This paper offers an interpretation of the figure of Pawel Fyodorovitch Smerdyakov — the fourth of the Karamazov brothers, parricide featured in the last great novel by Fyodor Dostoevsky. The analysis of existing criticism on Smerdyakov, which is my point of departure, invites an assertion that this figure tends to be regarded in almost exclusively negative terms. Looking for answers to the question whence comes this unequivocal evaluation of Smerdyakov, I focus on plot resolutions, the way narration is led, and on the poetics of Smerdyakov’s depictions in the The Brothers Karamazov. I establish that their aim is to fashion from the outset a much revolting image of this particular protagonist. This perspective allows me to state a thesis that is contrary to that of Michail Bakhtin who claimed that the polyphony of Dostoevsky’s oeuvre renders each protagonist’s worldview fully individual and equally valuable and that access to their personalities is granted to us only in so far as they speak of themselves. In a critical discussion with Bakhtin I argue that Smerdyakov functions as an example of an anti-dialogical, that is obscuring the protagonist’s individuality, specifically authorial take aiming to arrest his personality within a predetermined, monological interpretive regime. I then offer a meditation on the ethical message of The Brothers Karamazov which rests on the notion of “the responsibility of everyone for everyone” and I reflect on the reasons why this formula does not apply to the figure of Smerdyakov who, surprisingly, is not treated as a “brother” by anyone in the novel, let alone a human being.
Grasse Diary (Грасский дневник, 1967), the most famous work by Galina Kuznetsova, for years has been treated mostly as the book about Ivan Bunin. It contains her account of fifteen years spent with Bunin in Grasse and Paris, wherefore it has been attracted particular interest of Bunin’s researchers. Bunin is the central figure of Grasse Diary, yet Kuznetsova, according to Lejeune’s „autobiographical pact”, remains the author, the narrator of her story and character who is being talked about. Discrete entries include her experiences, thoughts, feelings, comment on current events. Kuznetsova creates the self-portrait, presents a deeply subjective vision of the world. Some equal strategies can be found in her narration: an observer strategy, participant strategy and introspection strategy. The aim of this paper is to analyse them and to interpretate Kuznetsova’s image given in her daily entries.
The article is devoted to the analysis of songs of Bulat Okudzhava and Jacek Kleyff. The subject of interests is the question of artistic creation, the role of the artist in society, his relationship to the world and the cosmos. The article describes a series of images, metaphors that reflect the concept of creator, bard — close to people, bringing hope, yet at the same time a lone sage. Extension and deepening of the concepts expressed by bards is examined on the basis of chosen philosophical works of Nicholas Berdyaev and Gabriel Marcel.
The paper brings an analysis of interpretational shifts connected with elimination, addition or substitution of various paratexts in translation. The study is based on Boris Akunin’s historical detective novels in Polish editions, as compared to original ones. In the first part, the author focuses on illustrations, their communicative and associative potential. (Other paratexts will be further discussed with regard to their functions: identifying, hermeneutic, informative and commercial). The shifts in paratextual use in the translated editions are interpreted in terms of the ambiguous tension between features of literary and genre fiction displayed by Akunin’s novels. Conclusions about the overall strategy of the publisher and its consequences for reception are ventured. In particular, Polish paratexts testify to the novels’ gravitating more obviously towards mass literature in the target context.
Przedmiotem artykułu jest determinacja kulturowa systemu języka oraz działalności językowej. Autor rozróżnia dwa typy kulturowej determinacji języka oraz działalności językowej: ontologiczny/merytoryczny oraz epistemiczny/faktywny. W związku z tym wszystkie fakty języka (formalne, funkcjonalne, kombinatoryczne i in.) są traktowane jako fenomeny symptomatyczne lub symboliczne. Autor analizuje fenomeny obydwu typów na przykładzie języków europejskich. Z uwzględnionych przez autora danych wynika, że działalność językowa w stosunku do kultury ma charakter komplementarny, gdyż część kategorii kultury realizuje się w odmiennych, nie językowych formach.
Autor analizuje synkretyczne cechy potocznego słownictwa komputerowego (slang/ żargon). Termin synkretyzm oznacza niedyskretne zjawiska lub połączenie, fuzję lub zjednoczenie różnych i często sprzecznych elementów. Synkretyzm na poziomie leksykalnym oznacza formalną i semantyczną asymetrię, gdy jeden znak może mieć dwa lub więcej znaczeń, lub jedno znaczenie może zostać wyrażone przez dwa lub więcej znaków. Synkretyzm jako leksyko-semantyczna kategoria jest traktowany jako jednoczesne połączenie dwu lub kilka denotatów lub sygnifikatów. Obejmuje on takie zjawiska jak metafora, metonimia, słowa-symbole, leksykę konotatywną, hiperonimy i frazeologizmy.
Magdalena Kuratczyk, Dorota Piekarska-Winkler, Nie taki diabeł straszny, jak go malują. Rosyjskie imiesłowy przymiotnikowe i przysłówkowe. Zwroty imiesłowowe. Podręcznik dla Polaków z ćwiczeniami i kluczem odpowiedzi, Instytut Rusycystyki Uniwersytetu Warszawskiego, Warszawa 2015
10.31261/pr
Język Polski
Русский
English