Pub Date : 2022-12-25DOI: 10.14746/strp.2022.47.2.17
A. Narloch
Jubileuszowe refleksje – w 80. rocznicę urodzin doktora Tadeusza Pacholczyka
80年代的周年纪念。Tadeusz Pacholczyk博士的生日
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Pub Date : 2022-12-25DOI: 10.14746/strp.2022.47.2.4
A. Polak
The aim of the article is to review Victor Pelevin’s works in terms of their critique of current social and political processes as well as various kinds of ideologies and theories. Despite the writer’s association with the group of postmodern artists he is not only focused on typically postmodern text games and playing with readers, his ambitions are also targeted at shaping their views and behaviors. The author of Generation “P” reacts vividly to the changing reality, he is a keen observer with ambitions to influence the world. He raises issues of universal nature, protesting against all ideological norms, social categories, standardizing fashions and stereotypes that enslave human beings, against all ways of manipulating human consciousness. His approach is constantly met with criticism of both pro-Western and traditionalist circles. The former accuse him of an overly skeptical attitude to the Western model of life, while the latter do not like the writer’s ironic approach to social reality, polemics with Russian values and attempts to discredit them.
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Pub Date : 2022-12-25DOI: 10.14746/strp.2022.47.2.1
Żanna Niekraszewicz-Karotkaja
The collection of poetic translations of King David’s Psalms, compiled by Symeon of Polatsk, is usually used in the scientific discourse under the descriptive title Psaltir’ rifmotvornaya. In this article, King David’s Psalter (1680) of Symeon is considered not in the context of the poet’s entire creative heritage, but in terms of the evolution of the European book tradition of paraliturgical discursive psalmic practices and the poetic paraphrase of the psalms, beginning with the German poets of the Renaissance Helius Eobanus Hessus and Ioannes Mylius Libenrodensis. Not only the artistic experience of Western and Central Europe but also of the Grand Duchy of Lithuania is taken into account. Addressing the broader historical context allows us to move away from traditional scientific discussions about the degree of influence of Jan Kochanowski’s poetic paraphrases of psalms (Psałterz Dawidów, 1578) and to more adequately appreciate Symeon’s merits in the field of cultural transfer. The King David’s Psalter of Symeon is evaluated as a result of the interaction of the European book tradition of creating poetic paraphrases of biblical texts and the East Slavic singing culture. The functioning of this culture from the end of the 16th century and especially in the 17th century was greatly influenced by Polish spiritual songs (first of all, the poetic paraphrases of the psalms of Jan Kochanowski), as well as by the increased interest in polyphonic singing thanks to Nikolai Diletsky.
由波拉茨克的西蒙(Symeon of Polatsk)编纂的《大卫王诗篇》诗歌翻译集，通常在科学论述中使用，标题为《诗篇》(Psaltir’rifmotvornaya)。在这篇文章中，大卫王的《西蒙诗篇》(1680)不是在诗人的整个创作遗产的背景下考虑的，而是从欧洲书籍传统的演变来看，从文艺复兴时期的德国诗人Helius Eobanus Hessus和Ioannes Mylius Libenrodensis开始，以诗歌的形式进行论述性的诗篇实践和诗歌的意译。不仅西欧和中欧的艺术经验，也考虑到立陶宛大公国的艺术经验。在更广阔的历史背景下，我们可以摆脱关于Jan Kochanowski对诗篇的诗意解释的影响程度的传统科学讨论(Psałterz Dawidów, 1578)，并更充分地欣赏西蒙在文化转移领域的优点。大卫王的《西蒙诗篇》被评价为欧洲书籍传统对圣经文本进行诗歌解释和东斯拉夫歌唱文化相互作用的结果。这种文化的运作从16世纪末开始，特别是在17世纪，受到波兰精神歌曲(首先是扬·科查诺夫斯基的诗篇的诗歌意译)的极大影响，以及由于尼古拉·迪列茨基对复调歌唱的兴趣增加。
{"title":"Псалтирь царя Давида Симеона Полоцкого в контексте паралитургической и парафрастической традиции XVI–XVII вв.","authors":"Żanna Niekraszewicz-Karotkaja","doi":"10.14746/strp.2022.47.2.1","DOIUrl":"https://doi.org/10.14746/strp.2022.47.2.1","url":null,"abstract":"The collection of poetic translations of King David’s Psalms, compiled by Symeon of Polatsk, is usually used in the scientific discourse under the descriptive title Psaltir’ rifmotvornaya. In this article, King David’s Psalter (1680) of Symeon is considered not in the context of the poet’s entire creative heritage, but in terms of the evolution of the European book tradition of paraliturgical discursive psalmic practices and the poetic paraphrase of the psalms, beginning with the German poets of the Renaissance Helius Eobanus Hessus and Ioannes Mylius Libenrodensis. Not only the artistic experience of Western and Central Europe but also of the Grand Duchy of Lithuania is taken into account. Addressing the broader historical context allows us to move away from traditional scientific discussions about the degree of influence of Jan Kochanowski’s poetic paraphrases of psalms (Psałterz Dawidów, 1578) and to more adequately appreciate Symeon’s merits in the field of cultural transfer. The King David’s Psalter of Symeon is evaluated as a result of the interaction of the European book tradition of creating poetic paraphrases of biblical texts and the East Slavic singing culture. The functioning of this culture from the end of the 16th century and especially in the 17th century was greatly influenced by Polish spiritual songs (first of all, the poetic paraphrases of the psalms of Jan Kochanowski), as well as by the increased interest in polyphonic singing thanks to Nikolai Diletsky.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46018275","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-25DOI: 10.14746/strp.2022.47.2.15
Vesselina Laskova
This paper presents the results from two different experiments carried out independently with two different groups of students using the same materials and the same methodology, with the aim to check whether oral translation, if applied as a main teaching technique, can foster the development of the accuracy component of language proficiency. The experiments were carried out at the International Centre for Plurilingualism at the University of Udine with two experimental groups over a period of three years. Apart from providing a positive answer to the research question, the results show that the whole training can be carried out as part of the in-class activities and is independent of factors of personal character like the amount of time a student dedicates to the L2 learning at home, his or her willingness to put him/herself to work and even, to a large extent, independent of the student’s mother tongue or previous contacts with the foreign language. Since the main goal is the rapid memorization of the lexical and grammar material inside a context, the present technique suggests itself as a promising teaching tool in any lexically specialized field of L2 study.
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Pub Date : 2022-12-25DOI: 10.14746/strp.2022.47.2.13
O. Kovtun
The term contrastive grammar is still ambiguous. In this paper we trace the unjustified synonymy of terms (confrontative grammar, comparative grammar, contrastive grammar) which lead to controversy among linguists and we attempt to introduce appropriate clarifications to explain the phenomenon. We can state that this linguistic direction is quite new, and its metalanguage is still in the process of development and formation. When studying contrastive grammar in the modern scientific functional-communicative paradigm, the focus of attention is directed to the issues of pragmalinguistics, that is the research, in addition to the actual meanings, of the semantics of linguistic units for designating objects of the environment, also the speech-thinking activity of speakers who use these units and listeners who interpret them; the possible situations of their application; the study of “language in context”; language research, taking into account the goal that is planned to be achieved in the communication process; the wide multidimensionality of the interpretation of the statement; the study of interactive means, taking into account grammatical meanings. The main category of pragmalinguistics is the category of evaluation, and therefore, the issue of contrastive grammar and contrastive description of languages is important to consider in the focus of the paradigm of the category of evaluation; in particular, this concerns the manifestation of each grammatical category.
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Pub Date : 2022-06-27DOI: 10.14746/strp.2022.47.1.11
J. Kitzlerová
This study focuses on the translation of Vsevolod Nekrasov’s poetry into Czech. However, it also considers the more general question of whether it is possible to transpose poetry full of delicate humour, hidden allusions, codes and ciphers into another language in such a way that the reader would not be deprived of the aesthetic impression of the original. Nekrasov’s creative and playful poetry poses, at the same time, serious questions and contains hidden messages that should not be ignored by the translator either. The study also points out and demonstrates, using particular examples, that in the process of translation the translator must take the responsibility for the interpretation of the text and must “determine” it to certain extent. This subjective prism then becomes an indispensable part of the reception of translation in the target language area. Specifically, in case of Nekrasov’s poetry, the translator must, besides usual difficulties, face also other challenges, such as the translation of neologisms or uncommon realia, which form the basic elements of his verses.
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Pub Date : 2022-06-27DOI: 10.14746/strp.2022.47.1.12
Maria Mocarz-Kleindienst
Audio description (AD) is an additional soundtrack in a film containing concise, verbal information about what is happening on the screen. The language of the AD should be appropriate to the genre of the film lexically and stylistically. This means that the language of AD in film comedies should contain some verbal ‘signals’ of the comic as an aesthetic category. The author of the presented research has attempted to analyse lexical and stylistic means of conveying situational comic and character comic as the two main types of comic, apart from the verbal one expressed directly in the characters’ speech. The material for the research included the following Soviet film comedies: We are from jazz (directed by K. Shakhnazarov, 1983), Autumn marathon (directed by G. Daneliya, 1979), and The twelve chairs (directed by L. Gaidai, 1971). The analysis proved that the verbal track of the AD reflects the most important peripeteia of the characters, and together with them the features of the characters (appearance, character traits), the manner of their behaviour. The set of llinguistic and stylistic means is determined by the type of the comedy.
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Pub Date : 2022-06-27DOI: 10.14746/strp.2022.47.1.13
Żanna Sładkiewicz
The article is devoted to the analysis of the pragmatics and semiotics in the productive comic genre of digital communication – the political meme. The empirical material consists of actual internet heterogeneous texts, created after the publication of Alexei Navalny’s film “Palace for Putin”. The comic content is viewed as a way of defusing the public tension of the sanctioned protest, an instrument for interpreting and discussing current social reality, as well as a method of demonizing a political subject “them”. The research assumes multimodality of the media environment and its products. It considers verbal, iconic and metagraphic ways of realizing the pragmatic intentions of the participants in the communication process. The author examines the initial situation (proto situation) that caused a communicative reaction of the internet users in the form of memes, analyzes the essence of a political meme as a heterogeneous text. The article describes the structural organization of memes, the syntactic and semantic relations of the verbal and iconic parts, as well as the use of intertextuality to concisely and expressively transmit new meanings.
本文从语用学和符号学的角度分析了数字传播中多产的喜剧类型——政治模因。实证材料由阿列克谢·纳瓦尔尼(Alexei Navalny)的电影《普京的宫殿》(Palace for Putin)出版后创建的实际互联网异构文本组成。漫画内容被视为一种化解公众对受制裁抗议的紧张情绪的方式，一种解释和讨论当前社会现实的工具，也是一种将政治主题“他们”妖魔化的方法。本研究假设了媒介环境及其产品的多模态。它考虑了在交际过程中实现参与者语用意图的言语方式、象征方式和元隐喻方式。作者考察了以模因形式引起网民交际反应的初始情境(原型情境)，分析了政治模因作为异质文本的本质。本文描述了模因的结构组织，语言部分和符号部分的句法和语义关系，以及利用互文性简明而富有表现力地传递新的意义。
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Pub Date : 2022-06-27DOI: 10.14746/strp.2022.47.1.14
Marcin Trendowicz
The article is devoted to the characteristics of Russian-language internet memes that use or allude to the character of Stierlitz, the legendary intelligence agent created by the writer Yulian Semyonov and adapted for the screen in the TV series Seventeen moments of spring, directed by Tatyana Lioznova. The analysis focuses not only on the memes directly referring to the series and jokes about Stierlitz, but also on examples using associations related to the character and the film (in the textual and/or iconic layer) to humorously illustrate phenomena occurring in contemporary Russia. The first group of memes can be seen as the continuation of the Stierlitz jokes still popular in Russia, while the second group includes memes whose main characters are contemporary Russian political activists and politicians (e.g. Vladimir Putin and Alexei Navalny), as well as those referring to current events in the country and the world (e.g. the coronavirus pandemic and the introduction of the Russian vaccine). In both cases, punchlines from jokes or precedent statements combined with an iconic layer are used to create comic effects.
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Pub Date : 2022-06-27DOI: 10.14746/strp.2022.47.1.16
Gabriela Wilk
Nowadays, it is hard to imagine internet culture without memes. To achieve a humorous effect, meme creators use various means, displaying unprecedented creativity. They often draw inspiration from cult Soviet comedies by Leonid Gaidai, Georgiy Daneliya, Vladimir Menshov, Eldar Ryazanov, Aleksandr Sery and other famous directors. This article is devoted to the analysis of iintertextual connections in Russian internet memes related to the current COVID-19 pandemic. The intertextual references can be in the form of a frame from a Soviet comedy, a movie catchphrase, or both at the same time. Catchphrases can be used in the analysed internet memes in their original version, or they can undergo various modifications, such as the replacement of some components and/or the extension of phrase composition. The fact of making use of a specific movie scene or catchphrase by meme creators proves that Soviet comedy is still deeply rooted in Russian culture. Soviet comedies begin to “live a new life” in internet memes.
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