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Wyświetlanie 1-15 z 46
Tytuł:
„Ich vergleiche, also bin ich“ – Zur Funktion der Metapher in Hans Magnus Enzensbergers Der Untergang der Titanic
Autorzy:
Haase, Michael
Powiązania:
https://bibliotekanauki.pl/articles/1032893.pdf
Data publikacji:
2007-11-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Hans Magnus Enzensberger
Der Untergang der Titanic
brak sensu
autobiografia
metafora
Osipa Mandelsztam
Gespräch über Dante
no sense
autobiography
metaphor
Ossip Mandelstam
Abwesenheit von Sinn
Autobiographie
Metapher
Gespräch über Dant
Opis:
Bei der Lektüre von Enzensbergers Poem stellt sich zwangsläufig die Frage nach dem Verhältnis von Schrift und Leben. Suggeriert die Indetermination der Metaphern eine Abwesenheit von Sinn, so verweisen die dem Text zugrundeliegenden autobiographischen Reminiszenzen auf eine Verbindlichkeit von Bedeutung. Der Autor des vorliegenden Aufsatzes versucht beide Momente zusammenzudenken, indem er die Metapher als primär anthropologische Kategorie versteht, welche ästhetische Distanz und existenzielles Betroffensein in einen polaren Zusammenhang stellt. Ausgangspunkt der Überlegungen ist hierbei eine bislang von der Forschung nicht berücksichtigte Quelle Enzensbergers: Ossip Mandelstams Essay Gespräch über Dante (1994a).
Podczas lektury poematu Enzensbergera nieuchronnie narzuca się pytanie o wzajemny stosunek literatury i życia. O ile indeterminacja metafor jest sugestią nieobecności sensu, to leżące u podstaw tekstu autobiograficzne reminiscencje wskazują na zobowiązania znaczeniowe. Autor przedłożonego opracowania podjął próbę mentalnego połączenia obydwu elementów, uznając metaforę pierwotnie za antropologiczną kategorię, która polaryzuje estetyczny dystans oraz egzystencjalny udział. Punktem wyjścia do tych przemyśleń jest nieuwzględniane dotychczas przez badaczy źródło, z którego czerpie Enzensberger: esej Osipa Mandelsztama Rozmowa z Dantem (1994a).
Enzensberger’s poem inevitably poses questions about the relationship between literature and life. While the ambiguity of the metaphors suggests an absence of meaning, the autobiographical allusions underlying this text point to the necessity of meaning. This essay approaches these aspects of the text as a unity by positing metaphor as a primarily anthropological category that puts aesthetic distance und existential involvement in a polar connection. The starting point of this interpretation is one of Enzensberger’s sources that was previously not taken into account: Ossip Mandelstam’s essay Conversation about Dante (1994a).
Źródło:
Convivium. Germanistisches Jahrbuch Polen; 2007; 163-183
2196-8403
Pojawia się w:
Convivium. Germanistisches Jahrbuch Polen
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Pontifex Maximus. Mit i poezja w Commedii Dantego
Autorzy:
Klemczak, Stefan
Powiązania:
https://bibliotekanauki.pl/articles/641123.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
Tematy:
DANTE ALIGHIERI
DIVINE COMEDY
MYTHS
Opis:
This article is devoted to ways of exploring the mythical strains in Dante's Divine Comedy. Previous research has managed to extrapolate the classical myths and their medieval variants from Dante's work. However, the theory of myth developed by Hans Blumenberg opens a broader perspective for interpretation, revealing not only the myths' anthropological and historical background, but also demonstrating the way they function within a literary work. The 'world image' presented in the Divine Comedy can be explored in three stages of interpretation. At the most basic level, the article refers to the 'catalogue' of classical and Christian myths contained in Dante's poem. Further analysis of mythical subject-matter allows us to distinguish periodical variants of myths from Antiquity to our time. Finally, 'the working of the myth' is considered at the most general level, with the help of 'absolute metaphors', epitomizing the key images dominating the worldview at every historical period. Being devoted to the central myth of Christianity, Dante believed to have connected 'earth and heaven' with the bridge of his art. The new approach to the subject of myth in Dante's poem, using anthropologically-based concepts, allows us to better understand the construction and functions of Dante's poetic 'journey' in European culture.
Źródło:
Studia Religiologica; 2010, 43; 135-156
0137-2432
2084-4077
Pojawia się w:
Studia Religiologica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wokół sporu papieża i cesarza o władzę — Marsyliusza z Padwy Defensor pacis
Controversy over the Power Between the Papacy and the Empire in the light of Marsilius’ of Padua Defensor pacis
Autorzy:
Białas, Anna
Powiązania:
https://bibliotekanauki.pl/articles/938469.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Marsilius of Padua
Dante
Ockham
mediaeval political philosophy
Opis:
The most famous medieval controversy over the power and the temporal dominion took place between the papacy and the empire. One of the greatest advocates of the imperial domination was Marsilius of Padua, the author of an original work that demonstrated the advantage of acknowledging the emperor’s superiority over the Pope’s. The Defensor pacis, written between 1319 and 1324, was devoted to the dispute on such sovereignty issues as proving that the Pope should be subordinate to the Emperor, and not vice versa. The Defensor pacis takes issue with numerous arguments and views uttered by the papal camp and uses the appropriate quotations from the Bible and Aristotle to show their weakness and inconsistency. The work comprises three parts. The first part is a description of the ideal system, i.e., an elective monarchy, with the specified role of a ruler and a clear indication of the sovereignty of the people. The second and third parts present a challenge to the arguments of the papal camp (including the famous argument of the “power keys”) and analyze the general situation of the Church, suggesting the necessary reforms. Thus, the whole work becomes a compendium of knowledge on appropriate governance.
Źródło:
Peitho. Examina Antiqua; 2010, 1, 1; 145-159
2082-7539
Pojawia się w:
Peitho. Examina Antiqua
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Реминисцентная полифония в эпилоге Реквиема Анны Ахматовой
Polyphony in the Epilogue of Anna Akhmatovas Requiem
Autorzy:
Ерохина, Ирина
Powiązania:
https://bibliotekanauki.pl/articles/22609704.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Anna Akhmatova
Requiem
reminiscenses
Dante
quotations
Opis:
The article focuses on the functioning of crossing quotations in Anna Akhmatova's Requiem. The author demonstrates that the image of the monument in the Epilogue is based on complex semantic relationships with the genre model of XXX Ode by Horace and the reminiscences of Dante's Divine Comedy.
Źródło:
Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2010, 3; 24-32
1427-9681
2353-4834
Pojawia się w:
Acta Universitatis Lodziensis. Folia Litteraria Rossica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Owidiusz u Dantego na tle średniowiecznej tradycji literackiej
Autorzy:
Maślanka-Soro, Maria
Powiązania:
https://bibliotekanauki.pl/articles/638751.pdf
Data publikacji:
2011
Wydawca:
Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
Tematy:
Dante, Ovid, Ovidian literary tradition, medieval Romanic literature, intertextuality
Opis:
The aim of this paper is to present the position and role of the poetry of Ovid, primarily the Metamorphoses, the product of a great poetic talent (ingenium) and an equally great poetic art (ars), in the work of Dante. The author’s point of departure in an analytical and interpretative approach is a synthetic overview of the Ovidian literary tradition in the medieval Romanic culture. The original and creative allusions Dante makes to Ovid in The Divine Comedy, which is the main focus of this paper’s intertextual analysis, stand out more clearly against this background. A distinct evolution may be observed in the way Dante assimilated the work of Ovid. In his early work, the Rime and Vita Nuova, Dante treated Ovid as an authority and referred to him to corroborate his own ideas, or tended to imitate the Ovidian style in his erotic lyrics. In the spirit of his times Dante resorted to the allegorical potential of the Metamorphoses in his prose treatises such as the Convivio. But it was not until the Divina Commedia that he embarked on an intertextual dialogue with his mentor, occasionally adopting a polemical stance and endeavouring to stress the superiority of his own ideas. The paper employs the motif of metamorphosis to illustrate the aspect of aemulatio which superseded Dante’s earlier imitatio approach to Ovid.
Źródło:
Studia Litteraria Universitatis Iagellonicae Cracoviensis; 2011, 6, 1
2084-3933
Pojawia się w:
Studia Litteraria Universitatis Iagellonicae Cracoviensis
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Dante, l’acqua e l’analisi della coscienza: cosmologia psicosimbolica nella Divina Commedia
Autorzy:
Balducci, Marino Alberto
Powiązania:
https://bibliotekanauki.pl/articles/638263.pdf
Data publikacji:
2012
Wydawca:
Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
Tematy:
Dante, Divine Comedy, cosmology, water, symbolization, psychoanalysis
Opis:
Dante and the Function of Water for an Investigation of the Self. Psychosymbolic Cosmology in the Divine Comedy The famous Epistle to Cangrande written by Dante encourages us to identify the Divine Comedy as an emblematic representation of a psychotherapeutic itinerary. The principal aim of his work is in fact creating a shocking poetic impression for freeing everyone from anxiety and pain, bringing us back to the origin of that eternal joy, which was lost through the Edenic sin, by creating the jail of egoism and the consequential abandon of a global and satisfactory perception of life. Associating itself with the feminine side of the soul and the mystery of the generation of life, the water symbolism in Dante’s poem acquires various meanings and is mainly connected with the malignant or positive rivers, which directly or indirectly indicate the right orientation for going back to the splendid sea of joy: the sea of divine intellect. This last is heaven, and corresponds to a psychic state where we can live together with the vivid memories of all the best we have experienced, learned and discovered during our mortal existence. Hell is a symbol of anguish and despair; here, a psychic emblem of a potential positive transformation is constituted by a little, apparently unimportant brook, which is studied in depth for the first time in this article, revealing the fundamental importance of this emblem, capable of guaranteeing a possible defeat of evil or, more specifically, the transformation of its destructive energy into a positive magic power, which can lead us to the stars. The whole journey of the Divine Comedy appears now more clearly as a symbolic example of ante litteram psychoanalysis.
Źródło:
Romanica Cracoviensia; 2012, 12, 2
2084-3917
Pojawia się w:
Romanica Cracoviensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Kręgi piekielne Holokaustu. Czy metafora „piekło dantejskie” jest adekwatna w stosunku do Zagłady?
The Circles of Hell of the Holocaust. Is a metaphor for „Dante’s hell” adequate in relations to the Shoah?
Autorzy:
Stachula, Aleksandra
Powiązania:
https://bibliotekanauki.pl/articles/2144067.pdf
Data publikacji:
2012-12-31
Wydawca:
Akademia Zamojska
Tematy:
holocaust
extermination
Jews
concentration camp
ghetto
metaphor
Dante
hell
holokaust
zagłada
eksterminacja
Żydzi
obóz koncentracyjny
getto
metafora
piekło
Opis:
Doświadczenie Holokaustu jest trudne do wyrażenia w dzisiejszym, wolnym świecie przez ludzi, którzy nigdy nie doświadczyli życia w getcie czy w obozie koncentracyjnym. Najlepszym sposobem przybliżenia doświadczeń okresu zagłady jest odwołanie się do tradycji ukształtowanej przez symbolikę piekła. Metafora „piekła Dantego” wydaje się jednak zbyt wąska w odniesieniu do ofiar Holokaustu. Niemniej użycie metafory piekła w odniesieniu do doświadczenia Holokaustu jest bardzo interesujące. Poprzez zagłębienie się w to, co wspólne dla ludzkości, staje się bardziej prawdopodobne, choć nie całkiem możliwe, zrozumienie doświadczenia Zagłady.
The experience of the Holocaust is hard to express in the present, free world by people who have never experienced life in the ghetto or in the concentration camp. The best way to make the experiences of the extermination period is reference to the tradition shaped by the symbolism of hell. The metaphor of “The Dante’s hell”, ho-wever, seems to be too narrow in relation to the victims of the Holocaust. Neverthe-less, the use of the hell metaphor in relation to the experience of the Holocaust is mo-tivated. By delving into what is common to humanity becomes more likely, though not quite possible, to understand the experience of the Shoah.
Źródło:
Studia Żydowskie. Almanach; 2012, 2, 2; 225-233
2083-5574
Pojawia się w:
Studia Żydowskie. Almanach
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Polski dantyzm między epiką a etyką
Polish Dantism: Between the Epic and Ethics
Autorzy:
Marinelli, Luigi
Powiązania:
https://bibliotekanauki.pl/articles/1902512.pdf
Data publikacji:
2012
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
Dante/dantyzm
dantologia
tradycja
polska literatura
komparatystyka
Dante/dantism
Dante studies
tradition
Polish literature
comparative literature
Opis:
This essay proposes a synthesis of the major themes and issues of Polish Dantism, with a particular reference to the 20th century and beyond. The author retraces the traditional motifs which connect 20th century authors to the Romantic tradition, and discusses some examples (Gombrowicz, Vincenz, Miłosz) in a broader comparative dimension (referring specifically to Eliot, Mandel'štam, Brodsky). The author argues that the Modernist ethical idea of “necessity of Dante” tends to be gradually replaced by a Postmodernist notion of "aesthetic Dante", with a flowering of new translations – not only of the Divina Commedia. These works restore a balance between Polish literary Dantism and Dante studies. In this sense, the Polish situation displays a lot of similarity to the European and international context, abundant with trends and concerns which go far beyond those of a national language and literature.
Źródło:
Roczniki Humanistyczne; 2012, 60, 1; 127-163
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
“Se fede merta nostra maggior musa” : Virgilio e la mitologia virgiliana nella Commedia allo specchio del cristianesimo dantesco
Autorzy:
Maślanka-Soro, Maria
Powiązania:
https://bibliotekanauki.pl/articles/638177.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
Tematy:
Dante, Virgil, Divine Comedy, Aeneid, mythology, intertextuality, conception of art
Opis:
The Aeneid is the most important intertext for the opus magnum of Dante; and Virgil, sometimes metonymically identified with his work, plays a relevant, or indeed crucial part as one of the characters in it. The main purpose of this article is, on the one hand, an analysis and interpretation of certain, only rarely investigated aspects of the relation between Virgil and Dante the pilgrim, in particular those which deal with the defeat of the former as an authority and guide for Dante on the road to spiritual perfection. They result mainly from Virgil’s excessive rationalism. In the critical moments of their journey through the otherworld Dante the author shows the frailty of Virgil’s Christian faith, attained only after his death and not illuminated by divine Grace; he also discloses the deficiencies in Virgil’s understanding of good and evil. On the other hand the author of the article analyses the intertextual “dialogue” that the Comedy conducts with the Aeneid on the basis of the Dantean conception of art in general, and of poetry in particular, taking selected examples into consideration. An essential component of this dialogue is Dante’s reinterpretation of Virgil’s masterpiece, which assumes the form of an aemulatio and tends to reveal the Christian potentiality in the Aeneid, of which Virgil the poet was, of course, utterly unaware.
Źródło:
Romanica Cracoviensia; 2013, 13, 4
2084-3917
Pojawia się w:
Romanica Cracoviensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Medieval Partonopeu of Blois and Orientalism
Autorzy:
Leśniewska, Karolina
Powiązania:
https://bibliotekanauki.pl/articles/638173.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
Tematy:
Dante, Divine Comedy, Inferno, Ulysses, Dido, Horace
Opis:
The Virgilian oratio suasoria addressed to Ulysses in Dante’s Inferno is here interpreted like a high-style speech in Greek, which ironically uses poetical Latin expressions typical of the character of Dido in love. Ulysses’ figure is than analyzed referring to the comical model of the second Satire by Horace, a clear (and never studied so far) Dantean source. This last shows the sovereign of Ithaca as the deceiver of a group of old people with clouded intellects, with the intention of stealing their patrimony. Ulysses’ deceit is a sin for Dante, but this Greek hero is more responsible because of his irreverent ape-like laughter in front of the mountain of Purgatory as a concrete and symbolic manifestation of infinity. Going beyond the boundaries of human rationality can not be a fault for Dante and his Christian mind, because it is always necessary for him to transcend our limited state, longing for divinization. The real responsibility of Ulysses is therefore his movement towards Mystery with-out humbleness. This last is indeed a complete denial of the self that this Greek spirit does not know, totally lacking the necessary listening disposition.
Źródło:
Romanica Cracoviensia; 2013, 13, 4
2084-3917
Pojawia się w:
Romanica Cracoviensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Сюжет Мертвых душ H.B. Гоголя как барочная метафора
The plot of „Dead Souls” by M.W. Gogol as a baroque metaphore
Autorzy:
Ivanickij, Aleksander
Powiązania:
https://bibliotekanauki.pl/articles/481092.pdf
Data publikacji:
2013-12-01
Wydawca:
Uniwersytet Warmińsko-Mazurski w Olsztynie
Tematy:
baroque symbolism of the story
the lost personality trait
the man’s transformation in the soulless flesh
Dante’s Divine Comedy
Gogol’s Dead Souls
Opis:
A number of the Gogol’s works, he wrote in 1840-s (The Final of "Auditor”, Selectedfragments from the correspondence with friends) show a clear connection with the Polish andUkrainian Baroque tradition of the metaphorical convergence of social and spiritual world. Itallows us to suppose the same symbolism in the first part of his poem Dead Souls (1842). Deadserfs that are sold by the landowners to Chichikov as nominally living, can be understood as personality trait of this people that they had lost little by little. It clarifies the sense of the vices that must be showed in the first part of the poem. This is mental stinginess and mental waste, that show themselves by turns in four first figures of the landowners (Manilov, Korobochka, Nozdrev andSobakevich) and flows together in the last figure of Plushkin.
Źródło:
Acta Polono-Ruthenica; 2013, 1, XVIII; 47-55
1427-549X
Pojawia się w:
Acta Polono-Ruthenica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Engaging Love, Divinity, and Philosophy: Pragmatism, Personification, and Autoethnographic Motifs in the Humanist Poetics of Brunetto Latini, Dante Alighieri, and Giovanni Boccaccio
Autorzy:
Prus, Robert
Powiązania:
https://bibliotekanauki.pl/articles/2119618.pdf
Data publikacji:
2014-07-31
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Love
Religion
Philosophy
Italian Humanism
Pragmatism
Symbolic Interactionism
Autoethnography
Dante Alighieri
Giovanni Boccaccio
Brunetto Latini
Personification
Poetic Productions
Opis:
Although the works of three early Italian Renaissance poets, Brunetto Latini (1220-1294), Dante Alighieri (1265-1321), and Giovanni Boccaccio (1313-1375), may seem far removed from the social science ventures of the 21st century, these three Italian authors provide some exceptionally valuable materials for scholars interested in the study of human knowing and acting. As central participants in the 13th-14th century “humanist movement” (in which classical Greek and Latin scholarship were given priority in matters of intellectual development), Brunetto Latini, Dante Alighieri, and Giovanni Boccaccio helped sustain an analytic focus on human lived experience. Most of the materials addressed here are extensively fictionalized, but our interests are in the sociological insights that these authors achieve, both in their accounts of the characters and interchanges portrayed in their texts and in their modes of presentation as authors. Although lacking the more comprehensive aspects of Chicago-style symbolic interactionist (Mead 1934; Blumer 1969) theory and research, these early Renaissance texts are remarkably self-reflective in composition. Thus, these statements provide us with valuable insights into the life-worlds of (a) those of whom the authors speak, (b) those to whom the authors address their works, and (c) the authors themselves as people involved in generating aspects of popular culture through their poetic endeavors. More specifically, these writers enable us to appreciate aspects of pragmatist emphases on human knowing and acting through their attentiveness to people’s perspectives, speech, deliberation, action, and interaction. In addressing affective relationships, introducing generic standpoints, and considering morality as community matters, these materials offer contemporary scholars in the social sciences some particularly instructive transhistorical and transcultural comparative and conceptual reference points. Inspired by the remarkable contributions of the three 13th-14th century Italian poets and some 12th- 13th century French predecessors, the Epilogue direct specific attention to the ways in which authors might engage poetic productions as “producers” and “analysts” of fictionalized entertainment.
Źródło:
Qualitative Sociology Review; 2014, 10, 3; 6-46
1733-8077
Pojawia się w:
Qualitative Sociology Review
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
She “felt no fear at all”? The Virgin Mary and the Feminist Voice in Dante Gabriel Rossetti’s The Girlhood of Mary Virgin and Ecce Ancilla Domini!
Autorzy:
Łuczyńska-Hołdys, Małgorzata
Powiązania:
https://bibliotekanauki.pl/articles/571994.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet Warszawski. Wydział Neofilologii
Tematy:
proto-feminism
Dante Gabriel Rossetti
Pre-Raphaelites
Opis:
Artykuł jest próbą ukazania pro-feministycznych przekonań prerafaelickiego malarza i poety. Autorka analizuje dwa wiersze i dwa obrazy Rossettiego, skupiając się na innowacyjności przedstawienia bardzo tradycyjnego tematu – dzieciństwa oraz zwiastowania Najświętszej Marii Panny. Poprzez zestawienie słowa i obrazu, które wchodzą ze sobą w polemiczny dialog, Rossetti poddaje krytyce tradycyjną wizję roli kobiecości w dziewiętnastym wieku. Artysta podkreśla uprzedmiotowienie kobiet we współczesnej mu Anglii i pozbawienie ich prawa decydowania o własnym życiu. Maria, matka Jezusa, nie jest dla Rossettiego ikoną cnót kobiecych, chwaloną za posłuszeństwo i oddanie, ale młodą dziewczyną, obdarzoną misją, która wzbudza w niej lęk i której do końca nie rozumie.
Źródło:
Acta Philologica; 2014, 45; 36-42
0065-1524
Pojawia się w:
Acta Philologica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The article presents attempt of a lecture of a series of similes selected from the Divine Comedy from the functional perspective. It means that we search the illustrative function of the series with respect to the cognitive passage of the protagonist from
Autorzy:
Bartkowiak-Lerch, Magdalena
Powiązania:
https://bibliotekanauki.pl/articles/638205.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
Tematy:
movement conceptualization, the Divine Comedy, Dante Alighieri
Opis:
The article presents attempt of a lecture of a series of similes selected from the Divine Comedy from the functional perspective. It means that we search the illustrative function of the series with respect to the cognitive passage of the protagonist from the mediaeval condition of alienatio through that of peregrinatio towards ordo. The condition change is observable in movement conceptualization in the three dantesque kingdoms. The basis for the observation is offered by similes which seem to form a pattern of meaning. After having drawn some conclusions about this function of the similes, we carry out analysis of two Polish translations of the Divine Comedy in order to identify the same characteristics, detected in the original, in those version of the Poem.
Źródło:
Romanica Cracoviensia; 2014, 14, 4
2084-3917
Pojawia się w:
Romanica Cracoviensia
Dostawca treści:
Biblioteka Nauki
Artykuł
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