Autor: Ostrowski, Witold - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Brytyjska ballada kryminalna
Britisch Crime Ballad
Autorzy:: Ostrowski, Witold
Powiązania:: https://bibliotekanauki.pl/articles/1033970.pdf
Data publikacji:: 1987
Wydawca:: Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Źródło:: Acta Universitatis Lodziensis. Folia Litteraria; 1987, 18; 3-30
0208-6085
Pojawia się w:: Acta Universitatis Lodziensis. Folia Litteraria
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 2.

Tytuł:: Zbrodnia jako temat tragedii czasów Szekspira
Crime as Tragic theme in Shakespears time
Autorzy:: Ostrowski, Witold
Powiązania:: https://bibliotekanauki.pl/articles/1034481.pdf
Data publikacji:: 1981
Wydawca:: Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Opis:: It is not an accident that crime, especially murder, is a frequent theme of tragedy. From its beginning to its final consequences it is fraught with dramatic tension, suspense, expectations, and a great variety of strong emotions. Besides, crime, like disease, is understood to be something antihuman and antisocial and therefore is treated as an event alien to life, with its own inception, development, and ending. This lends to it the character of a dramatic composition parallel with the clasical tragedy. The theme of crime is to be found in Greek tragedies. An analysis of Aischylos' Oresteia shows how important moral issues were involved in the presentation of crime on the stage and that some attention was paid to the technique of crime. Seneca's Thy estes published in English in 1560 became an inspiration for Kyd and other Elizabethan authors of tragedies of revenge. A list may be made of 20 English tragedies the theme of which is crime, from The Spanish Tragedy (1584—1589) to Philip Massinger's The Roman Actor (1629). Shakespeare is represented on the list by seven plays, which is significant. A survey of the twenty tragedies shows a wide variety of crime though murder prevails. Many different techniques of killing are used. The Machiavellian criminal and his varieties are discussed with their motivation. Contemporaneous real crimes and stories of real crimes in the past are referred to the tragedies. The latter part of the paper is devoted to Shakespeare's place among the playwrights. Detailed analyses of Titus Andronicus and Hamlet show that Shakespeare progressed from cheap sensational horror to a high drama of crime. Both the plays are remarkable for the presence in them of the element of detection. Hamlet is a great tragedy of crime and detection in which the death of the detective suggests profound reflections on the moral sense of life and the chances of justice. At the same time the tragedy contains many features of the other Elizabethan tragedies with crime as their theme.
Źródło:: Acta Universitatis Lodziensis. Folia Litteraria; 1981, 2
0208-6085
Pojawia się w:: Acta Universitatis Lodziensis. Folia Litteraria
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 3.

Tytuł:: Socjalizm "Utopii" Tomasza Morea
Socialism in Thomat Mores "Utopia"
Autorzy:: Ostrowski, Witold
Powiązania:: https://bibliotekanauki.pl/articles/1034765.pdf
Data publikacji:: 1981
Wydawca:: Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Opis:: 1. The word utopia is used to denotes 1) projects of perfect sobial systems ensuring happy life, but impracticable because of suggested limitations in a given period or at all timesj 2 ) a philosophical-political work, usually a treatise which presents a project of this kind; 3 ) a work of fiction whioh presents a model of utopia in an artistic form evoking an impression of reality which helps to make the model popular. Sir Thomas More's "Utopia" is a work of utopian fiction whioh presents a socialist model of a rational, happy, developing society. 2. F. Engels, who classified varieties of Socialism as Utopian and Scientific (or Marxist), oonsidered Utopian Sooialism as a progressive approximation towards Marxism. K. Kautsky called Socialism as presented in "Utopia" "modem in majority of its trends, but old in many of its means". 3. The purpose of this paper is to define exactly the m o d e m and the obsolete aspects of the model of Sooialism in Utopia and its author's attitude towards it. 4. Sooialism in Utopia is based on common property and consumption, but also on common duty to work, common production and education of the whole nation for labour and oo-operation. These are principles of modern Socialism. 5. The system eduoates highly humane, open, and responsible people and is actively and willingly acoepted and supported by the people. 6. The historically necessary absenoe of meohanized industry the treatment of the family-household as the basic productive and political unit, and the intolerance of atheists oertainly belong to the medieval and partly Renaissance heritage. 7. Another important differenoe between Sooialism in "Utopia" and Marxism lies in the Utopian attitude towards religion oonsidered a cornerstone of suooessful socialization in Utopia. 8. While Raphael Hythloday was an enthusiastic exponent of Sooialism, what was Sir Thomas More's own attitude towards Sooialism? R. W. Chambers's epoch-making book "Thomas More" (1935) has oleared away many prejudices and we know from it that More as a young man defended Plato's communism; that he lived for four years as a lay inmate of London Charterhouse in a model religious community - a cosnmune; that A. Vespucoi and Peter Martyr's writings confirmed the existence of communism in large West Indian sooieties. Besides, More was critical of rising Capitalism and this criticism wae based on the experience of a judge and a diplomat. Did he want Sooialism or not? If he did not, why did he write "Utopia"? If he did, why did he introduce - in his own person - objections and doubts in the book? The answer lies in the faot that "Utopia" is a discussion between Raphael and More on the chances of the practicability of building Sooialism in Europe in his own times. 9 . Being a realist, More did not expect any government or class of the 16th century to be either willing or able to introduce the system. His doubts, found both in the text of "Utopia" and in other texts, allegedly anti-communist, collected by Paul Turner in a reoent edition of More's principal work turn round the problems of economic, politioal, and moral unpreparedness of the contemporaneous world in building a Socialist society. In those times Socialism oould not be established either by foroe or by general will. One had to look forward to the future. 10. More was not a Utopist, therefore, though he was the author of utopia. His Socialism was utopian, but built on many basic principles of modern scientific Sooialism. But to define its author, a paradoxical' formula is necessary. In his oase to be a utopian socialist is not the same as to be a Utopist. His evolutionary Socialism was a result of a realistic assessment of possibilities and if Thomas More had been a revolutionary Socialist, that would have made him a Utopist.
Źródło:: Acta Universitatis Lodziensis. Folia Litteraria; 1981, 3
0208-6085
Pojawia się w:: Acta Universitatis Lodziensis. Folia Litteraria
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 4.

Tytuł:: Zapowiedzi powieści łotrzykowskiej w Anglii
The First Steps Towards the Picaresque Novel in England
Autorzy:: Ostrowski, Witold
Powiązania:: https://bibliotekanauki.pl/articles/1034890.pdf
Data publikacji:: 1993
Wydawca:: Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Opis:: The paper acknowledges the role of Lazarlllo de Toruies in creating the model of picaresque fiction In Elizabethan times, but also points to its native, English tradition and background, especially to anatomies of roguery which introduced a much stronger element of crime into the English picaresque story. This is exemplified by traditional short stories of crime embedded in T. Deloney's Thomas of Reading and in Robert Greene s tendency towards writing criminal lives in his last part of his Cony-Catchin? pamphlets. The main body of the paper consists of a detailed analysis of The Unfortunate Traveller or The Life of Jack Milton (1594) by Thomas Nashe. Its aspects of a "historical" novel .and of a picaresque novella, gradually evolving into a crime story of grotesque and horror until It reaches the depth of the tragedy of revenge and horror in Chapter XII, are discussed with references to Marlowe's and Shakespeare's evil Machiavellian characters and Act III, sc. 3 of Hamlet. Queries are asked about the Elizabethan concept of tragedy in connexion with the contemporaneous Christianity devoid of charitable love. The conclusion is that T. Nashe's "mocking imagination" and consequent style make his highly individual picaresque novel so ambiguous that it Is impossible to give decisive assessment of his artistic intents. Without Its "tragic matter" It served as a model for Defoe and Smollett in the eighteenth century.
Źródło:: Acta Universitatis Lodziensis. Folia Litteraria; 1993, 34
0208-6085
Pojawia się w:: Acta Universitatis Lodziensis. Folia Litteraria
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 5.

Tytuł:: Kalendarz więzienia Newgate - prototyp angielskich pitavali
The Newgate Calendar - the Prototype of Famous English Trials
Autorzy:: Ostrowski, Witold
Powiązania:: https://bibliotekanauki.pl/articles/1035073.pdf
Data publikacji:: 1994
Wydawca:: Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Opis:: The paper first introduces the reader to some facts connected with the history of the Newgate Prison and the public executions which were taking place in front of it down to Dickens’s times. The notoriety of the prison produced its criminal chronicle - The Newgate Calendar of which various versions and imitations are discussed and then the paper concentrates on The New Newgate Calendar as the most comprehensive and methodical publication of the British annals of crime and punishment. The character of that publication - sensational, but also seriously juridical and informative - and its literary plainness are presented. Crimes and criminals are seen against their social background, mostly eighteenth century, with the extreme savagery of the criminal law illustrated by most sentences and executions described in The New Newgate Calendar. Some attempts to humanize the penal system are mentioned.
Źródło:: Acta Universitatis Lodziensis. Folia Litteraria; 1994, 36
0208-6085
Pojawia się w:: Acta Universitatis Lodziensis. Folia Litteraria
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 6.

Tytuł:: Reportaż kryminalny w Anglii XVI i XVII
Criminal Reportage in England of 16th and 17th Centuries
Autorzy:: Ostrowski, Witold
Powiązania:: https://bibliotekanauki.pl/articles/1034524.pdf
Data publikacji:: 1990
Wydawca:: Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Źródło:: Acta Universitatis Lodziensis. Folia Litteraria; 1990, 29
0208-6085
Pojawia się w:: Acta Universitatis Lodziensis. Folia Litteraria
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 7.

Tytuł:: Zagadnienia recepcji dzieła i pisarza
The Problems of the Reception of a Literary Work and Its Author
Autorzy:: Ostrowski, Witold
Powiązania:: https://bibliotekanauki.pl/articles/1034771.pdf
Data publikacji:: 1981
Wydawca:: Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Opis:: Reception is a very complex phenomenon. Its study may concern one work or all the works of an author, himself as a man and writer, the literary activities of a group of writers representing a trend or school, or even contacts and connexions between two national literatures. In eaoh case both literary and extra-literary factors must be studied, because reception is socially and historically conditioned both at the author's and at the reader's end. So the student of reception must understand literary, social, and historical faotors involved in it. Numerous examples taken from the Medieval, the Renaissance and the Romantic periods, in England and Poland support these and subsequent statements. Studying the reception of W. Scott in his own oountry and elsewhere one finds a very rioh material illustrating: 1) the influence of the publishers on the contents and the shape of the book the writer wished to write, but was not allowed; 2) the reception by the common reader, oritics, and scholars measured by circulation and shaped by various causes; 3) imitation, burlesque, adaptation, rivalry and relegation to school of the literary work as forms of reception; 4) the rise of the interest in the person of the author in the form of legends, more or less distorting the truth; 5) the influence of the writer and his work on extra-literary reality (e.g. tourism connected with his birthplace or places which appear in his works); 6) the influence on the literary and cultural tradition of the recipient society; 7) factors working in the choice of works to be translated and misunderstandings ensuing from the temporal oontext in which the choice is made; 8) the selectiveness of re—publications of translated works and the consequent deformation of the image of the author; 9) the problem of similarities between works of authors, who belong to different literatures, based on parallel developments; 10) difficulties of necessary genetic interpretation of the reception. The author ends with a claim that the study of reception serves a better understanding of the received and the recipient literatures and cultures.
Źródło:: Acta Universitatis Lodziensis. Folia Litteraria; 1981, 3
0208-6085
Pojawia się w:: Acta Universitatis Lodziensis. Folia Litteraria
Dostawca treści:: Biblioteka Nauki