121 research outputs found
En Pologne c'est-Ă -dire Quelque part. Le fonctionnement culturel d'une traduction (Jarry - Boy - Szulkin).
L'article présente le fonctionnement culturel d'une traduction sur l'exemple de la piÚce d'Alfred Jarry "Ubu Roi", traduite en polonais par Tadeusz Boy-Zelenski dans les années 1930, et adoptée parfaitement par la culture polonaise, donnant nombre d'inspirations artistiques, parmi lesquelles le film de Piotr Szulkin "Krol Ubu", réalisé en 2003. L'étude interroge le rÎle de la traduction dans la réception de l'oeuvre, en partant des petites unités lexicales jusqu'au style général adopté.Artykul poswiecony jest badaniu roli tlumaczenia w przyswajaniu obcego tekstu kultury, na przykladzie sztuki "Krol Ubu" Alfreda Jarry'ego, przetlumaczonej w latach 1930 przez Tadeusza Boya-Zelenskiego, ktora zainspirowala licznych polskich artystow, a wsrod nich rezysera Piotra Szulkina ("Krol Ubu" z 2003 r.). Styl przekladu Boya, a przede wszystkim jego wybory leksykalne, w znaczacy sposob wplynely na odbior dziela Jarry'ego w polskiej kulturze
Une ThĂ©orie RĂ©surgente: LâAfricitas
The africitas theory, for which Einar Löfstedt wrote in 1959 that: âit constituted only merely a historical significance", nevertheless enjoys currently a militant resurgence, in particular clarified from a rereading of Apuleius. Our communication aims to achieve two objectives: 1) To attempt, with the insight of over a century, an update, taking into account the scientific, historical, linguistic achievement involved in the establishment of this theory: nature of the corpus; research methods; regional diversification of Latin; linguistic state of roman Africa; sermo cotidianus and cultural languages; ideological presuppositions. 2) To evaluate the theoretical and methodological relevance of the theses supported by the contemporary supporters of a revivified africitas
La parodie de la longue durĂ©e : lâHistoire vue par Kazimierz Brandys (âVariations postalesâ, 1972) et Andrzej Bart (âRien ne va plusâ, 1991)
A PARODY OF THE LONGUE DURĂE: HISTORY SEEN THROUGH THE EYES OF KAZIMIERZ BRANDYS (WARIACJE POCZTOWE, 1972) [POSTAL VARIATIONS] AND ANDRZEJ BART (RIEN NE VA PLUS, 1991) The article offers a comparative study of two novels exploring in an ironic way two centuries of Polish history which shaped modern Polish identity: from the demise of the old Polish-Lithuanian Commonwealth to the 1968 political crisis and its consequences. The article focuses on how the two writers undermine the stereotypical martyrological version of history. Both aim to disrupt historical linearity: Brandys by inserting âsilenceâ between individual letters and by consciously detaching them from the most significant events (uprisings, wars), and Bart by presenting these events from the perspective of an ignorant, doubly limited by the painting which assumes the role of the narrator. Another motif that both novels have in common is that the Polish national hero (symbolic Konrad) is at all times accompanied, as if in the background, by a Jewish doppelganger. It is most significant that for both writers the year 1968 is a turning point marking the end of common Polish-Jewish history, perhaps even more so than the Holocaust. PARODIA DĆUGIEGO TRWANIA. HISTORIA WIDZIANA OCZAMI KAZIMIERZA BRANDYSA (WARIACJE POCZTOWE, 1972) I ANDRZEJA BARTA (RIEN NE VA PLUS, 1991) ArtykuĆ jest studium porĂłwnawczym dwĂłch powieĆci przedstawiajÄ
cych w sposĂłb ironiczny dwa wieki polskiej historii, stanowiÄ
cej do dziĆ o ksztaĆtowaniu siÄ polskiej toĆŒsamoĆci: poczynajÄ
c od koĆca dawnej Rzeczypospolitej, a koĆczÄ
c na wydarzeniach marcowych 1968 roku i ich konsekwencjach. Celem studium jest przyjrzenie siÄ metodom, jakimi posĆuguje siÄ kaĆŒdy z autorĂłw w walce ze stereotypowÄ
wizjÄ
martyrologicznej wersji historii. Obaj dÄ
ĆŒÄ
do rozerwania linearnoĆci historycznej â Brandys poprzez âciszÄâ pomiÄdzy poszczegĂłlnymi listami i Ćwiadome ich przesuniÄcie wobec wydarzeĆ znaczÄ
cych (powstania, wojny), Bart poprzez przedstawienie tych wydarzeĆ z perspektywy nic nierozumiejÄ
cego, w dwĂłjnasĂłb ograniczonego narratora-obrazu. Innym motywem, ĆÄ
czÄ
cym obie powieĆci, jest wprowadzenie, niejako na drugim planie, w cieniu polskiego bohatera narodowego (symbolicznego Konrada), towarzyszÄ
cego mu przez caĆy ten okres Ć»yda-sobowtĂłra. Fakt, ĆŒe punktem granicznym dla obu autorĂłw staje siÄ rok 1968, prawdziwy koniec tej wspĂłlnej historii, bardziej moĆŒe nawet niĆŒ sama ZagĆada, jest takĆŒe znaczÄ
cy
Nomades post-modernes ou les post-voyageurs ? La conception du voyage dans la fiction polonaise au début du xxie siÚcle : Olga Tokarczuk, Andrzej Stasiuk, Joanna Bator
Lâarticle propose dâanalyser sur lâexemple des trois prosateurs polonais et leurs livres Ă©crits au dĂ©but du xxie siĂšcle (Olga Tokarczuk, Les PĂ©rĂ©grins, 2007 ; Andrzej Stasiuk, LâOrient, 2014 ; Joanna Bator, LâĂle Larme, 2015) la posture du touriste et la vision du voyage comme mode de vie des hommes post-modernes. Se fondant sur la rĂ©flexion de Zygmunt Bauman contenue dans son livre Postmodernity and Its Discontents (New York University Press, 1997), nous proposons de rĂ©flĂ©chir sur le but du voyage, avec un rapport particulier au lieu et au temps, ainsi que sur lâidĂ©e que les voyages dâaujourdâhui ont nĂ©cessairement un caractĂšre de dĂ©placement sur les traces des voyageurs dâautrefois, ils laissent une empreinte, qui passe par le corps, un Ă©lĂ©ment indispensable pour dĂ©clencher lâĂ©criture et le travail de la mĂ©moire pour les trois Ă©crivains Ă©tudiĂ©s.Basing itself on the example of three Polish writers, and of their novels written in the early years of the 21th century (Olga Tokarczuk, Runners, 2007; Andrzej Stasiuk, East, 2014; Joanna Bator, Island of Tears, 2015), the article aims at analysing how the way of life of post-modern people builds on the pose as tourist and the vision of travelling. In reference to Zygmunt Baumanâs book Postmodernity and Its Discontents (âNew York University Press, 1997) we propose to reflect on the sense in traveling, which specifically links to time and space dimensions. We aim as well at reflecting on the idea that, for these three writers, today travels necessarily involve getting on ancient travellersâ trails, that they leave a trace, impact the body and are an essential item that triggers writing and memoryâs investigation
La transgression comme norme ?
Lâarticle propose une lecture de quelques textes de la culture polonaise en interrogeant leurs rapports aux canoniques AĂŻeux dâAdam Mickiewicz. Lâadaptation cinĂ©matographique de 1989 de Tadeusz Konwicki, la Lave, semble ĂȘtre un point dâorgue qui marque la fin de la longue durĂ©e du paradigme romantique. Il est de mĂȘme pour le roman de Jerzy Pilch, Liste des femmes adultĂšres (1993), qui sâinscrit dans cette mouvance que je qualifie dâĂ©pitaphe. Les auteurs reconnaissent le caractĂšre unique du romantisme et revendiquent le dĂ©passement de cette tradition. Cependant la sociĂ©tĂ© polonaise continue de nourrir lâimaginaire collectif des clichĂ©s formĂ©s Ă partir de lâĆuvre de Mickiewicz et pour pouvoir poser sa voix individuelle, il faut les combattre. Cette dĂ©marche passe par un jeu intertextuel complexe qui caractĂ©rise les romans de MichaĆ Witkowski, Lubiewo (2004), Dawid BieĆkowski, Blanc-rouge (2007) ainsi que deux voix au fĂ©minin de Sylwia Chutnik, Bambin (2009) et Joanna Bator, lâĂźle larme (2015).This article offers an interpretation of selected texts from contemporary Polish culture and explores their relationship with the canon of Polish romantic literature, Adam Mickiewiczâs âForefathersâ Eveâ. The movie adaptation realized in 1989 by Tadeusz Konwicki, âLavaâ, can be seen as the culmination point that marks the end of a long romantic paradigm. Same goes for Jerzy Pilchâs novel, âList of loversâ (1993), which fits the movement that I would qualify as âEpitapheâ. Writers, whilst acknowledging the unique nature of the romantic tradition, claim the right to go beyond it. However, Polish society keeps on feeding the collective mind with clichĂ©s from Mickiewicz work. To assert a new and unique writerâs voice, those clichĂ©s need to be fought. This approach necessitates a complex intertextual game, which characterizes the novels written by Witkowski, âLubiewoâ (2004) and BieĆkowski, âWhite-Redâ (2007). Those are joined by two female authors Sylwia Chutnik, âDiddumsâ (2009) and Joanna Bator, âThe Teardrop Islandâ (2015)
Glottodydaktyka kulturowa za granicÄ â kilka uwag z praktyki nauczania
The article is part of the considerations in the field of cultural glottodidactics presenting two examples of didactic practice at the University of Paris: a short story From Darkness (Pol. Z ciemnoĆci) by SĆawomir MroĆŒek and the film Day of the Wacko (Pol. DzieĆ Ćwira) by Marek Koterski. The description of work on these cultural texts aims to show interpretative possibilities, limited due to the specificity of foreign studies, to a narrow or broader context of historical and intertextual references. It shows what elements of Polish culture are indispensable when transferring knowledge about it.ArtykuĆ wpisuje siÄ w rozwaĆŒania z dziedziny glottodydaktyki kulturowej. Opisano dwa przykĆady praktyki dydaktycznej na Uniwersytecie Paryskim, oparte na analizie opowiadania Z ciemnoĆci SĆawomira MroĆŒka oraz filmu DzieĆ Ćwira w reĆŒyserii Marka Koterskiego. Opis pracy nad tymi tekstami kultury ma na celu pokazanie moĆŒliwoĆci interpretacyjnych, ograniczonych â ze wzglÄdu na specyfikÄ studiĂłw zagranicznych â do wÄ
skiego lub szerszego kontekstu odwoĆaĆ historycznych i intertekstualnych. Niniejsza propozycja ukazuje te elementy kultury polskiej, ktĂłre wydajÄ
siÄ kluczowe dla niej samej
Epitafia dla romantyzmu polskiego na przeĆomie lat 80. i 90. XX wieku
The article is about three texts of Polish culture (a 1989 film by Tadeusz Konwicki, A Tale of Adam Mickiewiczâs âForefathersâ Eve, based on Mickiewiczâs poem Dziady, and two novels: Rien ne va plus by Andrzej Bart, 1991 and List of the adulteresses. Travel prose by Jerzy Pilch, 1993) which seem to bid farewell to the long duration of Polish romanticism. The three works concur with Maria Janionâs thesis who heralded, in a democratic and independent Poland after the political changes of 1989, the twilight of the romantic paradigm as it had existed since the first half of the nineteenth century. A more detailed analysis of these cultural texts allows us to grasp the complexity and the ambiguity of the relationships that Konwicki, Bart and Pilch have with the romantic legacy.The article is about three texts of Polish culture (a 1989 film by Tadeusz Konwicki, A Tale of Adam Mickiewiczâs âForefathersâ Eve, based on Mickiewiczâs poem Dziady, and two novels: Rien ne va plus by Andrzej Bart, 1991 and List of the adulteresses. Travel prose by Jerzy Pilch, 1993) which seem to bid farewell to the long duration of Polish romanticism. The three works concur with Maria Janionâs thesis who heralded, in a democratic and independent Poland after the political changes of 1989, the twilight of the romantic paradigm as it had existed since the first half of the nineteenth century. A more detailed analysis of these cultural texts allows us to grasp the complexity and the ambiguity of the relationships that Konwicki, Bart and Pilch have with the romantic legacy
The noise-lovers: cultures of speech and sound in second-century Rome
This chapter provides an examination of an ideal of the âdeliberate speakerâ, who aims to reflect time, thought, and study in his speech. In the Roman Empire, words became a vital tool for creating and defending in-groups, and orators and authors in both Latin and Greek alleged, by contrast, that their enemies produced babbling noise rather than articulate speech. In this chapter, the ideal of the deliberate speaker is explored through the works of two very different contemporaries: the African-born Roman orator Fronto and the Syrian Christian apologist Tatian. Despite moving in very different circles, Fronto and Tatian both express their identity and authority through an expertise in words, in strikingly similar ways. The chapter ends with a call for scholars of the Roman Empire to create categories of analysis that move across different cultural and linguistic groups. If we do not, we risk merely replicating the parochialism and insularity of our sources.Accepted manuscrip
Droits de la dĂ©fense et advocatio ecclesiae devant les juridictions du haut Moyen-Ăge (ive-xiie siĂšcles)
Lorsquâon Ă©voque la justice Ă©piscopale au Haut Moyen Age, ce sont les termes de barbarie, de dĂ©cadence et dâeffondrement qui viennent Ă lâesprit. Et lâon explique souvent cet Ă©tat de fait par la dĂ©composition des cadres romains. Il est vrai quâune Ă©poque de bouleversements tels que ceux quâa connus la sĂ©quence des Ve-XIIe siĂšcles ne sâapprĂ©hende pas facilement et lâon est tentĂ© dâen retenir le rĂ©sultat le plus frappant : lâĂ©radication apparente de la culture juridique et de lâordre judiciaire..
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