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Tytuł:
The Gospel of Divine Mercy in King Lear
Autorzy:
Grzegorzewska, Małgorzata
Powiązania:
https://bibliotekanauki.pl/articles/2032701.pdf
Data publikacji:
2021-11-22
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
William Shakespeare
King Lear
gift
mercy
forgiveness
Opis:
The paper discusses Shakespeare’s preoccupation with the Christian notions of divine love, forgiveness and justice in The Tragedy of King Lear. In my reading I employ Jean-Luc Marion’s phenomenological reflection on the givenness of love and Hans-Urs von Balthasar’s theology of Paschal mystery. I take issue with the Marxist and existentialist interpretations of Shakespeare’s tragedy which prevailed in the second half of the $20^{th}$ century. My aim is not a simple recuperation of the “redemptionism” of the play, but an in-depth consideration of Christian allusions in the play which may tie love and forgiveness to justice and throw light on the ending of King Lear.
Źródło:
Text Matters: A Journal of Literature, Theory and Culture; 2021, 11; 321-333
2083-2931
2084-574X
Pojawia się w:
Text Matters: A Journal of Literature, Theory and Culture
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Intertextuality of C.S. Lewis’ The Last Battle
Autorzy:
Zegarlińska, Magdalena
Powiązania:
https://bibliotekanauki.pl/articles/24987871.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Narnia
intertextuality
apocalypse
Bible
beast fable
King Arthur
Roland
Opis:
The Chronicles of Narnia has an established position in the canon of children’s literature. However, what on the surface is a fairy tale involving adventures and magic; with children, kings, talking beasts, and wood spirits as main protagonists; is, in fact, a set of stories deeply rooted in Christian and chivalric traditions, containing elements of beast fable and morality tale. The story, according to Madeline L’Engle, depending on the reader's cultural knowledge and experience, may be understood on various levels, from the literal one of an adventure story for children, through the moral and allegorical levels, eventually reaching the anagogical level. While reading The Chronicles, one is able to notice various references to other written works, interwoven into the text, with the Bible, chivalric romances and beast fables being the most prominent sources of intertextual allusions. In The Last Battle Lewis attempts to answer John Donne’s question, “What if this present were the world’s last night?" (Holy Sonnet XIII) and presents a comprehensive image of Narnian apocalypse and life after death in Aslan’s country. The following paper will present the most noteworthy intertextual references in the final volume of The Narniad.
Źródło:
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre; 2014, 2, 1; 50-58
2353-6098
Pojawia się w:
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Writing and Rewriting Nationhood: "Henry V" and Political Appropriation of Shakespeare
Autorzy:
Minami, Hikaru
Powiązania:
https://bibliotekanauki.pl/articles/39759277.pdf
Data publikacji:
2022
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
'King Henry V'
'Henry IV'
'King Richard II'
'Cymbeline'
Brexit
national identity
populism
nationalism
adaptation and appropriation
Laurence Olivier
Kenneth Branagh
Opis:
Shakespeare’s Henry V is often regarded as a nationalistic play and has been appropriated for political spin and propaganda to enhance the sense of national unity. Shakespeare captures the emerging nationalistic feeling of the Tudor era in Henry’s emphasis on national history and pride, but various parts of the text suggest a more diverse and complex figures of the king and his subjects than a war hero and the united nation. Such complexity, however, is often ignored in political appropriation. Laurence Olivier’s film adaptation during WWII glamorizes the war and defines the English nation as a courageous “band of brothers” through its presentation of Shakespeare’s play a shared story or history of national victory. Kenneth Branagh’s film in 1989, on the other hand, captures the ugliness of war but it still romanticizes the sacrifice for the country. In 2016, Shakespeare was made part of the Brexit discourse of growing nationalism at the time of the EU referendum. Brexit was imagined as a victory that will bring back freedom and sovereignty the country once enjoyed, and Shakespeare was used to represent the greatness of Britain. Shakespeare’s text, however, depicts the war against the continent in a more skeptical than glorifying tone. The war scenes are scattered with humorous dialogues and critical comments and the multi-national captains of Henry’s army are constantly at odds with one another. Shakespeare thus provides us with a wider view of nationhood, resisting the simplifying force of politics.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2022, 25, 40; 115-131
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Dehierarchizing Space: Performer-Audience Collaborations in Two Portuguese Performances of Shakespeare
Autorzy:
Rayner, Francesca
Powiązania:
https://bibliotekanauki.pl/articles/647930.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
King Lear
Sonnet 30
performance space
audience participation
Opis:
This article addresses the key role of performance space in mediating between cultural locations. It discusses two Portuguese performances of Shakespeare where audiences were invited to become part of the performance and the ways in which this dehierarchization of the performance space framed a cross-cultural encounter between a globalized text and a localized performance context. In Teatro Oficina’s 2012 King Lear, both audience and performers sat around a large table in a production which reflected upon questions of individual and collective responsibility in Shakespearean tragedy and in the wider political sphere. In the middle of this performance space hung a large cube onto which the translated text was projected, setting up a spatial tension between text and performance that also foregrounded the translocation of the Shakespearean text to a Portuguese performance context. In Tiago Rodrigues’ 2013 By Heart, ten members of the audience were invited onstage to learn Shakespeare’s Sonnet 30 “by heart and not by brain.”1 In doing so, Rodrigues emphasized the cultural embeddedness of Shakespearean texts in a wider European cultural context and operated a subtle shift from texts to performance as a privileged repository for the cultural memory of Shakespeare. The article explores how these spatial shifts signaled the possibility of enabling cross-cultural identifications with Shakespeare through performance.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2017, 15, 30; 27-41
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Intertextuality of C.S. Lewis’ The Last Battle
Autorzy:
Zegarlińska, Magdalena
Powiązania:
https://bibliotekanauki.pl/articles/653575.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Narnia
intertextuality
apocalypse
Bible
beast fable
King Arthur
Roland
Opis:
The Chronicles of Narnia has an established position in the canon of children’s literature. However, what on the surface is a fairy tale involving adventures and magic; with children, kings, talking beasts, and wood spirits as main protagonists; is, in fact, a set of stories deeply rooted in Christian and chivalric traditions, containing elements of beast fable and morality tale. The story, according to Madeline L’Engle, depending on the reader's cultural knowledge and experience, may be understood on various levels, from the literal one of an adventure story for children, through the moral and allegorical levels, eventually reaching the anagogical level. While reading The Chronicles, one is able to notice various references to other written works, interwoven into the text, with the Bible, chivalric romances and beast fables being the most prominent sources of intertextual allusions. In The Last Battle Lewis attempts to answer John Donne’s question, “What if this present were the world’s last night?" (Holy Sonnet XIII) and presents a comprehensive image of Narnian apocalypse and life after death in Aslan’s country. The following paper will present the most noteworthy intertextual references in the final volume of The Narniad.
Źródło:
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre; 2014, 2, 1
2353-6098
Pojawia się w:
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
East Meets West: Identity and Intercultural Discourse in Chinese huaju Shakespeares
Autorzy:
Tang, Renfang
Powiązania:
https://bibliotekanauki.pl/articles/648238.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
huaju
Chinese Shakespeare adaptations
Coriolanus
King Lear
intercultural performance
identity
politics
Opis:
This article examines two huaju performances of Shakespeare-The Tragedy of Coriolanus (2007) and King Lear (2006), which are good examples of cultural exchanges between East and West, integrating Shakespeare into contemporary Chinese culture and politics. The two works provide distinctive approaches to the issues of identity in intercultural discourse. At the core of both productions lies the fundamental question: “Who am I?” At stake are the artists’ personal and cultural identities as processes of globalisation intensify. These performances not only exemplify the intercultural productivity of Shakespearean texts, but more critically, illustrate how Shakespeare and intercultural discourses are internalized and reconfigured by the nation and culture that consume and re-produce them. Chinese adaptations of Coriolanus and King Lear demonstrate how (intercultural) identity is constructed through the subjectivity and iconicity of Shakespeare’s characters and the performativity of Shakespeare’s texts.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2019, 20, 35; 61-81
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Medievalism of Emotions in King Lear
Autorzy:
Czarnowus, Anna
Powiązania:
https://bibliotekanauki.pl/articles/1812152.pdf
Data publikacji:
2021-06-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
medievalism
emotions in Shakespeare
King Lear
Reformation in England
humoral theory
Opis:
King Lear exemplifies two cultures of feeling, the medieval and the early modern one. Even though the humoral theory lay at the heart of the medieval and the early modern understanding of emotions, there was a sudden change in the understanding of specific medieval emotions in Renaissance England, such as honour as an emotional disposition. Emotional expression also changed, since the late Middle Ages favoured vehement emotional expression, while in early modern England curtailment of any affective responses was advocated. Early modern England cut itself off from its medieval past in this manner and saw itself as “civilized” due to this restraint. Also some medieval courtly rituals were rejected. Expression of anger was no longer seen as natural and socially necessary. Shame started to be perceived as a private emotion and was not related to public shaming. The meaning of pride was discussed and love was separated from the medieval concept of charity. In contrast, in King Lear the question of embodiment of emotions is seen from a perspective similar to the medieval one. The article analyzes medievalism in terms of affections and studies the shift from the medieval ideas about them to the early modern ones.
  King Lear unaocznia dwie kultury uczuć, kulturę średniowieczną i renesansową. Jest to widoczne przy prezentacji zagadnienia, jak uczucia mają być wyrażane, gdyż w średniowieczu trzeba je było głośno wyrażać, ale w świecie przedstawionym w sztuce jest to trudne do zrobienia. Elementem wspólnym dla starożytności, średniowiecza i renesansu była teoria humoralna. Shakespeare omawia, jak renesans przepracowuje mediewalistyczne pojęcia honoru, złości, wstydu, dumy, a także w jaki sposób podchodzi do tematu uczuć jako czegoś mającego miejsce w ciele. Artykuł analizuje mediewalizm w uczuciach oraz przedstawia renesansową zmianę, która dotyczyła emocji średniowiecznych.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2021, 23, 38; 181-196
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
“I fear I am not in my perfect mind.” Jan Klata’s King Lear and the Crisis of Europe
Autorzy:
Cieślak, Magdalena
Powiązania:
https://bibliotekanauki.pl/articles/648214.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Jan Klata
King Lear in Poland
Europe
Catholic Church
diversity
unity
identity
Opis:
In his Shakespearean productions Jan Klata tends to radically experiment with sets, texts, and contexts. He puts the plays in culturally and politically specific locations, experiments with bi- or multilingual productions, and incorporates other texts into the Shakespearean frame. In this way, he uses Shakespeare as a means to address contemporary problems and tensions that are vital for his geopolitical reality, exploring the issues of national identities, the cultural legacy of Europe and its nations, as well as past conflicts and present crises. Klata’s King Lear (Narodowy Teatr Stary, Kraków, 2014), set in the religious context of the Catholic Church and using mostly Polish language, with only decorative additions in foreign languages, does not engage in European politics with the same directness and force as his earlier productions. And yet, as I wish to argue, this performance is also strongly concerned with European identity, and may, therefore, be seen as a valid voice in the discussion on how Shakespearean productions help to understand our current-day reality.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2019, 19, 34; 107-117
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Decentering the Bard: The Localization of "King Lear" in Egyptian TV Drama "Dahsha"
Autorzy:
Selim, Yasser Fouad
Powiązania:
https://bibliotekanauki.pl/articles/648305.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
King Lear
The Arab Shakespeare
Adaptation
Localization
Dahsha
Local Shakespeare
Global Shakespeare
Opis:
Dahsha [Bewilderment] is an Egyptian TV series written by scriptwriter Abdelrahim Kamal and adapted from Shakespeare’s King Lear. The TV drama locates Al Basel Hamad Al Basha, Lear’s counterpart, in Upper Egypt and follows a localized version of the king’s tragedy starting from the division of his lands between his two wicked daughters and the disinheritance of his sincere daughter till his downfall. This study examines the relationship between Dahsha and King Lear and investigates the position of the Bard when contextualized in other cultures, revisited in other locales, and retold in other languages. It raises many questions about Shakespeare’s proximity to the transcultural/transnational adaptations of his plays. Does Shakespeare’s discourse limit the interpretation of the adapted works or does it promote intercultural conversations between the varying worldviews? Where is the Bard positioned when contextualized in other cultures, revisited in other locales, and retold in other languages? Does he stand in the center or at the margin? The study attempts to answer these questions and to read the Egyptian localization of King Lear as an independent work that transposes Shakespeare from a central dominant element into a periphery that remains visible in the background of the Upper Egyptian drama.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2018, 18, 33; 145-160
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Tradycyjne frazeologizmy biblijne o genezie psałterzowej w Psalmach Króla Dawida Bohdana Drozdowskiego
Traditional biblical phrases derived from psalter present in King David’s Psalms written by Bohdan Drozdowski
Autorzy:
Kolmaga, Weronika
Powiązania:
https://bibliotekanauki.pl/articles/684114.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
styl psałterzowy
frazeologia biblijna
Psalmy Króla Dawida
the Psalter style
biblical phraseology
King David’s Psalms
Opis:
The aim of the thesis is to show King David’s Psalms written by Bohdan Drozdowski in the light of Psalter style. Analyses are focused on traditional biblical phrases compared with a faithful translation from the Latin written by Jakub Wujek. Conducted analyses pointed to the conclusion that the amount of biblical constructions is suprisingly high. What is important they appeared not only in parallel fragments of other Psalters but also in different parts of the text. Also the author made intertextual references to other biblical books and a number of modifications. It brings the reflection that tradition is strongly present in the paraphrase but on the other hand it is creatively imitate.
-
Źródło:
Acta Universitatis Lodziensis. Folia Linguistica; 2018, 52; 97-110
0208-6077
2450-0119
Pojawia się w:
Acta Universitatis Lodziensis. Folia Linguistica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Shakespeare and National Mythologizing in Czech Nineteenth Century Drama
Autorzy:
Procházka, Martin
Powiązania:
https://bibliotekanauki.pl/articles/647985.pdf
Data publikacji:
2016-06-01
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
nationalism
mythologizing
history
William Shakespeare
tragedy
King Lear
Henry IV
Karel Hynek Mácha
Josef Kajetán Tyl
Opis:
The paper will discuss the ways in which Shakespeare’s tragedies (King Lear) and histories (1 and 2 Henry IV), translated in the period of the Czech cultural renaissance (known also as the Czech National Revival) at the end of the 18th and in the first half of the 19th century, challenge and transform the nationalist concept of history based on “primordialism” (Anthony Smith), deriving from an invented account of remote past (the forged Manuscripts of Dvur Kralove and Zelena Hora) and emphasizing its absolute value for the present and future of the Czech nation. While for nationalist leaders Shakespeare’s dramas served as models for “boldly painted heroic characters” of the Czech past, translators, dramatists and poets had to deal with the aspects of Shakespeare’s tragedies and histories which were disrupting the nationalist visions of the past and future. Contrasting the appropriations of King Lear and both parts of Henry IV in the translations and historical plays by the leading Czech dramatist Josef Kajetán Tyl (1808-1852) and the notebooks and dramatic fragments of the major romantic poet Karel Hynek Mácha (1810-1836), the paper will attempt to specify the role of Shakespeare in shaping the historical consciousness of emerging modern Czech culture.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2016, 13; 25-33
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Noh Creation of Shakespeare
Autorzy:
Munakata, Kuniyodhi
Powiązania:
https://bibliotekanauki.pl/articles/648142.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Noh
Noh Shakespeare
Zen
Hamlet
Othello
Macbeth
King Lear
Cordelia
Madam Reiko ADACHI
Kuniyoshi Munakata UEDA
Opis:
This article contains select comments and reviews on Noh Hamlet and Noh Othello in English and Noh King Lear in Japanese. The scripts from these performances were arranged based on Shakespeare’s originals and directed on stage and performed in English by Kuniyoshi Munakata from the early 1980s until 2014. Also, the whole text of Munakata’s Noh Macbeth in English (Munakata himself acted as Macbeth and Lady Macbeth in one play) is for the first time publicized. The writers of the comments and reviews include notable people such as John Fraser, Michael Barrett, Upton Murakami, Donald Richie, Rick Ansorg, James David Audlin, Jesper Keller, Jean-Claude Saint-Marc, Jean-Claude Baumier, Judy Kendall, Allan Owen, Yoshio ARAI, Yasumasa OKAMOTO, Tatsuhiko TAIRA, Hikaru ENDO, Kazumi YAMAGATA, Hanako ENDO, Yoshiko KAWACHI, Mari Boyd, and Daniel Gallimore.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2016, 14, 29; 87-106
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Sława, chwała i plotka. Władysław Warneńczyk jako król Węgier
Fame, glory and rumour. Vladislaus of Varna as king of Hungary
Autorzy:
Sroka, Stanisław A.
Powiązania:
https://bibliotekanauki.pl/articles/689510.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
historia Węgier
król Władysław Warneńczyk
bitwa pod Warną
history of Hungary
king Vladislaus of Varna
battle of Varna
Opis:
The author discusses Vladislaus’s of Varna reign in Hungary (1440–1444), highlighting those issues connected with the King which have recently been widely discussed and which cover three areas. The first one concerns the alleged disappearance of Vladislaus of Varna during the Battle of Varna (1444). In historiography, there are various fantastic theories about Vladislaus’s of Varna further life after the battle – their authors are usually amateur historians who unjustifiably reject the information given in many Turkish chronicles which report the death of the King during the battle. The most popular theory concerns the King’s staying on the Portuguese island of Madeira. Some even believe that Vladislaus got married there and was Christopher Columbus’s father. Another issue which has recently been hotly debated is the issue of the King’s alleged homosexuality, which even led to regarding him as an informal patron of gay men in Central Europe. Proponents base their theory on the chronicle of Jan Dlugosz, who rather had in mind sexual promiscuity of the ruler; therefore, the chronicler’s statement that the king was in marium libidinem proclivus should probably be understood in such a way. In this article the author also discusses the issue of the burial place of the King in the light of the recent initiative of the Bulgarian intellectuals who believe that the remains of Vladislaus of Varna should be sought in the Greek chapel in a place called Ak Yazala Baba (today Obrocziszte village near Varna).
Autor omawia panowanie Władysława Warneńczyka na Węgrzech (1440–1444), akcentując te zagadnienia, które w odniesieniu do postaci króla są w ostatnim czasie żywo dyskutowane. Chodzi głównie o trzy wątki. Pierwszy z nich dotyczy rzekomego zniknięcia Warneńczyka podczas bitwy pod Warną (1444). W historiografii występują różne fantastyczne teorie o losach Warneńczyka po tej bitwie (ich autorami są zazwyczaj historycy amatorzy, którzy bezpodstawnie odrzucają przekazy wielu kronik tureckich donoszących o śmierci monarchy podczas bitwy). Najbardziej popularna teoria dotyczy królewskiego pobytu na portugalskiej wyspie Madera. Niektórzy uważają nawet, że Władysław ożenił się tam i spłodził Krzysztofa Kolumba. Drugim zagadnieniem żywo ostatnio dyskutowanym jest sprawa rzekomej orientacji homoseksualnej władcy, co doprowadziło nawet do okrzyknięcia go nieformalnym patronem gejów w Europie Środkowej. Zwolennicy tego poglądu opierają się na przekazie kroniki Jana Długosza, który raczej miał na myśli pewną obyczajową rozwiązłość władcy (tak zapewne rozumieć należy użyte przez kronikarza sformułowanie, że król był in marium libidinem proclivus). W artykule autor zajął się także kwestią pochówku króla w świetle ostatniej inicjatywy intelektualistów bułgarskich, którzy uważają, że szczątków Władysława Warneńczyka należy poszukiwać w kaplicy greckiej w miejscu zwanym Ak Yazala Baba (dzisiejsza wieś Obrocziszte w pobliżu Warny).
Źródło:
Przegląd Nauk Historycznych; 2016, 15, 2
1644-857X
2450-7660
Pojawia się w:
Przegląd Nauk Historycznych
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Царь-производные в сетературе
Tsar-derivatives in the netliterature
Autorzy:
Гоннова, Наталья
Powiązania:
https://bibliotekanauki.pl/articles/665522.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
царь-производные
дериваты с компонентом царь-
сетература
тематические группы
заглавие
креолизованный текст
king-derivatives
derivatives with the component tsar-
netliterature
thematic groups
title
creolized text
Opis:
The article focuses on the phenomenon of modern mass culture, such as the netliterature; the specifics of functioning the Tsar-derivative series of nominations with the indecipherable appraisal component of the king is shown (Tsar Cannon, Tsar Bell, Tsar Fish, Tsar Maiden, Tsar Country, etc.). On the basis of the analysis of linguistic material, two thematic groups of tsar-derivatives are distinguished: “Nature and its components” and “Public political and cultural life”. It has been revealed that the king-derivatives are frequent in poetic texts; a precedent name is often used as a title. Creation of creolized texts within the framework of the netliterature has been noted.
В статье акцент сделан на таком явлении современной массовой культуры, как сетература; показана специфика функционирования в сетературе царь-производных – номинаций с несклоняемым оценочным компонентом царь- (Царь-пушка, Царь-колокол, Царь-рыба, Царь-девица, Царь-страна и др.). На основе анализа языкового материала выделены две тематические группы царь-производных – «Природа и её составляющие» и «Общественная политическая и культурная жизнь». Выявлено, что царь-производные частотны в поэтических текстах; в качестве заглавия нередко используется прецедентное имя. Отмечены случаи создания в рамках сетературы креолизованных текстов.
Źródło:
Acta Universitatis Lodziensis. Folia Linguistica Rossica; 2018, 15; 19-25
1731-8025
2353-9623
Pojawia się w:
Acta Universitatis Lodziensis. Folia Linguistica Rossica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Strażnicy koronny i wojskowy w dobie Jana Sobieskiego (1667–1696). Kilka uwag o osobach odpowiedzialnych za organizowanie przemarszów armii koronnej
Offices of Grand and Field Guardian in Jan Sobieski period (1667–1696). A few remakes about persons who organised the Crown Army marches
Autorzy:
Hundert, Zbigniew
Powiązania:
https://bibliotekanauki.pl/articles/688677.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
strażnik wielki koronny
strażnik wojskowy koronny
Jan III Sobieski
armia koronna 1667–1696
Grant Crown Guardian
Field Crown Guardian
king Jan III Sobieski
the Crown Army 1667–1696
Opis:
Offices of Grand and Field Guardian (strażnik wielki and strażnik polny) existed in Polish army since 16th century. Since first half of the 17th century they also have their equivalent in Lithuanian army. One of the main role of such officers was to take care of security of the marching army. During Sobieski’s time (as hetman and then king) this office was held by very experienced and well respected officers, who at the same time were politically connected to Sobieski. Politics could also affect and limit the role, as it happened with Grand Crown Guardian Stefan Bidziński after 1683, when he was in open conflict with Grand Crown Hetman Stanisław Jan Jabłonowski.
Urzędy strażnika wielkiego i wojskowego (polnego) w wojsku koronnym istniały od XVI w. Od pierwszej połowy XVII w. miały one także swoje odpowiedniki w armii Wielkiego Księstwa Litewskiego. Jednym z głównych zadań osób sprawujących te stanowiska było ubezpieczanie maszerujących armii. W czasach Sobieskiego urzędy strażników pełniły osoby o dużym doświadczeniu wojskowym i autorytecie w armii, ale także osoby zależne politycznie od osoby hetmana, a później króla Jana Sobieskiego. Od czynnika politycznego zależne było także ograniczenie prerogatyw strażnika wielkiego Stefana Bidzińskiego po 1683 r., albowiem znajdował się on w otwartym konflikcie z ówczesnym hetmanem wielkim koronnym Stanisławem Janem Jabłonowskim.
Źródło:
Acta Universitatis Lodziensis. Folia Historica; 2017, 99; 149-170
0208-6050
2450-6990
Pojawia się w:
Acta Universitatis Lodziensis. Folia Historica
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 19

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