Studia Romanica Posnaniensia, 2014, vol. 41, nr 2

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Studii de românistică: perspective integratoare (red. nauk. Tomasz Cychnerski)


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    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, Michał
    The 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.
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    50 de ani fără Dumnezeu: Apocalipsa şi apocriful în „Un singur cer deasupra lor” al Ruxandrei Cesereanu
    (Wydawnictwo Naukowe UAM, 2014-06-30) Tórz, Marta
    This 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.
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    Motivul muzicii şi al mării în proza lui Anton Holban
    (Wydawnictwo Naukowe UAM, 2014-06-30) Teodorowicz, Justyna
    The 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.
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    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, Diarmuid
    This 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.
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    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, Emilia
    The 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.