Gustaw „Gamaston” Kamieński i Stanisław Graybner – dwaj ostatni debiutanci z kręgu Szkoły Głównej Warszawskiej. Drogi życia i literatury

2021 ◽  
Vol 49 (4) ◽  
pp. 119-151
Author(s):  
Marek Grajek
Keyword(s):  
Literary Work ◽  
Life Choices ◽  
Literary Genres ◽  
Press Criticism ◽  
Literary Period ◽  
As If

In the article, there have been portrayed silhouettes of the two Main School of Warsaw alumni, who were the last to debut as the men of letters – Gustaw “Gamaston” Kamieński and Stanisław Graybner. The author pictures life choices as well as writing selections of the writers who had studied amongst the positivistic exemplars, however, their first literary work was published on the eve of the Young Poland period, thus their careers represent this exact literary period. The novelty of the article is that so far in the literary researches their names have been completely left out. According to press criticism dated on the turn of the 19th and 20th centuries, the author proves that the late debuts did not help the aforementioned writers – even though they specialized in different literary genres (Kamieński in prose, Graybner in drama) they both created their work as if on the literary margins of the Young Poland period. Although their first work raised attention and the favor of receivers, the next ones brought only failures most of the time. 

scholarly journals The Popularity of The Wattpad Application in Increasing Millennial Generation’s Literacy Through Literary Works.

2022 ◽  
Author(s):  
Aidatul Fitriyah ◽  
Risa Febriani Aulia Nisa' ◽  
Moses Glorino Rumambo Pandin
Keyword(s):  
Quantitative Methods ◽  
Technological Development ◽  
Literary Work ◽  
Vital Role ◽  
Literary Works ◽  
Literary Genres ◽  
Survey Results ◽  
Age Range ◽  
Quantitative And Qualitative Methods ◽  
Limited Scope

Background: Nowadays, people's enthusiasm for reading literature is getting lower. On the other hand, we can use technological development to look for literary works. Purpose: Based on this problem, researchers are interested in researching how Wattpad applications can increase literacy in literary work. Method: Researchers use quantitative and qualitative methods. Quantitative methods through surveys online, and the resulting population consists of 75 respondents from the millennial generation. The sample criteria in this study were Wattpad users with an age range ranging from 13 years to 25 years. Then, researchers used interview methods using 15 informants to strengthen survey results online. Result: Wattpad is a platform that provides literary work. It helps the reader to access the story freely. This application offers many variations of literary genres. Wattpad has a function to entertain and give knowledge through stories supplied by authors. It shows that Wattpad has a vital role in increasing literary interest, especially millennials. Recommendation: This research should be carried out long before the due date. But, this incident is out of reach for researchers because we have to prepare anything before doing research. Furthermore, sampling that is used must have more limited scope to get specific result data. For example, we use sample respondents from East Java residents. Limitation: This research has limited research time to meet the expected number of respondents. The source data is from a user Wattpad range between 13 and 25 years old.

scholarly journals Translating Semiotic “Polyphony” of Texts as a Culture-Formative Creation

Tertium ◽  
2021 ◽  
Vol 6 (2) ◽  
pp. 158-169
Author(s):  
Caterina Squillace
Keyword(s):  
Social Life ◽  
Western Europe ◽  
Meaning Making ◽  
Literary Work ◽  
The Novel ◽  
Literary Genres ◽  
Melting Pot ◽  
The Social ◽  
Roman Jakobson ◽  
The Master And Margarita

“The Master and Margarita” is generally considered Mikhail Bulgakov’s literary masterpiece. It is a “melting pot” of literary genres, motives, themes, imagery and intertextual references. All these elements cooperate in creating a “polyphonic” novel, in Bakhtin’s sense of the word, not only when it comes to the different nature and “voice” of single characters but also with reference to the “poly-structured” construction of the text itself. The paper will illustrate the peculiarity of Bulgakov’s novel and the semiotic and semiosic character of his creation. The adjective “semiosic” derives from “semiosis” as defined, among others, by C.S. Peirce, who stresses the meaning-making “power” of some semiotic processes. The paper aims also at answering the question why this novel has been translated several times into Polish and Italian since 1967 (when the first edition of the novel was published in Western Europe). Due to the very specific construction of the plot and of the formal aspects of the novel, translators had to deal with a significant number of problems of “untranslatability” that they could solve only by using their creative potential. It was Roman Jakobson who through his linguistic analysis reached the conclusion that for the untranslatable—poetry for example—“Only creative transposition is possible”. Using creativity translators were also able to discover further interpretations of Bulgakov’s literary work and to perform a culture-formative act as their efforts offer new points of view on reality and its perception, wider knowledge of the social life not only in Soviet times but in a more universal perspective as well as new models of text and literariness. That’s why a novel like Bulgakov’s masterpiece has been translated so many times and it is still translated in the two languages selected for the purposes of this research and all over the world. And this is also the reason why it can be considered a meaning-generative and culture-formative text even if its first edition appeared in 1940.  

scholarly journals The original and its translation from the reader's perspective

1989 ◽  
Vol 22 ◽  
pp. 61-68
Author(s):  
Meta Grosman
Keyword(s):  
Literary Work ◽  
Literary Translation ◽  
Pedagogical Approach ◽  
Ample Evidence ◽  
Critical Awareness ◽  
Tacit Assumption ◽  
As If

To claim that the readers' experience of a literary work in translation is different from their experience of the original at first seems very paradoxical and even heretical. Such a statement is so unexpected simply because we always think of the original and its translation as being the same literary work without paying any attention to their different concre­ tizations on the part of their readers due to textual differences. This tacit assumption of their sameness seems totally unaffected by the fact that we never think of the original and its translation as representing the same text; on the contrary, we always take it for granted that they are two different texts in two different languages. The differences between the two texts and the differentness of the translation are never lost sight of in the discussion of the qualities and adequacy of the translation. When it comes to criticizing the literary work or teaching it, however, the translation is tacitly assumed to be identical with the original and approached as if it were the original, with little or no critical awareness of the fundamental textual and other possible differences. This critical and pedagogical approach to literary translation seems to be almost immune to the growing awareness of the importance of the textual elements, to an increasing body of research concerning their impact on the reader, and to the ample evidence about various inadequacies of literary translations, revealed especially by the processes of retranslation and thus visible in all works that exist in several translations. This approach also takes little if any notice of the overall tendency of the translation to assimilate the original to the receptor culture, to simplify and sometimes also to reduce the original.

scholarly journals ¿Es la ópera un género literario?

2011 ◽  
pp. 609
Author(s):  
Juan Carlos Pueo
Keyword(s):  
Literary Theory ◽  
Literary Work ◽  
Genre Theory ◽  
Specific Form ◽  
Literary Genre ◽  
Literary Genres ◽  
Semiotic Systems ◽  
Physical Presence ◽  
Language And Music

La ópera se considera comúnmente un género musical, pero su estatuto literario parece ser más bien dudoso. La intención de este artículo es poner en claro esta cuestión, tomando como referencia la teoría de los géneros literarios, la teoría teatral y la semiótica musical. La teoría literaria debe tener en cuenta la especificidad de ciertos géneros literarios cuya recepción ha sido destinada a ser acompañada por la música. Los géneros teatrales se definen por la presencia física de uno o más actores que representan sus personajes ante un público, de forma que dichos géneros pueden clasificarse por emplear o no el lenguaje y/o la música: esto significa que la ópera ocupa un lugar en la clasificación de los géneros literarios por su conjunción de lenguaje y música. Esta conjunción no es mera yuxtaposición, ha de ser pensada como simbiosis entre dos sistemas semióticos que colaboran para producir una forma específica de obra literario-musical que ha de considerarse un género literario y teatral con características especiales. Opera is generally considered a musical genre, but its literary statute seems to be rather uncertain. The aim of this article is to clarify this subject, taking as reference literary genre theory, theatrical theory and musical semiotics. Literary theory must take into consideration the specificity of certain literary genres whose reception is intended to be accompanied by music. Theatrical genres defines themselves by the physical presence of one o more actors that impersonate some characters for an audience, so this genres can be classified by the use or the disuse of language and/or music: this means that opera occupies a place in the classification of literary genres because of its conjunction of language and music. This conjunction is not mere yuxtaposition, it has to be thought as a symbiosis between two semiotic systems that collaborate to produce an specific form of musical-literary work that must be considered a literary and theatrical genre with special characteristics.

Epic and Romance

2011 ◽  
Author(s):  
Dennis Looney
Keyword(s):  
Early Modern ◽  
Early Modern Period ◽  
Literary Work ◽  
Literary Form ◽  
Classical Antiquity ◽  
Contemporary Culture ◽  
Literary Genres ◽  
Modern Period ◽  
Arthurian Romances ◽  
Classical Epic

Epic and romance are distinct literary genres that poets combine in some of the most effective narrative poems of the early modern period, such as Ariosto’s Orlando Furioso and Spenser’s The Faerie Queene. Critics refer to these sorts of poems variously as “romance” or “romantic epics” or “epic romances” or “chivalric epics” or “heroic poems,” with each designation emphasizing a slightly different part of, or way of looking at, the hybrid literary form. To simplify greatly, one might say that the focus of epic is war, whereas that of romance is love. Renaissance rewritings of epic often include catalogues of armies, elaborate battles, extended similes, and funeral games; in addition to love, romance narratives tend to focus on adventure, magic, disguise, and flight. The primary goal of Renaissance humanism, the pedagogical movement that began in Italy in the 14th century and spread out from there over the following centuries, was the revitalization of contemporary culture through the recuperation of antiquity. Classical epic was a genre that humanistically inspired poets were eager to adapt to modern literary culture to establish the value of their own respective vernacular traditions. Canonical models like Homer and Vergil, as well as more adversarial and disputed ones, such as Ovid, Lucan, and Statius, served well. There is a tradition of prose romances in antiquity, and there are many romance-like passages in classical epic, but when critics speak of the romance tradition that a poet like Ariosto used, they generally mean Arthurian romances or the “matter of Britain.”This was a vast body of work codified in literary form by Chrétien de Troyes in the 12th century, which was the inspiration for numerous romance works, prose and poetry, in different vernaculars from the medieval through the early modern period. The combination of epic and romance conventions and themes into a single literary work, then, is a fusion of elements of classical antiquity and literary medieval culture.

scholarly journals Baśń i romans w ujęciu antropologii literatury. Życzeniowe myślenie o rzeczywistości jako źródło podobieństw między gatunkami

2021 ◽  
Vol 26 ◽  
pp. 51-62
Author(s):  
Kamila Żukowska
Keyword(s):  
Comparative Analysis ◽  
Conceptual Framework ◽  
Building Block ◽  
Literary Work ◽  
Natural World ◽  
Literary Genres ◽  
The World ◽  
Northrop Frye ◽  
Wolfgang Iser

The aim of the paper is to analyse, within the paradigm of literary anthropology, the similarities between two literary genres: romance and tale. According to the assumptions provided by Wolfgang Iser and Northrop Frye the article considers fiction — taken as a building block of literature — the linguistic reflection of the natural world, and at the same time, the conceptual framework for the archetypes appearing in the literary work. What, in Frye’s view, both genres have in common is that they present the described world in the mode of comedy, essential to which is that an individual prevails by creating the new reality around him. The comparative analysis of both tale and romance allows one to discover the internal mechanisms of archetypes, which form the intrinsic “logic” of the world given in the literary work.

ON THE ISSUE OF TRANSLATING AN ESSAY

2020 ◽  
Vol 2020 (31) ◽  
pp. 264-277
Author(s):  
Svitlana Maslova
Keyword(s):  
Literary Work ◽  
Target Language ◽  
Conceptual System ◽  
Original Text ◽  
Source Text ◽  
Literary Genres ◽  
Complex Sentences ◽  
Definition Of ◽  
The Individual ◽  
Rhetorical Questions

The choice of an essay as the object of analysis presents significant difficulties for the researcher, since even the definition of the genre in the theory of literature is still not set; there is no integral concept of the genre, the views of literary scholars on essays are extremely contradictory. Unlike existing theoretical and practical studies on various literary genres, the essay seems to be an insufficiently studied object of analysis in the linguistic and translation perspectives, which determines the relevance of the paper. The objective of the study is to determine the features of the translation of a publicist essay on the example of the translation of the literary work of I. Brodsky “Reflection on a Spawn of Hell” from Russian into English. To achieve this objective, the following tasks are to be solved: 1) to identify the main stylistic features of the essay by I. Brodsky; 2) to determine the specifics of its translation into English. The dominant function of the essay is the influencing one. It is implemented by referring to the emotional-figurative way of the addressee’s perception of the world. The stylistic features of I. Brodsky’s publicist essay, characterizing it as a resource of stylistic expressiveness, fully agree with the influencing function of the type of the text under study: syntactic constructions with inverted word order, rhetorical questions, quotations, complex sentences with a number of homogeneous members, elliptical constructions, gradation, stylistically coloured vocabulary, a combination of stylistically reduced and colloquial vocabulary aimed at achieving maximum expressiveness. The translator renders the stylistic features of the source text by selecting functional analogues in the target language. Difficulties arise when reproducing the cultural realities of the original linguistic culture. The appellative type of the text, which an essay is, requires significant linguocultural adaptation of the realities of the source language to the socio-cultural background of the target language. The translation under study tends to reproduce only the outer shell of definite lexemes and phrases, which are bearers of factual information and have a significant pragmatic potential in the original text. Despite the complexity and cultural richness of the text itself, with its specific words and conceptual system, the translator does not fully pragmatically adapt the significant elements of the source text, which affects the adequacy of its translation. In our opinion, translation errors prevent reproduction of the author’s communicative intentions in full. We consider the prospects for further developments in the expansion of research materials in order to obtain general conclusions regarding the peculiarities of the translation of an essay as a genre and the specifics of rendering the individual author’s style in translation.

Music in The Architect of Ruins, a postmodern novel by Herbert Rosendorfer

2019 ◽  
Vol 1 (11) ◽  
pp. 155-164
Author(s):  
Agnieszka Roguska
Keyword(s):  
Literary Work ◽  
Literary Texts ◽  
The Novel ◽  
The Past ◽  
Don Giovanni ◽  
Postmodern Novel ◽  
Music Piece ◽  
Construction Pattern ◽  
Musical Elements ◽  
As If

Herbert Rosendorfer’s work entitled The Architect of Ruins fits in the postmodern novel trend. Its connections with culture texts include references to literary texts and music pieces. The most important references of the first type seem to be the ones to Jan Potocki’s novel The Saragossa Manuscript. The existence of music compositions in the novel by Rosendorfer, a witter and a musicologist in one person, functions on a number of levels. Here it is worth to mention the concept coined by the Polish scholar Michał Głowiński according to which music may appear in a novel on three levels – when it is an element of the plot, when it constitutes a topic by itself, and when the work of music referred to acquires a symbolic dimension in the context of a music piece. These three literary situations can easily be found in Rosendorfer’s book. What is particularly important and interesting, however, is applying a construction pattern taken from the field of music in a literary work. Such a possibility, i.e., musical elements functioning in in a literary piece, is described in Andrzej Hejmej’s Musicality of a Literary Work. In The Architect of Ruins construction references fit in the specificity of a postmodern novel: as stated by Magdalena Janoszka, Potocki’s The Saragossa Manuscript, which was an important inspiration for Rosendorfer, should be classified as a polyphonic novel. According to Bachtin’s concept, a word does not a exist in an isolated and independent way, but it is an answer to other words written in the past. As a writer and musicologist, Rosendorfer skilfully moves in the field of references to music and literary works – e.g. Mozart’s Don Giovanni and the literary thread of Giacomo Casanova’s Memoirs. In his book, the Austrian writer presents the profiles of musicians – a virtuoso (whom music lovers are desperate to hear live – in vain), an organist performing a truly postmodern Musiquiana, and a vampiric composer stealing every new composition written by his student. This way, in The Architect of Ruins music becomes the material with which the author of the novel co-creates his work as if with literary motifs.

scholarly journals O estatuto do narrador e da matéria narrada no Satyricon de Petrônio

2010 ◽  
Vol 5 ◽  
pp. 83-91
Author(s):  
Sandra Maria Gualberto Braga Bianchet
Keyword(s):  
Literary Work ◽  
First Century ◽  
First Person ◽  
Literary Genres

The Satyricon of Petronius (first century a.D.) is taken as a literary work of which there is no precedent; compared to all other known works produced up to its time, it has unique characteristics. Nevertheless it reshapes many literary genres, either in prose or in verse, by means of parody, and restates a new way of making fiction: independent from inspiration by Muses, dependent on first-person narrator. It is intended here to focus on some traces of this new modus narrandi found in Petronius’ Satyricon.   

scholarly journals Utwór literacki jako dzieło sztuki (na podstawie wybranych dyskusji publicznych, odnotowanych w polskich czasopismach po 1989 roku)

2011 ◽  
Vol 10 (1) ◽  
pp. 43
Author(s):  
Bernadetta Kuczera-Chachulska
Keyword(s):  
Social Media ◽  
Literary Work ◽  
Literary Text ◽  
Social Discourse ◽  
As If

Literary work as a piece of art (based on selected public discussions  as noted down in polish magazines after 1989)In the sketch the author raises the issue concerning the presence of a literary text in the contemporary social-media consciousness.  At the outset the author draws two poles: the elite and egalitarian one, then, she passes to analysing public discourses which took place in the last century in cultural periodicals (“Znak”, “Tygodnik Powszechny”). One of the crucial conclusions of her observations is the judgement according to which a literary masterpiece has been in the last centuries as if less a piece of art and become more a place of exchanging a thought and social discourse. 

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