Studia Romanica Posnaniensia, 2014, vol. 41, nr 2
Permanent URI for this collectionhttps://repozytorium.amu.edu.pl/handle/10593/8831
Studii de românistică: perspective integratoare (red. nauk. Tomasz Cychnerski)
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Item Les stratégies d’adaptation de quelques tragédies de Pierre Corneille dans le courant classiciste en Pologne (XVIIIe et XIXe siècles)(Wydawnictwo Naukowe UAM, 2014-06-30) Bajer, MichałThe study discusses general rules of transforming Pierre Corneille’s texts in the transposition process, so as to fit the linguistic and cultural context of Polish classicism. The analysis concerns translations and adaptations following the first reception period of Corneille’s works in seventeenth-century Poland. These include: “Otto” by Stanisław Konarski, “Herakliusz” by Tomasz Aleksandrowicz from the years 1744-1749 (the second Polish reception period of Corneille’s works), “Cynna” by Franciszek Godlewski, as well as “Cynna” and “Horacjusze” by Ludwik Osiński from the years 1802-1808 (the third reception period). In the 18th century, the strategy of emphasizing didactic elements of texts is dominant. In 19th century, the authors strengthen suspense and the element of surprise; Aleksandrowicz uses prose and Osiński simplifies classical rhetoric. All of the translators share the ambition of enriching the Polish language and creating the tragic canon.Item 50 de ani fără Dumnezeu: Apocalipsa şi apocriful în „Un singur cer deasupra lor” al Ruxandrei Cesereanu(Wydawnictwo Naukowe UAM, 2014-06-30) Tórz, MartaThis paper proposes the reading of Ruxandra Ceseranu’s novel Un singur cer deasupra lor as a modern apocrypha presenting a historiosophic vision of Romania’s fate in the second half of the 20th century with the use of apocalyptic themes and symbolic imagery. The analysis consists of tracing references to the Book of Revelation which is a key element to the interpretation of the novel, and to other biblical books and themes. The analysis is supplemented with an attempt at describing the most significant archetypical and cultural symbols, and the remnants of bygone traditions that provide the second reading to those historically-grounded stories. References to folk tales based on Christian imaginary world further strengthen the proposition of the apocryphal nature of the work. The additional argument supporting my thesis is the polyphonic and multilayer structure of the novel that combines subjective visions and mythical interpretations with the factual layer, and the use of palimpsest technique consisting of interweaving texts of other authors into the main narration. The paper does not address the question of the conformity of the literary vision with the source documents and historical prototypes of certain episodes and persons. Those matters were partly commented on by the author in the afterword.Item Motivul muzicii şi al mării în proza lui Anton Holban(Wydawnictwo Naukowe UAM, 2014-06-30) Teodorowicz, JustynaThe purpose of the present article is to discuss two literary motifs that can be traced throughout Anton Holban’s prose works: music and the sea. Holban, who wrote also music reviews for newspapers, had a genuine passion for music, which is reflected in his novels and short stories. Music appears in Holban’s literature as the highest form of artistic expression, and, at the same time, as a special and unique code used by lovers to communicate with each other, which isolates them from other people. Music seems to be more important than a relationship with a woman and even than literary creation. It may become an obsession. Listening to music in solitude gives the narrator an opportunity to explore his inner world and to be himself. The sea means much more than a landscape in Holban’s works. Like music, it has a symbolic dimension, being for the protagonists a source of extatic, almost mistic experience, as well as a witness to their deepest and most intimate feelings. From philosophical point of view, the sea means infinity, eternal movement and perfection.Item Manifestations de la mort dans deux recueils de nouvelles : « L’horizon bleu de la mort » de Marin Preda et « Geotenn ar Werhez » de Jakez Rioù(Wydawnictwo Naukowe UAM, 2014-06-30) Johnson, DiarmuidThis article offers a reading of two volumes of short stories, 'Geotenn ar Werhez' by Breton author Jakez Rioù (1899-1937) and 'L’horizon bleu de la mort' by the Romanian Marin Preda. Both works describe traditional agrarian societies, one in western the other in eastern Europe, in the early to mid-twentieth century. We examine here attitudes to death and manifestations of death in Rioù’s and Preda’s writing. The thrust of the article is to suggest that these works provide rare insights into rural life in Europe before the advent of mechanisation. This leads us to consider litterature in the Celtic languages, Breton in this instance, and Romanian, as a primary sources for evidence of aspects of European culture little documented in the metropolitan traditions of other languages. Rioù’s text is translated by Youenn Drezen, Preda’s by Micaela Slăvescu.Item Poveste din poveste sau despre cercurile narative ale vieţii şi ale morţii din „Cartea şoaptelor” de Varujan Vosganian(Wydawnictwo Naukowe UAM, 2014-06-30) Ivancu, EmiliaThe present article considers the symbolical values of the circle in the novel Cartea șoaptelor (The Book of Whispers) by Varujan Vosganian from a hermeneutical point of view (Gilbert Durand, Jean Chevalier and Alain Gheerbrant). Moreover, from a spatial perspective, the circles of death are regarded as a double spiral, negative and positive, and the passage of characters such as Yusuf through this double spiral is the equivalent of a symbolical death and a resurrection in a new form. Moreover, taking over Paul Ricoeur’s idea (Memory, History, Forgetting) of a text being considered a sepulchre for the absents of history (Michel de Certeau), the text of The Book of Whispers is regarded and analysed as a text of the voice of those who have disappeared and died without their story being known. The roundness of character and ultimately that of transcending sufferance that the novel incorporates is rendered exactly by these circle-stories and by their polyphony.Item Pe marginea fenomenului polonez de avangardă în lumina revistei „Contimporanul”(Wydawnictwo Naukowe UAM, 2014-06-30) Hryhorowicz, ZdzisławThe present article is meant to offer a view of the avant-garde movement initiated by the Romanian avant-garde journal Contimporanul at the beginning of last century with regard to the Polish echoes in its pages. Together with the artistic phenomena quoted by the editors of journal, in order to offer a complete range of data, we intend to present to the Romanian public an accurate image of the Polish literary and artistic phenomenon.Item Cazul Urmuz din perspectiva esteticii grotescului(Wydawnictwo Naukowe UAM, 2014-06-30) Cofan, AluniţaWe are trying in the following phenomenological approach to go on with our description concerning the grotesque in Romanian literature. In the first part of our work, we will make a short and diachronic review of the most important writings belonging to Romanian authors from the XIX-th century till the first decade of the XX-th century. It is then when a mysterious and shy Romanian writer, called URMUZ, gave birth to a few but influential literary pages of the absurd and the grotesque. In the second part of our work we will analyze the distinguishing traits of his ten works of prose through the mirror of the grotesque. This ignored Romanian writer was baptized “a new Alfred Jarry”, although he never had heard about this French author and never read about Ubu. The hidden influence of Urmuz unknowingly modernized the concept of literarity.Item Preiotarea în limba română(Wydawnictwo Naukowe UAM, 2014-06-30) Klimkowski, TomaszThis paper analyses the phenomenon of preiotacisation in Romanian, which consists in the prothesis of a semi-consonant [j] before the initial [e]. In fact, this is only an orthographic convention, because in most cases (eu, ele, ești, e, este, eram) the initial [je] segment is a proper diphthong of different origins that is written e, instead of ie, like in other words. Preiotacisation appears only in the pronouns el, ei and in the Old Romanian pronunciation of some borrowed words. The [j]-prothesis cannot be separated from other types of prothesis attested in the spoken language. This tendency is parallel to the similar phenomenon from Slavic languages and possibly was developed under their influence.Item Sintagmatica morfonologică a radicalului flexionar nominal: tipuri de structură(Wydawnictwo Naukowe UAM, 2014-06-30) Cychnerski, TomaszThis paper presents the results of a detailed analysis of the Roumanian nominal inflectional root. Its aim is to describe the morphonological types of root and their syntagmatic relevance. In this way, seven relevant types of the nominal inflectional root are defined according to its final phonological segments: unmarked vowel root, /u/ root, unmarked consonant root, /j/ root, consonant+liquid consonant root, palatal consonant root and velar consonant root.Item Repere ale artei teatrale în cultura populară română(Wydawnictwo Naukowe UAM, 2014-06-30) Orian, GeorgetaThe paper aims to offer a synthetic perspective upon the dramatic genre in the Romanian folklore. We present several preliminary elements within a short historical account of the dramatic manifestations; afterwards we create an inventory of the forms of theatrical arts, following the first historical records, a description of the rituals and props in order to depict the folk syncretism and all its beauty. The working instruments are those offered by historiography and the methodology in the field as well as the ethnographic description. Although less consistent than the folk poetry or epic, folk theatre contributes to the complexity and flavour of Romanian folklore. The unseen mechanisms of syncretism have functioned and are still functioning, generating new forms of folk art. The laic and the religious, the traditional and the modern, the epic and the drama, the masks, the dances as well as the costumes and the props – all these contribute to the survival of this particular folk genre. Moreover, being the least discreet of all Romanian folk genres, the folk theatre represents also an element of attraction and cultural export nowadays.Item Intelectualul român în tranziţie. Poziţionări după 1989(Wydawnictwo Naukowe UAM, 2014-06-30) Ivancu, OvidiuThe present paper aims at analysing the trajectories of the Romanian intellectuals immediately after the Revolution in 1989, and the fall of Communism. During the Communist years, the term itself (intellectual) had been used with ideological connotations. The intellectual (as a social value) was discussed according to the Marxist ideology, taking into consideration his concrete usefulness and his contribution to the Communist society. Immediately after 1989, the fundamental dilemma faced by the Romanian intellectual represents the necessity of the implication of the intellectuals inside the society or, on the contrary, the isolation in an Ivory Tower of creation. The second challenge aimed at the necessity of synchronizing the Romanian elite with the European one; the topics for debate in Western and Eastern Europe during the Cold War were fundamentally different. The purpose of this paper is to analyse the influence and the commitment of the Romanian intellectuals in reshaping the Post-Communist Romanian society.