska‑Mętrak, Agnieszka Polanowska, Małgorzata Radkiewicz, Grażyna Stachówna, Monika Talarczyk, Piotr Zwierzchowski.

Солунският октоих в контекста на южнославянските октоиси до XIV век (= Кирило-Методиевски студии. Кн. 16)

Author(s): Maria Yovcheva / Language(s): Greek, Ancient (to 1453),Bulgarian,Old Bulgarian

The book contents is of three major parts: a study, a supplement and a phototype publication of the manuscript's text. The work is based on the Thessaloniki Oktoechos (further on Thess), a Bulgarian manuscript kept as two separate codices NoNo 556 and 922 at the St.St. Cyril and Methodius National Library in Sofia. The study includes an Introduction and three chapters. The Introduction outlines the position of the Oktoechos in the system of hymnographic books. The previous studies on the Oktoechos in the Byzantine and Slavic written tradition have been reviewed. The problems that had not found solution yet motivated the major aim of the research presented, the choice of its objectives and particular tasks which goal at: 1) dating and localization of Thess by subjecting to a complex investigation the composition of the offices comprised as well as the paleographic, codicologic and linguistic characteristics; 2) the usage of this codex as a starting point for the elucidation of some crucial questions about the development of the Medieval Slavic Oktoechos tradition. The first chapter Codicologic and Paleographic Description of the Thessaloniki Oktoechos presents the analysis of the data about the entire appearance of the manuscript. The data are interpreted viewing the questions of its creation in two main aspects: 1) Particularizing the time and place of Thess's origin via a comparison to Middle Bulgarian manuscripts; 2) Comparison of the codicologic and paleographic features of the manuscript to those of oktoechoi belonging to the version existing up to the 14th century and having composition with archaic characteristics. The comparison intends to establish how the manuscript under study succeeds the archaic codices and how it is related to oktoechoi of identical structure and repertoire. The first section Codicologic Description deals with the following attributes: format of the codex, way of stitching the folia, numbering, survey on the composition and reconstruction of its inventory according to the preserved parts, characteristics of the parchment and ink, binding of the quires, folia line-ruling, graphic structure of the text. The second section Paleographic Characteristics presents the study on the general characteristics of the script, the parameters of the letters and the grapheme field. The attention is drawn to those letters whose shape provides information about the chronology and localization of the manuscript. The supra line signs are treated with regard to their signal function at oral performances of the text. Three cases of ϑ - notation in the Sunday office hymns have been described. The third section of the chapter studies the chief components of the manuscript's illumination: Headpieces, Titles, Initials and Marginal marks. Their having a character more conservative than that of the letters in the main textual column has always been taken into account. The summarizing statement of this part is that Thess belongs to the official Cyrillic written tradition. Meanwhile the study reveals the archaic characteristics and innovations coexisting in the graphic design of the text. These conclusions allow dating the codex from the second half of the 13th century and its attributing to an East Bulgarian scriptorium. The second chapter Orthographic Characteristics and Language specifics of the Thessaloniki Oktoechos puts the emphasis upon solving the set tasks by exploration of the manuscript's orthography and phonetics. The distribution of letters that matter most for Middle Bulgarian codices: the nasals, jers, also ѣ, а/ꙗ, е and ѥ, ѹ/ꙋ and ю have been thoroughly revealed. Their ununiformity detects several layers in the text of the oktoechos investigated. The language specifics have not been given in the same full details being not that significant for the purposes of the study. The analyses and comparisons made indicate the close relation of Thess to the East Bulgarian manuscript tradition dating from the second half of the 13th century. The preserved more archaic layers of this codex allow the assumption that it was created in a provincial monastic center that had been under the influence of orthographic and phonetic specifics typical of the manuscripts of West Bulgarian origin. The third chapter Contents and Structure of the Offices in the Thessaloniki Oktoechos is the focus of the study. The offices comprised in Thess have been regarded within the frames of a systematized and analyzed material collected from 41 handwritten oktoechoi dating from the 12th throughout the 16th century as well as from four printed editions from the 15th to 17th centuries. The peculiarities in the composition of the offices give chronology and localization clues for the manuscript studied. Parallel with the efforts to solve the problems mentioned above goes the discussion on the history of Oktoechos in the Medieval Slavic written tradition. The stress is put upon the period prior to the occurrence of a new version in the 14th century. Three separate sections are devoted to the Sunday, the Weekdays' and Saturday offices. The composition of the Sunday offices in Thess evidences its being the closest of all old handwritten oktoechoi to the representative of the new version, MS No 19 from the collection of the Saint Catherine Monastery at Mount Sinai as well as to the printed editions. With regard to the variable components distinguishing the Slavic liturgical and writing practice that are not uniform with the printed editions, Thess is similar to the oktoechoi of East Bulgarian origin. The second section of this chapter dedicated to the Weekdays studies the elements of each office part according to their liturgical order in our oktoechos. Special attention has been paid to the hymns at two liturgical positions important for the characterization of the handwritten oktoechoi: the first series of the vesperal stichera and the matins canons. Carrying original works of Old Bulgarian lettermen and their combination with translated Byzantine accomplishments has been an essential approach to the analysis of the specifics of each office. The third section of the chapter is oriented towards the Thess's Saturday offices bearing some archaic features. The conclusions drawn in the third chapter are summarized in several aspects. Firstly, Thess has been found to belong to the old South Slavic written tradition concerning Oktoechos spreading. The composition of our manuscript highlights the discrepancy between the innovations in the Sunday offices and the good number of archaic elements in Weekdays service. This discordance is explained by the partial redaction of the Sunday offices done most probably under the influence of the Athonite redaction of the Studite typika. We conclude that the composition of Thess reveals its close relation to the oktoechoi of East Bulgarian origin. On the other hand, the considerable amount of elements differing Thess from the codices originating from West Bulgarian and Serbian scriptoria has been also reported. As far as the Oktoechos history in the Slavic world is concerned the study proves the common old archetype of the different in structure, completeness and origin oktoechoi that belong to the old version. Thus emerges the way of introducing the Oktoechos into the Slavic letters, namely the distribution of the material according to the genre of the hymns. The analysis enables the relative chronology of the structural variants of the Oktoechos in the Slavic written tradition. The old archetype used to be in two basic variants: 'parakletikai' including only canons and 'oktoechoi' comprising the rest of the hymns arranged in genre. Later on their basis occurred the representative copies of newer variants whose material is arranged on the liturgical principal. A typologization of the South Slavic Oktoechos copies preceding the Athonite redaction has been proposed. The cardinal criteria for this typologization are the availability or lack of original Old Bulgarian works in a certain codex as well as the manner of including these Slavic works into the offices (separately or in a combination with translated hymns). Three groups of oktoechoi have been outlined: archaic, redacted Preslav and redacted under the influences of Evergetian liturgical typikon. As a result of the study the third section presents the conclusion that the earliest Slavic Oktoechos used to comprise in relative completeness the hymns for the service both on Sundays and weekdays. The other conclusion is that the set up of this Slavic liturgical book was connected with the activity of Cyril's and Methodius' disciples in Bulgaria. Finally comes the summary of the data about the localization and dating derived from the three level analyses of the Thessaloniki Oktoechos. The main stages in the development of the Slavic oktoechoi produced not later than the 14th century have been surveyed presenting the compositional and textual redactions of the Oktoechos on the Slavic lands as well as their relation to the introduction of various liturgical typika. The supplement contains 7 schemes illustrating the composition of each office throughout the week. There are also 52 tables showing the structure and the particular inventory of some office parts with the beginning of the hymns and their Greek equivalence. The supplement has a glossary explaining the terms for the genres of the Orthodox hymnography and those for the structural variants of the Oktoechos in the medieval Byzantine and Slavic written tradition. The phototype copy of the Thessaloniki Oktoechos is published at the end of the book.

Convenţie, iluzie şi realitate în dramaturgia secolului XX

Author(s): Diana Presadă / Language(s): Romanian

The book "Convention, Illusion and Reality in Twentieth-Century Drama", which is based on Diana Presadă’s doctoral thesis, aims to highlight the theatrical revolution produced by the Theatre of the Absurd in the 20th century. Starting from the analysis of the works of Eugen Ionescu, Samuel Beckett, Arthur Adamov and other absurdist playwrights, the study focuses on the aesthetic paradigm of a new theatrical trend in collision with tradition, as well as on the diversification and development of the performing arts in this century.

„Засукан свят“ като разказ, моноспектакъл и филм

Author(s): Andrey Tashev / Language(s): Bulgarian Publication Year: 0

The study analyses the three versions of Twisted World (a short story from Nikolay Haytov’s collection Wild Stories and Marius Kurkinski’s interpretations as a monodrama and as a feature film) from the perspective of the image, sound, and text. The correlation between them is different in each of the three artistic works, which leads to interesting distinctions in their accents of meaning. It turns out that the interaction between sound, text, and image is one of the key elements that create meaning in these works