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    Tytuł:
    „Wszyscy jesteśmy Azjaci!”, czyli Starego Poety pytania o tożsamość. Perspektywa postkolonialna
    “We all are the Asians!” — The Old Poet’s Questions Concerning Identity (in the Context of Postcolonial Studies)
    Autorzy:
    Kałowska, Agnieszka
    Powiązania:
    https://bibliotekanauki.pl/articles/942554.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Jarosław Iwaszkiewicz
    poemat "Azjaci"
    Opis:
    The article aims to analyze Jarosław Iwaszkiewicz’s poem entitled “The Asians”, the first work from his volume “The Weather Map”. The starting point for reflection is the motto of the poem - a conversation of three people in a theater foyer. The subject of this short exchange is the border between Europe and Asia, not the geographical but the cultural one. The dialogue can also be interpreted as an attempt to answer the question of the strength of the impact of the Euro-Asian empire — Russia. The author of the article endeavors to read the poem as the poet’s attempt to interpret his own biography. An important context is a poem by Alexander Blok, “The Scythians” written in 1918.
    Źródło:
    Czytanie Literatury. Łódzkie Studia Literaturoznawcze; 2012, 01
    2299-7458
    2449-8386
    Pojawia się w:
    Czytanie Literatury. Łódzkie Studia Literaturoznawcze
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Czysta myśl, nieczyste słowo (Jarosław Iwaszkiewicz — Paul Valéry)
    Pure Thought, Impure Word (Jarosław Iwaszkiewicz — Paul Valéry)
    Autorzy:
    Wójcik, Tomasz
    Powiązania:
    https://bibliotekanauki.pl/articles/942562.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Jarosław Iwaszkiewicz
    Paul Valéry
    Opis:
    The title of the article is a quote from a poem by Jarosław Iwaszkiewicz, Do Pawła Valéry (To Paul Valéry), set in the context of other works by the Young Poland author. The paper investigates the two writers’ dialogue as regards the concept of “pure poetry”. Interpreting the poem allows for a reading in the context of the confrontation between two cultural paradigms: Polish and French.
    Źródło:
    Czytanie Literatury. Łódzkie Studia Literaturoznawcze; 2012, 01
    2299-7458
    2449-8386
    Pojawia się w:
    Czytanie Literatury. Łódzkie Studia Literaturoznawcze
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Dumna inność”. Jarosław Iwaszkiewicz wobec własnej tożsamości terytorialnej. Wiersz dedykowany Antoniemu Sobańskiemu
    “Dignified Distinctness”. Jarosław Iwaszkiewicz’s Attitude Toward His Own Territorial Identity. Poem Dedicated to Antoni Sobański
    Autorzy:
    Dubyk, Hałyna
    Powiązania:
    https://bibliotekanauki.pl/articles/942563.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Jarosław Iwaszkiewicz
    Antoni Sobański
    Opis:
    The article “Dignified Distinctness”. Jarosław Iwaszkiewicz’s attitude toward his own territorial identity is an attempt to interpret the poem dedicated to Antoni Sobański in the light of the author’s Ukrainian identity, the lyrical subject and the work’s addressee. The analysis was based on the analyzed poem as well as other Ukrainian works by Jarosław Iwaszkiewicz, including his post-war works, in which the traces of the Ukrainian territorial identity (rarely found in his earlier texts) were reduced and selfcensored.
    Źródło:
    Czytanie Literatury. Łódzkie Studia Literaturoznawcze; 2012, 01
    2299-7458
    2449-8386
    Pojawia się w:
    Czytanie Literatury. Łódzkie Studia Literaturoznawcze
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Dlaczego? Kilka uwag o wierszu W kościele Jarosława Iwaszkiewicza
    Why? Notes on the Poem In a Church
    Autorzy:
    Czyżak, Agnieszka
    Powiązania:
    https://bibliotekanauki.pl/articles/942556.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Jarosław Iwaszkiewicz
    wiersz "W kościele"
    Opis:
    The article presents an interpretation of a poem written by Jarosław Iwaszkiewicz in his old age, titled W kościele (In a Church). The poem was published in 1977 (in the volume Mapa pogody); 25 years later, it was included in an anthology of Iwaszkiewicz’s poetry selected by Czesław Miłosz. The anthology was the final phase of a long-standing dialogue between the two distinguished Polish poets. Aside from selecting texts for the anthology, Miłosz was a translator, and in his old age, he once more took upon himself a duty to comment, to evaluate and — last but not least — to preserve Iwaszkiewicz’s poetry. The poem W kościele is read as a sign of a special new agreement between the Old Masters of Poetry and its inclusion in the anthology titled A Literature Lesson with Czesław Miłosz was an important part of that.
    Źródło:
    Czytanie Literatury. Łódzkie Studia Literaturoznawcze; 2012, 01
    2299-7458
    2449-8386
    Pojawia się w:
    Czytanie Literatury. Łódzkie Studia Literaturoznawcze
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    O Niewygodzie
    On Discomfort
    Autorzy:
    Pietrych, Krystyna
    Powiązania:
    https://bibliotekanauki.pl/articles/942551.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Jarosław Iwaszkiewicz
    wiersz Niewygoda
    tom Muzyka wieczorem
    Opis:
    The text provides a detailed interpretation of the poem Niewygoda (Discomfort), written by Iwaszkiewicz at the end of his life, situated among other achievements of his late poetry and confronted with his diary entries. The main issues addressed here concern the meanings that arise at the level of versification, lexis, style and composition of the analyzed work. The poet uses tropes that constitute a departure from his earlier typical poetics characterized by discretion and moderation. This poem becomes a poignant, deeply personal confession filled with a dramatic sense of somatic pain of old age and the intuition of approaching death.
    Źródło:
    Czytanie Literatury. Łódzkie Studia Literaturoznawcze; 2012, 01
    2299-7458
    2449-8386
    Pojawia się w:
    Czytanie Literatury. Łódzkie Studia Literaturoznawcze
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Arietta Jarosława Iwaszkiewicza
    Arietta by Jarosław Iwaszkiewicz
    Autorzy:
    Wiśniewski, Jerzy
    Powiązania:
    https://bibliotekanauki.pl/articles/942569.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Jarosław Iwaszkiewicz
    tom "Muzyka wieczorem"
    wiersz "Arietta"
    Opis:
    Arietta, written in the final months of Iwaszkiewicz’s life (1894–1980), is one of a cycle of poems Music for a String Quartet from his posthumously published volume of poetry Music in the Evening (1980). Like all the poems from this cycle, it is a short poetic “narration” the central them of which is an image of an old man waiting for death. However, the structure of Arietta distinguishes the poem from other works. Unlike other poems consisting mostly of two four-line rhymed stanzas, Arietta is the only free verse, which is decidedly different from the metrical scheme used by Iwaszkiewicz in this part of the volume. In order to express one of the most crucial experiences in life, the poet crosses the borders of the formerly used model of communication (a poem-song), creating a new unique form of a poem-arietta and imitating the basic structural pattern of a musical arietta — a cavatina. An excerpt from Goethe’s Wanderers Nachtlied, slighly changed when quoted at the end of Arietta (“Warte nun balde / Ruhest du auch”), can be read as an encouragement to experience patient, fear-free waiting for the end of life, but it can also be understood as a kind of “singing” which gives you courage to face death. This final “arioso” in Iwaszkiewicz’s poem is not only a pacifying lullaby but also an expression of heroic waiting for irrevocable death.
    Źródło:
    Czytanie Literatury. Łódzkie Studia Literaturoznawcze; 2012, 01
    2299-7458
    2449-8386
    Pojawia się w:
    Czytanie Literatury. Łódzkie Studia Literaturoznawcze
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Trzeba to wszystko zniszczyć”. Ostatnia pieśń ze Śpiewnika włoskiego
    ”All of this must be destroyed”. The Last Song in Italian Songbook
    Autorzy:
    Mitzner, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/942557.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Jarosław Iwaszkiewicz
    Śpiewnik włoski
    Trzeba to wszystko zniszczyć
    Opis:
    This essay discusses a controversial yet not entirely obvious aspect of Jarosław Iwaszkiewicz’s oeuvre, namely his anarchist rebellion against tradition. The line from one of the poet’s late poems quoted in the title above expresses the belief permeating Iwaszkiewicz’s works starting with his early futurist poems and ending with a story “Notre-Dame-La Grande”, which was written on the wave of the student revolt in 1968. The argument is that Iwaszkiewicz should no longer be perceived only as a guardian of tradition.
    Źródło:
    Czytanie Literatury. Łódzkie Studia Literaturoznawcze; 2012, 01
    2299-7458
    2449-8386
    Pojawia się w:
    Czytanie Literatury. Łódzkie Studia Literaturoznawcze
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Ku śmierci ze skazą „niegotowości”? — o kilku czytelniczych spojrzeniach na Sérénité Jarosława Iwaszkiewicza
    Towards Death with the Flaw of "Immaturity"? — a Reader’s Impressions of Iwaszkiewicz’s Short Story Sérénité
    Autorzy:
    Berkan-Jabłońska, Maria
    Powiązania:
    https://bibliotekanauki.pl/articles/942561.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Jarosław Iwaszkiewicz
    opowiadanie "Sérénité"
    J. Iwaszkiewicz, Ogrody, Warszawa 1974
    Opis:
    This article proposes to read Iwaszkiewicz’s story titled Sérénité with more suspicion than it has been done in a traditional, usually enthusiastic reception of this prose. Firstly, the text presents typical approaches to interpretation. The main part of the article suggests certain textual qualities which may cause feel “discomfort” in the modern reader. According to the author of the paper, there is something anachronistic in the story. The story was written a long time ago and therefore the style of narration, the elements of camouflage and sophisticated tricks may seem inappropriate for such a serious subject as death. Also, the construction of the narrator and hero who is always passive, unwilling to act and focused on his inner life may today seem irritatingly anachronistic, oldfashioned and incomprehensible. These arguments are used to show that a critical analysis of the novel, due to new readers’ awareness, can surprisingly lead to interesting questions and open new paths of interpretation.
    Źródło:
    Czytanie Literatury. Łódzkie Studia Literaturoznawcze; 2012, 01
    2299-7458
    2449-8386
    Pojawia się w:
    Czytanie Literatury. Łódzkie Studia Literaturoznawcze
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Jarosława Iwaszkiewicza wiersz „pośmiertny”
    Jarosław Iwaszkiewicz's 'Posthumous' Poem
    Autorzy:
    Brzozowski, Jacek
    Powiązania:
    https://bibliotekanauki.pl/articles/942560.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Jarosław Iwaszkiewicz
    wiersz "Mamo, czy ja oślepłem…"
    cykl Pini di Roma
    Opis:
    The main subject of the text is the poem with an incipit of “Mamo, czy ja oślepłem…” (“Mother, have I gone blind…”), which is the final poem in the Pini di Roma series, published in the second edition of Śpiewnik włoski from 1978. The interpretation of the poem is preceded by remarks on the content and composition of the two editions of the volume (the first one dated 1974, and the second one) as well as a number of remarks placing the poem in the context of European and Polish literary and cultural tradition. The poetics of “Mamo, czy ja oślepłem…” — the conversation of the dying poet with his deceased mother — allows the text to be perceived as a peculiar ‘posthumous’ poem. At the same time, the poem is very elevating, optimistic and gives a great amount of hope in comparison to other death-themed lyrics by the author of Muzyka wieczorem.
    Źródło:
    Czytanie Literatury. Łódzkie Studia Literaturoznawcze; 2012, 01
    2299-7458
    2449-8386
    Pojawia się w:
    Czytanie Literatury. Łódzkie Studia Literaturoznawcze
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    A Tribute to „Barocco”: The Figurativeness of Maria Morska
    Autorzy:
    Szulc-Woźniak, Agata
    Powiązania:
    https://bibliotekanauki.pl/articles/1032232.pdf
    Data publikacji:
    2019-12-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Maria Morska
    Anna Iwaszkiewicz
    Jarosław Iwaszkiewicz
    Antoni Słonimski
    Skamander
    Skamander’s muse
    poetry
    Opis:
    The paper focuses on the figure of Maria Morska, a reciter dubbed “Skamander muse”, who had a versatile and multifaceted impact on the literary circles of her day. I am conducting the quest for the artist (elusive today in the face of scarce biographical sources) through interpreting the poems for which she was a magnet and a centre (i.e. Inwokacja by Antoni Słonimski and Groteska by Jarosław Iwaszkiewicz). The image of Morska emerging from them presents a very original figure: one that was admired and received intensely. The poetic inscriptions of the impression which the Skamander muse made often bring to mind the reception of works of art. Morska refines commonness into a metaphor. Her literary image is a testimony to a moment of delight, dazzle, and – perhaps more importantly – spontaneous, artistic co-participation. She inspires one to look for pseudonyms and roles which would be capable of expressing the impression that accompanied her – one of changeability, glimmer, being different, never being the same.
    Źródło:
    Czytanie Literatury. Łódzkie Studia Literaturoznawcze; 2019, 8; 187-198
    2299-7458
    2449-8386
    Pojawia się w:
    Czytanie Literatury. Łódzkie Studia Literaturoznawcze
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Brahms i Rachmaninow Iwaszkiewicza
    Brahms and Rachmaninoff in the eyes of Iwaszkiewicz
    Autorzy:
    Tenczyńska, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/649180.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    polish literature of XX century
    Jarosław Iwaszkiewicz
    Musical references
    musical inspirations
    Brahms
    Rachmaninoff
    Opis:
    The poetry of Jarosław Iwaszkiewicz includes various – and unique in the 20th century Polish literature – references to actual musical compositions. Johannes Brahms and Ser-gei Rachmaninoff are among the composers, whose pieces are most often present in this poetry. Close reading of chosen poems, which conduct intertextual and intersemiotic dialog with Brahms’ and Rachmaninoff’s compositions, allows one to distinguish vari-ous models of this dialog and its functions. It becomes possible – in the wider biograph-ical context – to ask about the meaning of German and Russian music to the writer and to the, often autobiographical, subjects of his poems. It leads also to the question of the relation between music and memory in Iwaszkiewicz’s poetry, based sometimes on a surprising counterpoint with respect to the sérénité motive. In the context of this rela-tion another motive seems to come to the fore, the motive of the lost world, to which, as the protagonist of Brzezina says, ‘I will never return, and which I have never truly expe-rienced’. 34
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica; 2012, 15, 1; 141-150
    1505-9057
    2353-1908
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Mowa przejęta nicością: retoryczne postawy wobec Nietzscheańskiego żywiołu nicości w poetyce Wallace’a Stevensa i Jarosława Marka Rymkiewicza
    Speech Taken with Nothingness: Rhetorical Stances Toward the Nietzschean Element of Nothingness in the Poetics of Wallace Stevens and Jarosław Marek Rymkiewicz
    Autorzy:
    Bartczak, Kacper
    Powiązania:
    https://bibliotekanauki.pl/articles/649240.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    –
    Wallace Stevens
    Jarosław Marek Rymkiewicz
    Friedrich Nietzsche
    Harold Bloom
    eternal recurrence
    catachresis
    metalepsis
    Opis:
    This essay compares the poetic philosophies of Wallace Stevens and Jarosław Marek Rymkiewicz, Stevens’s first Polish translator. In the first part, I trace a deep affinity in the way both poets engage with the Nietzschean-Dionysiac element in language. The Nietzschean dynamism creates a rich conceptual background against which it is possible to understand the process of poetic language merging with nothingness. Both Stevens’s and Rymkiewicz’s early poems are reactions to such conceptual environment: Stevens’s Harmonium and Rymkiewicz’s Co to jest drozd present a way of engaging with nothingness in which the absence of logos becomes a source of the poems’ figurative power. As they attain this power, the poems arrive at a form of self-consciousness. I trace this affinity through the deconstructive figure of catachresis, as it has been applied to Stevens by his deconstructive critic J. Hillis Miller. In the second part, I change the method. Here, I show how the later poetries of Stevens and Rymkiewicz can be approached by replacing Miller’s deconstructive catachresis, with Harold Bloom’s metalepsis. This Bloomian reading allows me to identify a vital difference between the later phases in the two poets. Discussing Stevens’s “Auroras of Autumn” next to Rymkiewicz’s Do widzenia Gawrony, I show how Rymkiewicz diverts sharply from his American Romantic/Modernist counterpart in the way his poetry reads Nietzsche’s trope of the eternal recurrence of the same. For Stevens, this concept is realized in the form of metalepsis, which, as Bloom shows, is a figure allowing the poem to retain its figurative capability while steering its course away from any notion of essence or necessity. In contrast, for Rymkiewicz, the eternal recurrence of the same paves way to an essentialist understanding, and affirmation, of human history as eternal cycle of creation-destruction, a cycle presided over by a mixture of pain, cruelty, and ecstasy. Consequently, I argue that while Stevens’s late poetry remains faithful to figurativeness as the poem’s self-reliance – that is, the poem’s refusal to join forces with any sort of concept or process conceived of as independent from the poem’s re-descriptive capability – Rymkiewicz’s late poems find their visionary power in precisely such joining of forces.
    –
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica; 2017, 40, 2
    1505-9057
    2353-1908
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Franz Liszt i jego muzyka fortepianowa w ujęciu Jarosława Iwaszkiewicza oraz Pawła Kubisza
    Franz Liszt and his music in the view of Jarosław Iwaszkiewicz and Paweł Kubisz
    Autorzy:
    Gamrat, Małgorzata
    Powiązania:
    https://bibliotekanauki.pl/articles/649593.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Franz Liszt
    Jarosław Iwaszkiewicz
    Paweł Kubisz
    polish literature of XX century
    musical inspirations
    Opis:
    Franz Liszt is one of the greatest artists of the 19th century. He has attended the most important artistic and social events providing comments on their literature and musical aspects. In his articles published in ‘Gazette Musicale’ (1835—1841) he treats the artist, their place in the society till in his correspondence he reflects the life condition of the workers. This social sensibility can be observed in Lyon (1837) in the cycle Impressions et poesies. The literature was one of his main interests. All his life he kept reading and commenting in his correspondence the works he had read and most importantly he tried to imple-ment it in his musical works. The result of these attempts was the creation of the pro-gram music, a music inspired very often by the literature or preceded by a literature piece. In my article I am presenting the music of Liszt that has inspired literature deeds. My research is directed towards two works — the novel entitled Mefisto-Walc by Jarosław Iwaszkiewicz and the poem by Paweł Kubisz entitled Rapsod o Oszeldzie. Both are very different. In the first work it is the music (Erster Mephisto-Walzer) one of the main actors, equal to the others, the composer is just mentioned. In the work of Kubisz, Liszt is a principle actor who inspires the struggle of the workers and leads towards liberty and his music occupies secondary place (Lyon, Mazeppa, Mephisto-Walz). Both the works have one common point — Franz Liszt and his music. They both also refer to Faust. Ein Gedicht of Nikolas Lenau that has preceded Erster Mephisto-Walzer. They both have not only a common musical intertext but also a literature intertext though the musical work, what I have called intertext of second degree. This is proof that Liszt was right that it is possible to implement the ideas in the music.PE
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica; 2012, 15, 1; 163-179
    1505-9057
    2353-1908
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Ономастический мир Михаила Зощенко
    The Onomastic World of Mikhail Zoshchenko
    Autorzy:
    Супрун, Василий
    Powiązania:
    https://bibliotekanauki.pl/articles/2134511.pdf
    Data publikacji:
    2021-06-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    ономастика
    Михаил Зощенко
    антропоним
    топоним
    Ярослав Вежбиньски
    onomastics
    Mikhail Zoshchenko
    anthroponym
    toponym
    Jarosław Wierzbiński
    Opis:
    В статье рассматриваются онимы, используемые Михаилом Зощенко в своих рассказах и повестях в трeх функциях: 1) обозначение главного действующего лица и места действия; 2) номинация второстепенного персонажа и географического объекта; 3) обозначение фонового персонажа или объекта. Статья продолжает зощенковедческие исследования польского учeного Ярослава Вежбиньского. Антропонимы в произведениях М.М. Зощенко обозначают главных и второстепенных героев, топонимы (ойконимы, урбанонимы и др.) называют место действия, единицы периферийных разрядов чаще всего выступают для обозначения фоновых объектов. Автор именуют своих героев по имени и отчеству, что является специфической чертой русского этикета, отличающей его от культурно-языковых ситуаций других народов. Лиц, стоящих на более низкой социальной ступени, писатель именует краткими и фамильярно-пренебрежительными формами антропонима. Ономастический стиль М.М. Зощенко включает использование полной антропонимической формулы имя + отчество + фамилия при представлении героя. В рассказах Зощенко встречаются топонимы Москва, Ленинград, Лигово, Ялта, Кисловодск и др.; урбанонимы Большая Проломная улица, Глазова и Боровая улицы; эргонимы Петросовет, Щукин рынок, гостиница «Европа» и т. д. Имена собственные вплетаются в ткань зощенковского текста как обязательный и организующий компонент. Они взаимодействуют с другими текстовыми элементами, демонстрируют свои изобразительные возможности в широком и узком контексте.
    The article discusses the onyms used by Mikhail Zoshchenko in his stories and novellas through their three functions: 1) designation of the main character and place of action; 2) nomination of a minor character and geographical object; 3) designation of a background character or object. The article continues the research on Zoshchenko started by the Polish scientist Jarosław Wierzbiński. Anthroponyms in the works of M.M. Zoshchenko denote the main and secondary progatonists, toponyms (oikonyms, urbanonyms, etc.) used for the place of action, and units of peripheral categories, which most often act to designate background objects. The author names his protagonists by their first name and patronymic, which is a specific feature of the Russian etiquette that distinguishes it from the cultural and linguistic situations of other peoples. The writer calls persons from a lower level of the society with brief and familiarly disparaging forms of the anthroponym.The onomastic style of M.M. Zoshchenko includes the use of the full anthroponymic formula: first name + patronymic + surname when presenting a protagonist. In the stories of Zoshchenko, there are toponyms, such as Moscow, Leningrad, Ligovo, Yalta, Kislovodsk, etc.; urbanonyms: Bolshaya Prolomnaya Street, Glazova and Borovaya Streets, ergonyms: Petrosovet, Shchukin market, hotel “Europe” etc. Proper names are woven into Zoshchenko’s texts as an obligatory and organizing component. They interact with other textual elements and demonstrate their visual capabilities in a broad and narrow context.
    Źródło:
    Acta Universitatis Lodziensis. Folia Linguistica Rossica; 2021, 20; 121-131
    1731-8025
    2353-9623
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Linguistica Rossica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Z korespondencji sławnych jezuitów. Piotr Skarga do Hieronima Nadala
    The Letters of Famous Jesuits. Correspondence between Piotr Skarga and Jerome Nadal
    Autorzy:
    Mrozek-Kochanek, Kamila
    Powiązania:
    https://bibliotekanauki.pl/articles/967574.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    correspondence
    Old Polish epistolography
    Latin letters of Piotr Skarga
    Polish history and culture
    Jesuit College at Jarosław
    Opis:
    This essay reminds us of the correspondence between Piotr Skarga and Jerome Nadal. The author discusses all seven letters of their written dialogue. T hey exchanged not so many letters and we cannot tell enough about Nadal’s personality and his relationship with a well-known Polish preacher, but their correspondence is really interesting as a unique source of knowledge about the early Society of Jesus, history of the Catholic Church and customs in old Poland, which are described from the point of view of Jesuits.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica; 2013, 21, 3
    1505-9057
    2353-1908
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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