Even though Gilbert Keith Chesterton remained a political Rousseauism-like radical throughout his life, with time the ideal of political liberty understood in line with the philosophy of Jean-Jacques Rousseau found less and less vivid expression inhis writings, leaving the most important element animating them virtually invisible for less knowledgeable readers. The aim of this paper is to demonstrate and explain thisfact on the basis of the analysis of one of the most famous poems penned by the English author, entitled To St. Michael, in Times of Peace (1929). The analysis follows the methodology devised by a distinguished Polish scholar, Stefan Sawicki.
{"title":"Paradoks Chestertonowskiej wizji wolności społecznej na przykładzie wiersza \"To St. Michael, in Time of Peace\"","authors":"M. Sobiech","doi":"10.31648/an.6680","DOIUrl":"https://doi.org/10.31648/an.6680","url":null,"abstract":"Even though Gilbert Keith Chesterton remained a political Rousseauism-like radical throughout his life, with time the ideal of political liberty understood in line with the philosophy of Jean-Jacques Rousseau found less and less vivid expression inhis writings, leaving the most important element animating them virtually invisible for less knowledgeable readers. The aim of this paper is to demonstrate and explain thisfact on the basis of the analysis of one of the most famous poems penned by the English author, entitled To St. Michael, in Times of Peace (1929). The analysis follows the methodology devised by a distinguished Polish scholar, Stefan Sawicki.","PeriodicalId":53820,"journal":{"name":"Acta Neophilologica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43200330","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}
The aim of this article is to answer the question as to how to make a child reader interested in and focusing attention on reading. According to Jerzy Cieślikowski and many other researchers, children’s literature has its own rules, poetics of genres, and specific communications circuit: publishing houses, the market, the press, and criticism. Dorota Masłowska employed the form of a literary fairy tale to reach out to a young audience. Usingthe conventions of this genre, she described one of the most painful problems of modern times – excessive consumerism, in which modern man completely loses himself.
{"title":"Jak pisać współczesne baśni. Przykład Doroty Masłowskiej \"Jak zostałam wiedźmą\"","authors":"Joanna Chłosta-Zielonka","doi":"10.31648/an.7434","DOIUrl":"https://doi.org/10.31648/an.7434","url":null,"abstract":"The aim of this article is to answer the question as to how to make a child reader interested in and focusing attention on reading. According to Jerzy Cieślikowski and many other researchers, children’s literature has its own rules, poetics of genres, and specific communications circuit: publishing houses, the market, the press, and criticism. Dorota Masłowska employed the form of a literary fairy tale to reach out to a young audience. Usingthe conventions of this genre, she described one of the most painful problems of modern times – excessive consumerism, in which modern man completely loses himself.","PeriodicalId":53820,"journal":{"name":"Acta Neophilologica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42051987","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}
This article offers an art analysis of the collection of icons by the Estonian icon painter Pimen Sofronov housed in the Monastery of Chevetogne in Belgium. Sofronov’s icons found their way to this monastery in different ways. All of the seven icons were created in the 1930s, when he taught the orthodox icon painting and worked in various places in Europe and personally acquired an abundance of new knowledge. The author examines the development ofSofronov’s artistic language during these years and discusses the European artistic and cultural context of that time, which is essential to understanding his work. Despite his acquaintance with different cultures and traditions of icon painting, Sofronov remained true to his roots as can be seen in his icons in Chevetogne. Sofronov found his own way of developing and renewing the Old Believers’ icon painting tradition. This can also be perceived as a deeper understanding of the traditional Russian Old Believer icon painting.
{"title":"Иконное наследие Пимена Софронова в Шеветонском монастыре","authors":"Mari-Liis Paaver-Potashenko","doi":"10.31648/an.7441","DOIUrl":"https://doi.org/10.31648/an.7441","url":null,"abstract":"This article offers an art analysis of the collection of icons by the Estonian icon painter Pimen Sofronov housed in the Monastery of Chevetogne in Belgium. Sofronov’s icons found their way to this monastery in different ways. All of the seven icons were created in the 1930s, when he taught the orthodox icon painting and worked in various places in Europe and personally acquired an abundance of new knowledge. The author examines the development ofSofronov’s artistic language during these years and discusses the European artistic and cultural context of that time, which is essential to understanding his work. Despite his acquaintance with different cultures and traditions of icon painting, Sofronov remained true to his roots as can be seen in his icons in Chevetogne. Sofronov found his own way of developing and renewing the Old Believers’ icon painting tradition. This can also be perceived as a deeper understanding of the traditional Russian Old Believer icon painting.","PeriodicalId":53820,"journal":{"name":"Acta Neophilologica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46769086","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}
The present study, in the form of a questionnaire, aims to analyse students’ subjective perception of directionality in translation. Additionally, it places a particular emphasis on the aspects which are perceived as difficult in each direction. Although for most students, L2 translation is more cognitively demanding, and they prefer to translate into L1, such preferences may change as the result of the amount of translation training. Students with a longer span in translation training frequently encounter more problems in L1 translation and may not have any preferred direction of translation. Nevertheless, the importance of practicing translating into L2 has been emphasized in many aspects, like expanding L2 competence or translation market demand; additionally, it is also a preferred language of translation for some students. Vocabulary and terminology have been described as the most problematic in both directions of translation. Other aspects which pose many problems and require some training are both L1 and L2 grammar as well as punctuation.
{"title":"Perception of Directionality in Translation Among Students","authors":"Marcelina Pietryga","doi":"10.31648/an.6807","DOIUrl":"https://doi.org/10.31648/an.6807","url":null,"abstract":"The present study, in the form of a questionnaire, aims to analyse students’ subjective perception of directionality in translation. Additionally, it places a particular emphasis on the aspects which are perceived as difficult in each direction. Although for most students, L2 translation is more cognitively demanding, and they prefer to translate into L1, such preferences may change as the result of the amount of translation training. Students with a longer span in translation training frequently encounter more problems in L1 translation and may not have any preferred direction of translation. Nevertheless, the importance of practicing translating into L2 has been emphasized in many aspects, like expanding L2 competence or translation market demand; additionally, it is also a preferred language of translation for some students. Vocabulary and terminology have been described as the most problematic in both directions of translation. Other aspects which pose many problems and require some training are both L1 and L2 grammar as well as punctuation. ","PeriodicalId":53820,"journal":{"name":"Acta Neophilologica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49089308","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}
This paper focuses on the Russian and Polish receptions of the works of Roman Senchin, a leading representative of the New Realism Trend in Russian literature. The writer’s debut was his collection of short stories entitled Athens Nights (Афинские ночи), published in 2000. Since then, Senchin has written many works, including The Yeltyshevs (Елтышевы), published in 2009 and translated into several languages. His works are widely commented on, discussed, analyzed, and interpreted not only by Russian literary scholars, critics, and commentators of Russian cultural life, but also by Polish researchers investigating contemporary Russian literature. The article presents the views of literary critics and literary scholars concerning Senchin’s works, as well as reflections on their typical or dominant features. Despite widely differing points of view, Russian literary critics agree that Roman Senchin is the most pessimistic contemporary Russian writer.
{"title":"Rosyjska i polska recepcja twórczości Romana Sienczina w latach 2001-2021","authors":"K. Jastrzębska","doi":"10.31648/an.7436","DOIUrl":"https://doi.org/10.31648/an.7436","url":null,"abstract":"This paper focuses on the Russian and Polish receptions of the works of Roman Senchin, a leading representative of the New Realism Trend in Russian literature. The writer’s debut was his collection of short stories entitled Athens Nights (Афинские ночи), published in 2000. Since then, Senchin has written many works, including The Yeltyshevs (Елтышевы), published in 2009 and translated into several languages. His works are widely commented on, discussed, analyzed, and interpreted not only by Russian literary scholars, critics, and commentators of Russian cultural life, but also by Polish researchers investigating contemporary Russian literature. The article presents the views of literary critics and literary scholars concerning Senchin’s works, as well as reflections on their typical or dominant features. Despite widely differing points of view, Russian literary critics agree that Roman Senchin is the most pessimistic contemporary Russian writer.","PeriodicalId":53820,"journal":{"name":"Acta Neophilologica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43582492","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}
The study concerns the origin of anatomical term (os sacrum) in European languages. The occurrence of this term among European countries demonstrates an obvious dichotomy: on the one side, in European countries belonging to the Romance language group (the south and west of the continent) the Latin wording has been preserved, thus, on the other, in European countries lying to the north and east of Germany the peculiar tracing of the German language was used. The study provides further arguments for asserting that the intensity of synonymy in terminology may indicate the historical region of their origin.
{"title":"Gdzie się podziała kość „sakralna”? Uwagi na temat genezy terminów medycznych w językach europejskich","authors":"Siarhei Kandrychyn","doi":"10.31648/an.6617","DOIUrl":"https://doi.org/10.31648/an.6617","url":null,"abstract":"The study concerns the origin of anatomical term (os sacrum) in European languages. The occurrence of this term among European countries demonstrates an obvious dichotomy: on the one side, in European countries belonging to the Romance language group (the south and west of the continent) the Latin wording has been preserved, thus, on the other, in European countries lying to the north and east of Germany the peculiar tracing of the German language was used. The study provides further arguments for asserting that the intensity of synonymy in terminology may indicate the historical region of their origin.","PeriodicalId":53820,"journal":{"name":"Acta Neophilologica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47883717","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 : 2021-12-07DOI: 10.4312/an.54.1-2.123-137
E. Veremchuk
The paper reveals the moral code, extolled in the renowned Kipling’s poem “If” by means of cognitive interpretation. The author’s message containing his idea of moral code is unraveled in minimum meaningful spaces of the poem (usually one or two lines), which are analyzed in depth. Each space highlights the trajector features of character and the corresponding reference frames (domains), which serve as background for their understanding. The peculiarity of moral concepts consists in the fact that they are based on the evaluative component and therefore they form binary oppositions. The antagonist for the moral concept within such opposition serves as its benchmark, since the essence of a moral value is revealed only when it is contrasted to its opposite, therefore the paper makes an attempt of alignment trajector domains with the benchmarks. In order to delve into the Kipling’s understanding of moral code the distinguished ethical values were arranged in the form of field model. The nucleus of the model comprises most frequently actualized values from the moral code, while periphery includes values with lower rate of actualization. Along with cognitive analyses of Kipling’s moral doctrine the paper highlights the peculiarities of poetic narration, which include abstract dictum, use of subjunctive mood and symbolism. Particular attention is also paid to the use of personification and metaphor.
{"title":"Moral Code of a Person","authors":"E. Veremchuk","doi":"10.4312/an.54.1-2.123-137","DOIUrl":"https://doi.org/10.4312/an.54.1-2.123-137","url":null,"abstract":"The paper reveals the moral code, extolled in the renowned Kipling’s poem “If” by means of cognitive interpretation. The author’s message containing his idea of moral code is unraveled in minimum meaningful spaces of the poem (usually one or two lines), which are analyzed in depth. Each space highlights the trajector features of character and the corresponding reference frames (domains), which serve as background for their understanding. The peculiarity of moral concepts consists in the fact that they are based on the evaluative component and therefore they form binary oppositions. The antagonist for the moral concept within such opposition serves as its benchmark, since the essence of a moral value is revealed only when it is contrasted to its opposite, therefore the paper makes an attempt of alignment trajector domains with the benchmarks. In order to delve into the Kipling’s understanding of moral code the distinguished ethical values were arranged in the form of field model. The nucleus of the model comprises most frequently actualized values from the moral code, while periphery includes values with lower rate of actualization. Along with cognitive analyses of Kipling’s moral doctrine the paper highlights the peculiarities of poetic narration, which include abstract dictum, use of subjunctive mood and symbolism. Particular attention is also paid to the use of personification and metaphor.","PeriodicalId":53820,"journal":{"name":"Acta Neophilologica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43973617","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}
The article discusses James McAuley’s translations of the poems by the Austrian poet Georg Trakl (1887-1914), as well as the latter’s influence on McAuley’s own late verse in Music Late at Night: Poems 1970-1973. This is especially true of Trakl’s collection of verse Music in the Mirabell Garden translated by McAuley. Some of James McAuley’s early and later work also bears an indelible stamp of Trakl’s poetry.
{"title":"James McAuley’s Verse Collection Music Late At Night: Poems 1970-1973 and Georg Trakl’s Poetry","authors":"I. Maver","doi":"10.4312/an.54.1-2.15-32","DOIUrl":"https://doi.org/10.4312/an.54.1-2.15-32","url":null,"abstract":"The article discusses James McAuley’s translations of the poems by the Austrian poet Georg Trakl (1887-1914), as well as the latter’s influence on McAuley’s own late verse in Music Late at Night: Poems 1970-1973. This is especially true of Trakl’s collection of verse Music in the Mirabell Garden translated by McAuley. Some of James McAuley’s early and later work also bears an indelible stamp of Trakl’s poetry.\u0000 ","PeriodicalId":53820,"journal":{"name":"Acta Neophilologica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42286460","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}
The paper uses keyword analysis as the empirical basis for the characterization of Shakespeare’s character Iago from Othello, the Moor of Venice. The aim of the paper is to determine how Iago’s manner of speech reflects his deceitful and manipulative nature and how it differs from the speech-styles of non-deceitful prominent characters: Othello, Cassio, Roderigo, Desdemona and Emilia. Keywords for the chosen characters are based on the corpora of character speech and the Sketch Engine tool is used to process the data. The results are then interpreted and discussed on the basis of six interconnected points of discussion: focus, adjectives, use of the expression Moor, references to the handkerchief, poisoning-the-ears technique, and pronouns, all of which confirm that Iago’s manipulative nature is indeed evident in his speech and that there is a clear difference between his speech-style and the speech-styles of other, non-deceitful, prominent characters.
{"title":"“I am not what I am”","authors":"Teja Furlan, Monika Kavalir","doi":"10.4312/an.54.1-2.69-86","DOIUrl":"https://doi.org/10.4312/an.54.1-2.69-86","url":null,"abstract":"The paper uses keyword analysis as the empirical basis for the characterization of Shakespeare’s character Iago from Othello, the Moor of Venice. The aim of the paper is to determine how Iago’s manner of speech reflects his deceitful and manipulative nature and how it differs from the speech-styles of non-deceitful prominent characters: Othello, Cassio, Roderigo, Desdemona and Emilia. Keywords for the chosen characters are based on the corpora of character speech and the Sketch Engine tool is used to process the data. The results are then interpreted and discussed on the basis of six interconnected points of discussion: focus, adjectives, use of the expression Moor, references to the handkerchief, poisoning-the-ears technique, and pronouns, all of which confirm that Iago’s manipulative nature is indeed evident in his speech and that there is a clear difference between his speech-style and the speech-styles of other, non-deceitful, prominent characters.","PeriodicalId":53820,"journal":{"name":"Acta Neophilologica","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45141938","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 : 2021-12-07DOI: 10.4312/an.54.1-2.179-196
Dana Božič
Nella prefazione all’edizione italiana del Rosso e il nero di Stendhal (1913), Massimo Bontempelli (1878-1960), il traduttore del romanzo, presenta alcune sue opinioni relative al necessario rinnovamento culturale e letterario che costituirà poi il suo Novecentismo, difeso nella rivista letteraria “900” (1926-1927). Il presente articolo esplora come Bontempelli, attraverso le osservazioni sulla vita di Stendhal e la tragica esperienza di Julien Sorel, traccia un parallelo implicito con il proprio momento storico, considerando il ruolo dello spirito rivoluzionario delle avanguardie in tale rinnovamento. Tuttavia, implica anche che ciò debba essere controbilanciato dall’idea classica di arte e letteratura, dove la tradizione è vista come un’intima e profonda continuità tra manifestazioni di inaspettata novità. Anche se Bontempelli simpatizzerà in seguito con il Futurismo italiano, è proprio tale equilibrio che rende la sua proposta culturale e letteraria per la “Terza Epoca”, il Novecentismo, unica nel panorama letterario italiano. Questo saggio considera i suoi scritti del 1913 nel contesto della società di massa emergente, e quindi gli aggiustamenti editoriali e linguistici che furono necessari per l’edizione, e li paragona contemporaneamente alle riflessioni bontempelliane fatte sul tema negli anni a seguire.
{"title":"Massimo Bontempelli (1878-1960) lettore di Stendhal e il pubblico della società di massa alle soglie della Terza epoca","authors":"Dana Božič","doi":"10.4312/an.54.1-2.179-196","DOIUrl":"https://doi.org/10.4312/an.54.1-2.179-196","url":null,"abstract":"Nella prefazione all’edizione italiana del Rosso e il nero di Stendhal (1913), Massimo Bontempelli (1878-1960), il traduttore del romanzo, presenta alcune sue opinioni relative al necessario rinnovamento culturale e letterario che costituirà poi il suo Novecentismo, difeso nella rivista letteraria “900” (1926-1927). Il presente articolo esplora come Bontempelli, attraverso le osservazioni sulla vita di Stendhal e la tragica esperienza di Julien Sorel, traccia un parallelo implicito con il proprio momento storico, considerando il ruolo dello spirito rivoluzionario delle avanguardie in tale rinnovamento. Tuttavia, implica anche che ciò debba essere controbilanciato dall’idea classica di arte e letteratura, dove la tradizione è vista come un’intima e profonda continuità tra manifestazioni di inaspettata novità. Anche se Bontempelli simpatizzerà in seguito con il Futurismo italiano, è proprio tale equilibrio che rende la sua proposta culturale e letteraria per la “Terza Epoca”, il Novecentismo, unica nel panorama letterario italiano. Questo saggio considera i suoi scritti del 1913 nel contesto della società di massa emergente, e quindi gli aggiustamenti editoriali e linguistici che furono necessari per l’edizione, e li paragona contemporaneamente alle riflessioni bontempelliane fatte sul tema negli anni a seguire.","PeriodicalId":53820,"journal":{"name":"Acta Neophilologica","volume":"23 1","pages":"179-196"},"PeriodicalIF":0.3,"publicationDate":"2021-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138540166","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}
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