Poznańskie Studia Slawistyczne
Not a member yet
724 research outputs found
Sort by
Granice usmenih žanrova: čudnovat slučaj retoričke zdravice i lirske počasnice
No full textThe paper discusses boundaries between the toast as an oral rhetorical genre and the praise poem as an oral lyrical genre. While on the one hand a toast (as a hybrid rhetorical genre) is related to a blessing (a primary rhetorical genre), on the other it is compared to the praise poem, with which it shares many structural and performative elements. The main segment of the paper is focused on establishing principal rhetorical traits and comparing some prototypical examples of both genres.U radu se raspravlja o postavljanju granica između zdravice kao usmenoretoričkoga i počasnice kao usmenolirskoga žanra. Dok je s jedne strane zdravica (kao sekundarni/hibridni retorički žanr) oslonjena na blagoslov (kao primarni/osnovni retorički žanr), s druge je pak usporediva s počasnicom, s kojom dijeli mnoge strukturne i izvedbene elemente. U glavnome se dijelu rada fokus stavlja na temeljne retoričke značajke te se uspoređuju prototipni primjeri obaju žanrova
Tabu kulturowe i granice rozumu w powieści Jedan razoren um (Pewien zdegradowany umysł) Lazara Komarčicia. Medykalizacja obłędu a przemiany literatury serbskiej końca XIX wieku
No full textIn this article, Lazar Komarčić’s novel Jedan razoren um from 1893 is presented as a text inaugurating the literary discourse devoted to the medicalization of madness. The authors of the previous discussions of this novel have highlighted the issue of tabooing madness, without paying attention to the fact that it is the first work in Serbian literature whose author, going beyond the boundaries of cultural taboo, described the space of a Belgrade insane asylum. The method of artistic articulation of madness (a pathological figure) and a psychiatric hospital (infirmerium) determines the groundbreaking importance of Komarčić’s novel as a starting point for research on the impact of the development of medicine on the cultural perception of the disease in Serbia and the development of Serbian modernism.Powieść Lazara Komarčicia Jedan razoren um z 1893 roku została w artykule zaprezentowana jako tekst inaugurujący literacki dyskurs poświęcony medykalizacji obłędu. Autorzy dotychczasowych omówień tej powieści wydobywali podjętą w niej problematykę tabuizowania szaleństwa, nie zwracając jednak uwagi na fakt, że jest to pierwszy w literaturze serbskiej utwór, którego autor, wykraczając poza granice tabu kulturowego, opisał przestrzeń belgradzkiego domu dla obłąkanych. Sposób artystycznej artykulacji obłędu (figury patologicznej) oraz szpitala psychiatrycznego (infirmerium) wyznacza przełomowe znaczenie powieści Komarčicia jako punktu wyjścia dla badań nad wpływem rozwoju medycyny na kulturowe postrzeganie choroby w Serbii i przemiany serbskiego modernizmu
Paradigmatska arhaičnost naglasnoga sustava hrvatskoga standardnog jezika na primjeru naglaska glagolā na -ovati/-evati
No full textThe article discusses the accentual patterns of verbs ending in -ovati / -evati, in terms of the changes affecting these patterns in the standard Croatian language at the same time considering the history of Croatian. The paper investigates whether the accent in this category of verbs abides by the rules governing the relationship between the Proto-Slavic and standard Croatian accentual systems. The conclusion is that the old paradigmatic differences have largely been preserved (e.g. zíma, A zȋmu > zimòvati, but ljȅto, G ljȅta > ljȅtovati) and that we should resist the pressure of accentual changes such as vjeròvati, razlikòvati and so on since such accentual patterns significantly disrupt the continuity of the standard language.U radu se govori se o naglascima glagolā na -ovati / -evati, o promjenama koje se s njima događaju u hrvatskome standardnom jeziku, istodobno uzimajući u obzir povijesne naglasne obrasce. Razmatra se odgovara li naglasak u toj kategoriji glagolā zakonitom odnosu između praslavenskoga i standardnoga hrvatskog naglasnog sustava, tj. koliko je dubinska struktura štokavske akcentuacije u toj kategoriji glagolā očuvana u funkcioniranju suvremenoga hrvatskog standardnog jezika. Zaključak je da su stare paradigmatske razlike najvećim dijelom očuvane (npr. zíma, A zȋmu > zimòvati, ali ljȅto, G ljȅta > ljȅtovati) te da se treba oduprijeti prodoru naglasaka kao vjeròvati, razlikòvati itd. iz razgovornoga stila u propisanu normu jer takvi naglasci drastično narušavaju kontinuitet standardnoga jezika
„Po goloj koži, po leđnome jarku“ – ucrtavanje granica u Jami Ivana Gorana Kovačića
No full textThis article takes an analytical look at the narrative poem The Pit (1944) by Ivan Goran Kovačić. In Kovačić’s work, the question of borders is important on many levels: The Pit belongs to the genre of the narrative poem, a genre on the border between the lyric and epic; it is written in sesta rima, a form in which rhyme emphasises the boundaries between verses; critics have also noted a partition between the first nine cantos and the tenth canto, as well as a distinct opposition between the executioner and the victims, the boundary between the individual statement of the narrator and the suffering collective. The analysis attempts to show that the narrator is more concerned with drawing the boundary between himself and the other victims than with the contradiction between himself and the executioner. It seems important to him to distinguish himself from them, which leads me to the conclusion that the narrator draws boundaries in order to escape the brutal collectivisation of death.U ovom se radu analitički pristupa poemi Jama (1944) Ivana Gorana Kovačića. U tom je Kovačićevu djelu pitanje granice važno na više razina: Jama pripada žanru poeme, koji je na granici između lirskog i epskog, pisana je sesta rimom, što znači da se rimom označuju i naglašuju granice među stihovima, kritika je uočila i naglašenu granicu između prvih devet pjevanja i desetog pjevanja kao i granicu između krvnika i žrtava te granicu između individualnoga iskaza slijepoga pripovjedača i skoro nijemoga kolektiva koji stradava. U radu se analizom nastoji pokazati kako je, mnogo više nego li oprekom između sebe i krvnika, pripovjedač zaokupljen pomnim iscrtavanjem granice između sebe i drugih žrtava. Iako svoje supatnike opisuje s empatijom, čini se kako je pripovjedaču ipak važno da se od njih razlikuje, da se izdvoji iz kolektiva pa se u radu predlaže zaključak da pripovjedač Jame pomno iscrtava granice između sebe i drugih kako bi umaknuo brutalnoj kolektivizaciji smrti
Między autonomią a przekraczaniem granic. Szkic o językoznawstwie jako dyscyplinie naukowej
No full textThis article explores the evolution in defining the goals, subject matter and boundaries of linguistics as an academic discipline. The discussion has two goals: to demonstrate shifts in the understanding of the essence of linguistics and to provide a synthesized overview of changes in methodological tools and the scope of linguistic research, particularly those arising from interdisciplinary collaboration. The article outlines the historical context for the formation of linguistics and its research focus, and it synthesizes potential mechanisms for expanding the boundaries of linguistic inquiry (redefining research objectives, paradigm shifts, and interdisciplinary approaches) as well as forms of openness to collaboration (interdisciplinarity, complementarity, and transdisciplinarity). The conclusions consider the implications of these shifts in the self-definition of linguistics for research outcomes.Artykuł dotyczy zmiany w ujmowaniu celu, przedmiotu i granic badań językoznawstwa jako dyscypliny naukowej od czasu Ferdynanda de Saussure’a do współczesności. Cele rozważań są dwa: ukazanie zmian w ujmowaniu istoty językoznawstwa oraz syntezujące przedstawienie mechanizmów dwudziestowiecznych zmian narzędzi metodologicznych i przedmiotu badań językoznawczych, w tym wynikłych ze współpracy ponaddyscyplinarnej. Artykuł przedstawia historyczny kontekst formowania się językoznawstwa oraz przedmiotu jego badań, a także syntezę możliwych mechanizmów zmieniania granic badań językoznawczych (redefinicja przedmiotu badań, zmiana paradygmatu, ponaddyscyplinarność) oraz form otwierania się na współpracę (interdyscyplinarność, komplementarność, transdyscyplinarność). Wnioski dotyczą implikacji zmian autodefinicji językoznawstwa dla efektów jego badań
Uporaba konektora u pisanoj proizvodnji na hrvatskom kao materinskom i engleskom i njemačkom kao stranom jeziku
No full textThe ability to write texts is an important aspect of foreign language learning, which includes producing a coherent and well-structured text. One of the ways to achieve that is the explicit marking of the relationship between the propositions in a text through the appropriate use of connectives. The aim of this paper is to discover similarities and differences between Croatian as a mother tongue and English and German as foreign languages regarding the use of connectives. The corpus for the study consists of 32 argumentative essays in each of the three languages. The study is based on the analysis of connectives with regard to their frequency, meaning, as well as the appropriateness and the correctness of their use. The analysis revealed a greater range of connectives in Croatian, differences in their patterns of use across languages, instances of their incorrect use in both foreign languages, and similarities across all three languages regarding their appropriateness of use.Sposobnost pismenoga izražavanja bitan je aspekt učenja stranog jezika. Pisanje pak podrazumijeva proizvodnju koherentnih tekstova, a jedan od načina na koji se to ostvaruje uključuje i primjerenu uporabu konektora za označavanje odnosa između (su)rečenica u tekstu. Cilj je ovoga rada utvrditi sličnosti i razlike između hrvatskog kao materinskog i engleskog i njemačkog kao stranog jezika s obzirom na uporabu konektora. Istraživanje se temelji na analizi korpusa koji sadrži po 32 teksta u navedenim jezicima. Analiza se usredotočuje na uporabu konektora s obzirom na učestalost i značenje, te primjerenost i točnost njihove uporabe. Utvrđen je veći raspon konektora u hrvatskom, razlike među jezicima s obzirom na zastupljenost konektora pojedinih značenjskih skupina, pojava netočne uporabe konektora u stranim jezicima, te sličnosti među jezicima s obzirom na primjerenost uporabe konektora
Некоторые особенности перевода современной экранизации сказки П. Ершова «Конек-горбунок»
No full textThe contemporary film adaptation of P.Yershov’s fairy tale The Little Humpbacked Horse is characterised by its prose form, dialogue and the resulting colloquial language of the characters. This is evident in the frequent use of exclamations and repetitions, which serve additional functions in the film, such as characterisation and enhancing the expressiveness of scenes. Another important element of the poetics of magical fairy tales is the presence of a fixed vocabulary recognisable to the audience, including tautological expressions and folkloric two-part terms of a folkloric nature. This article analyses the methods used to translate these structures from Russian into Polish, with particular emphasis on the nature of audiovisual transfer in the voice-over format.Современная экранизация сказки о Коньке-горбунке, в отличие от оригинального произведения П. Ершова, реализована в прозе. Фильму свойственна диалогичность, что обуславливает преобладание разговорной формы языка. Это проявляется в частом использовании обращений и повторяющихся языковых элементов, которые выполняют в фильме дополнительные функции, например, характеризуют главных героев или усиливают экспрессию. Важным элементом поэтики волшебной сказки является также наличие устойчивых лексических структур, легко узнаваемых реципиентом, – тавтологических выражений и двусоставных фольклорных высказываний. В статье рассматриваются способы перевода подобных конструкций с русского на польский язык с учетом особенностей передачи смысла в условиях закадрового озвучивания.
Od Edmunda Husserla do Wolfganga Isera: fenomenološka redukcija i književni tekst
No full textThe aim of this paper is to analyze a representative text of Wolfgang Iser’s phenomenological approach to literary texts in relation to its philosophical legitimacy, the phenomenology of Edmund Husserl, considering his method of phenomenological reduciton. The paper will present how Wolfgang Iser understands the engagement with literary texts in accordance with the fundamental principles of phenomenology, with an emphasis on setting aside one’s own experience in order to adequately engage with the literary text. Then, it is of crucial importance to connect this seemingly simple postulate with the philosophical legitimacy from which it arises, which is precisely the method of phenomenological reduction that the father of phenomenology, Edmund Husserl, most radically developed in his Ideas from 1913.Cilj rada analizirati je reprezentativni tekst fenomenološkoga pristupa književnosti iz pozicije Wolfganga Isera u odnosu na njegov filozofski legitimitet: fenomenologiju Edmunda Husserla, s naglaskom na metodu fenomenologijske redukcije. Započet će se prikazom temeljnih odrednica Husserlove fenomenologije kao specifičnoga diskursa čiste znanosti o bitima i metode fenomenologijske redukcije. Zatim, ključni dio rada bit će prikazati Iserov kritički pristup primjene fenomenologijske redukcije na književni tekst s obzirom na specifičnost književnosti kao fenomena i samoga procesa čitanja
Eavesdropper, not (only) reader. Transgressive possibilities of doubly deictic “you”
No full textThis article will take a closer look at the possible functions and stylizations of the use of the personal deictic “you” in the Croatian language. Since the double deixis manifests itself as a stylistic figure in its state of suspension – it is and is not a form of address – it is represented and exemplified by the so-called illocutionary overload as a (post-modern) discursive strategy that constructs the addressee and the audience. Narration or speaking in the second person singular will therefore serve as an illustration of (double) switches, a characteristic strategy for Tomičić’s drama for three voices, Don’t forget to cover your feet. It attempts to provide answers to questions such as: Does the reader have to be apostrophized to feel invited to participate in the discourse, does the present tense have to be a logical choice to achieve double deixis, what are signs of transition between the fictional and the real world in the Croatian language
Transgresija u romanima Esther Kinsky Rijeka i Rombo
No full textThe writing of transnational border spaces marks the literary works of German author and Slavist Esther Kinsky, also a translator from Polish, Russian and English. Her novels River (Am Fluss, 2014) and Rombo (2022) will be analysed as atypical travel prose dedicated to descriptions of nature, especially humans’ influence on it. Kinsky’s texts will be read as novels and essays, marked by multiple transgressions of narrative boundaries, not only in terms of genre, in the interweaving of the traditional form of travel writing with fiction, reminiscences and reflections, but also in the questioning of materiality and subjectivity in the representation of post-industrial landscapes. The transgressive gesture of multiple transgressions as nature writing will be interpreted in accordance with ecocritical theory and principles of cultural topography.Njemačka autorica, slavistica i prevoditeljica s poljskog, ruskog i engleskog Esther Kinsky, živi u Berlinu i u Batanji u Mađarskoj u blizini rumunjske i srpske granice. Prikazat će se njezini romani Rijeka (Am Fluss, 2014.) i Rombo (2022.) kao netipična putopisna proza posvećena opisima prirode, posebno čovjekovu utjecaju na nju sa stalnom transfiguracijom faktografije i fikcije u reprezentaciji predjela, toka rijeke i putovanja. Tekstovi E. Kinsky čitat će se kao romani eseji, obilježeni višestrukim prekoračenjima pripovjednih granica, i to ne samo u žanrovskom smislu, u preplitanju tradicionalnog oblika putopisnog pisanja s fikcijom, reminiscencijama i refleksijama, nego u propitivanju materijalnosti u reprezentaciji postindustrijskih predjela. Transgresivna gesta višestrukih prekoračenja kao modus pisanja o prirodi analizirat će se u osloncu na načela kulturne topografije i ekokritike