French cinematographic resonances of "Quo vadis" by Henryk Sienkiewicz

“Quo Vadis?” a famous narrative about the time of Nero, by the first Polish Nobel Prize winner, Henryk Sienkiewicz. It has attained phenomenal popularity all over the word. Very quickly the best-seller transposed and gradually gained all domains of cultural and artistic life. The article presents the French adaptations of Sienkiewicz’s novel to the screen. The author also wonders about the relationship among the novel and the first film versions of “Quo Vadis?” and whether the French movies were accessible to Polish viewersQuo vadis ?, le grand roman historique des temps néroniens de Henryk Sienkiewicz, le premier Prix Nobel polonais, a connu dans le monde entier une immense popularité. Ce succès de librairie est vite devenu une sorte de caisse de résonance et ses nombreuses transpositions ont envahi toutes les sphères de la vie culturelle et artistique. L’article présente les résonances cinématographiques françaises du roman sienkiewiczien. L’auteur s’interroge également sur le rapport unissant les premiers Quo vadis portés à l’écran et l’œuvre dont ils s’inspirent ainsi que sur la disponibilité de ces transpositions sur le territoire polonai

L’infinitif indépendant dans les actes directifs en face-à-face en polonais et ses équivalents fonctionnels français

This article discusses the Polish independent infinitive, which constitutes a predicate in imperative utterances, and its French functional equivalents. The analysis was conducted at two levels. In the first part, the author describes the independent infinitive in the Polish language referring to the Polish formal structural syntax (Saloni, Świdziński 2012). This is to determine which place is occupied by this unit in a sentence, both in relation to other uses of the infinitive and in comparison to other units with the function of a predicate in statements of the same modality. The French structural equivalent has been determined on the basis of the same criterion of syntax dependency. However, even though both languages have corresponding structures, they do not use them in the same way. Only in Polish it is possible to form sentences with infinitive predicates in the spoken language, in face-to-face conversation. What are the factors that favour choosing this form? The author answers this question in her semantic and pragmatic analysis, conducted in the methodological framework of speech act theory (Searle 1979, Vanderveken 1988). She presents imperatives as a class of speech acts, which are extensively developed and specifies those, which can be executed by means of utterances with infinitive predicates. Additionally, factors of social and psychological character have been taken into consideration, as those which favour selecting the discussed form. What structure constitutes its functional equivalent in the French language? An analysis of a body composed of examples originating primarily from dialogues in contemporary literary works and their approved translations has allowed, on the one hand, to confirm the intuitive belief that grammar forms perform this function, in face-to-face oral communication the French language has only the command mode forms (l’impératif in French). On the other hand, we can launch a discussion about possibilities to translate them into a language which does not allow for an analogous use of the available infinitive structure. Cette étude est consacrée à l’infinitif indépendant polonais, pivot des énoncés injonctifs, et à ses équivalents français. L’analyse s’effectue à deux niveaux. Dans un premier temps, l’auteure décrit la forme polonaise précitée dans le cadre méthodologique de la syntaxe formelle (Saloni et Świdziński 2012) afin de la comparer aux autres emplois de l’infinitif ainsi qu’aux autres verbes prédicats réservés à l’expression de la modalité injonctive. La forme française correspondante est dégagée par la suite selon un seul et même critère, celui de la dépendance syntaxique. Néanmoins, si les langues étudiées disposent toutes les deux d’un infinitif injonctif, elles n’en font pas le même usage. Seul le polonais y recourt à l’oral, dans des situations de face-à-face. Mais quels facteurs favorisent cet emploi ? L’auteure répond à cette question dans une analyse sémantico-pragmatique menée dans le cadre général de la théorie des actes de langage (Searle 1979, Vanderveken 1988). Elle y présente l’injonction en tant que ‘famille’ d’actes directifs et montre ceux qui peuvent être réalisés par un infinitif. Leur description prend également en compte les facteurs sociaux et psychologiques favorisant l’apparition de la forme étudiée. Quelle forme française apparaît le plus souvent dans les traductions du polonais en français ? L’analyse du corpus, constitué d’exemples tirés principalement des parties dialogales d’œuvres littéraires polonaises contemporaines et de leurs traductions françaises attestées, a permis, d’une part, de confirmer l’hypothèse que le français n’a pour équivalent fonctionnel (grammatical) que le mode impératif, et d’autre part, d’entamer une réflexion sur les possibilités de traduction dans une langue qui n’exploite pas dans les contextes analysés la structure équivalente

Teaching and learning contrastive grammar in Foreign Language Departments : the example of French and Polish demonstratives

In this article, the author, a lecturer and researcher in the Department of Foreign Languages at one Polish university, shares her teaching experience in contrastive French-Polish grammar. Having taken the utility of the subject for granted, she wonders about the appropriate program and bibliographic references. Using the example of one word class, the author shows that even where two languages have the same categories, there can be variation in terms of how they are used by speakers. This question is not emphasized enough in the available contrastive grammars.Dans cet article, à partir d’une classe de mots choisie, l’auteur partage son expérience d’enseignante-chercheuse chargée de cours de grammaire contrastive polono-française dans un département de langues étrangères d’une université polonaise. Tenant l’utilité de la matière pour acquise, elle s’interroge sur le contenu et les références bibliographiques à proposer. Elle montre que même si les deux langues disposent de formes comparables, l’usage qui en est fait n’est pas forcément identique ce que les ouvrages comparatifs disponibles ne mettent pas en avant

Le chien est sorti. Pies wyszedł / wychodził / był... Mais finalement où est-il ? Quelques remarques sur l’expression de la résultativité en français et en polonais

The purpose of this paper is to show how two languages which have radically different temporal and aspectual systems express the perfect result value. The starting point of this paper is an example in French language taken from an article of two Genevian researchers on the basis of which the author proves that the perfect result, irrespective of its type, is always expressed with passé composé tense. In the second part discussed are Polish contextual equivalents of the example. Their analysis makes it possible to confirm the thesis that the semantic perfect result is expressed with the Polish Past Perfect and the pragmatic perfect result with the Polish Past Imperfect. The author also formulates several additional conclusions regarding lexical, syntax and interpretative choices

Para um ensino/aprendizagem de gramática contrastiva em departamentos de língua estrangeira: o exemplo do demonstrativo em francês e em polonês

In this article, the author, a lecturer and researcher in the Department of Foreign Languages at one Polish university, shares her teaching experience in contrastive French-Polish grammar. Having taken the utility of the subject for granted, she wonders about the appropriate program and bibliographic references. Using the example of one word class, the author shows that even where two languages have the same categories, there can be variation in terms of how they are used by speakers. This question is not emphasized enough in the available contrastive grammars.Neste artigo, com base numa classe de palavras escolhida, a autora compartilha sua experiência como professora-pesquisadora encarregada das aulas de gramática contrastiva franco-polonesa, em um departamento de língua estrangeira de uma universidade polonesa. Tendo em conta a utilidade do assunto para a matéria, ela questiona o conteúdo e as referências bibliográficas a serem propostas. A autora mostra que, embora as duas línguas tenham formas comparáveis, a utilização que é feita delas não é necessariamente idêntica, assunto que as obras comparativas disponíveis não apresentam

Sur les traces de Boy – Julian Rogoziński, traducteur de Proust

In the footsteps of Boy-Żeleński – Julian Rogoziński, translator of Marcel Proust Between 1936 and 1939, Poland’s most famous translator of French literature, Tadeusz Boy-Żeleński, translated Proust’s cycle of novels, Remembrance of Things Past. Alas, the outbreak of WWII prevented the publication of Boy’s translation of the last two volumes. In 1941 Boy was executed by the Nazis, and in 1944 his unpublished volumes were destroyed by fire during the Warsaw insurrection. In this paper, the author introduces Boy’s successor, Julian Rogoziński, author of the first published translation into Polish of Time Regained, the final volume of Proust’s novel

Quelle rupture dans l’imparfait de rupture ?

This article proposes a short analysis regarding the reference of the term de rupture used to name one of the rather atypical uses of the French past tense the imparfait. The author shows that the aforementioned term shouldn’t be considered as a generic one and describes all uses of the French past tense imparfait in which the receiver is directed to see the process as completed and / or having a different temporal reference. The term de rupture, even if its meaning changes depending on the approach chosen, is specialized as a parameter which enables us to distinct two major values of this unusual use of the imparfait. Actually, the latter is described nowadays most commonly as imparfait narratif and is considered as a carrier of various meaning effects

Obraz róży w dwunastu polskich przekładach "Małego Księcia" A. de Saint-Exupéry’ego

"Mały Książę" Antoine’a de Saint-Exupéry’ego jest książką, która bije wszelkie rekordy w zakresie liczby przekładów. W połowie lat 90. XX wieku zaczęły pojawiać się lawinowo w Polsce kolejne wersje tej pięknej baśni, co nie mogło ujść uwadze krytyków przekładu. Jednymi z pierwszych opracowań poświęconych temu tematowi były prace profesor Urszuli Dąmbskiej-Prokop z Uniwersytetu Jagiellońskiego w Krakowie. Autorka niniejszego artykułu uzupełnia refleksje badaczki, poddając analizie obraz róży przedstawiony w dwunastu dostępnych obecnie na rynku przekładach baśni francuskiego autora.Translations of Antoine de Saint-Exupéry’s "The Little Prince" top all other translated works in numbers. Critics noted several new versions of this beautiful fairy tale which appeared in Poland in the mid 1990’s. We owe the earliest works on this subject to Urszula Dąmbska-Prokop, professor at the Jagiellonian University in Krakow. To complete her research, the author of this article provides a comparative analysis of the Saint-Exuperian rose in twelve Polish translations available today

W ślady Boya : Julian Rogoziński, tłumacz Prousta

Najsłynniejszy polski tłumacz literatury francuskiej Tadeusz Boy-Żeleński przełożył w latach 1936-1939 cykl powieściowy W poszukiwaniu straconego czasu. Niestety wybuch II wojny światowej uniemożliwił wydanie dwóch ostatnich części. Autor przekładu zginął rozstrzelany przez Niemców w 1941 roku, a rękopisy niewydanych tomów spłonęły w warszawskim mieszkaniu tłumacza podczas Powstania Warszawskiego. W niniejszym artykule autorka przybliża sylwetkę następcy Boya – Juliana Rogozińskiego, autora pierwszego opublikowanego przekładu Czasu odnalezionego, siódmego tomu najsłynniejszej powieści Marcela Prousta.Between 1936 and 1939, Poland’s most famous translator of French literature, Tadeusz Boy-Żeleński, translated Proust’s cycle of novels, Remembrance of Things Past. Alas, the outbreak of WWII prevented the publication of Boy’s translation of the last two volumes. In 1941 Boy was executed by the Nazis, and in 1944 his unpublished volumes were destroyed by fire during the Warsaw insurrection. In this paper, the author introduces Boy’s successor, Julian Rogoziński, author of the first published translation into Polish of Time Regained, the final volume of Proust’s novel