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1
Content available Klasyczna pozycja mistrza komparatystyki w nowym wydaniu
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Łukaszewicz J.
Italica Wratislaviensia
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2016
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nr 7
257-261
2
Content available XVIII-wieczny nuncjusz poeta
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Łukaszewicz J.
Italica Wratislaviensia
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2015
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nr 6
343-346
PL
Book review: Magdalena Wrana (2013). Angelo Maria Durini - poeta i polityk w purpurze. Zarys działalności literackiej, kulturalnej i politycznej nuncjusza w Polsce (1767-1772). Kraków: Collegium Columbinum
3
Content available [Review] Tradurre un libro sulla traduzione
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Łukaszewicz J.
Italica Wratislaviensia
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2021
|
nr 12.2
221-227
XX
Review of the book: Umberto Eco (2021). "Prawie to samo. O doświadczeniu przekładu", trad. Jadwiga Miszalska, Monika Surma-Gawłowska. Kraków: Wydawnictwo Uniwersytetu Jagiellońskiego, pp. 353
4
Content available La Padova di August Fryderyk Moszyński
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Łukaszewicz J.
Italica Wratislaviensia
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2021
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nr 12.1
123-140
EN
This article is dedicated to the image of Padua in the diary of August Fryderyk Moszyński (1731–1786), a close collaborator of King Stanislas August Poniatowski, architect, director of royal buildings, and promoter of the Warsaw theatre. The diary, which covers a journey to France and Italy (1784–1786), has been partially published in the original French version (1930; 2010) and Polish translation (1970). The diary is remarkable for Polish 18 th -century odeporic literature due to its critical approach, quasi-scientific character, and interest in contemporary developments. In this article, the author establishes the dates of Moszyński’s stay in Padua and then analyses elements such as the descriptions, impressions, and assessments of urban environments; buildings, pictures, people, and events; as well as cultural and scientific life. The portrait of Padua drawn by Moszyński is compared with that which emerges from other travelogues and texts presented to the Polish public at the time, in particular with the description of Italy that appeared in the Warsaw journal "Pamiętnik Historyczno- Polityczny" in 1787. The analysis of the travelogue passages relating to the two stays in Padua confirms the versatility of the traveller. The description of Padua by Moszyński is multifaceted, often ironic and personal. He wrote as an expert in architecture and urban spaces; a connoisseur of theatre; a builder of scientific instruments; an admirer of Renaissance artists; a lover of truth in art; and a sharp and critical observer. The last part of the article is dedicated to the circumstances of Moszyński’s death, which, contrary to what may be suggested by the diary, did not occur in Padua but in Venice (on 3 July 1786, at the famous Leon Bianco inn).
IT
L’articolo è dedicato all’immagine di Padova nel Diario di viaggio in Francia e in Italia (1784–1786) di August Fryderyk Moszyński (1731–1786), stretto collaboratore del re Stanislao Augusto Poniatowski, architetto, direttore di edifici reali, promotore del teatro di Varsavia. Il diario è stato parzialmente pubblicato in francese (1930, 2010) e in traduzione polacca (1970). Nella letteratura odeporica polacca del Settecento si distingue per il suo approccio critico, il carattere quasi scientifico e l’interesse per il presente. Una volta fissate le date dei soggiorni a Padova, vengono analizzati elementi quali descrizioni, impressioni e valutazioni relative ad ambienti urbani, edifici, quadri, persone ed eventi, nonché la vita culturale e scientifica. Il ritratto di Padova disegnato da Moszyński è messo a confronto con altri odeporici dell’epoca e quello che emerge da testi su argomenti simili presentati al pubblico polacco nello stesso periodo, in particolare con la descrizione dell’Italia apparsa a puntate sulla rivista varsaviana "Pamiętnik Historyczno-Polityczny" nel 1787. L’analisi dei brani del diario relativi ai due soggiorni a Padova conferma la versatilità del viaggiatore. La descrizione di Padova è sfaccettata, spesso ironica e personale. Moszyński scrive da esperto di architettura e di spazi urbani, conoscitore di teatro, costruttore di strumenti scientifici, ammiratore di artisti rinascimentali, amante della verità nell’arte, osservatore acuto e severo. L’ultima parte del saggio è dedicata alle circostanze della morte di Moszyński, che – contrariamente a quanto affermato in alcune fonti e a quanto suggerito dal diario stesso – non è avvenuta a Padova, bensì a Venezia (il 3 luglio 1786, nella famosa locanda del Leon Bianco).
5
Content available [Review] La letteratura italiana dal Cinquecento al Settecento vista dalla Polonia
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Łukaszewicz J.
Italica Wratislaviensia
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2017
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nr 8.2
191-198
EN
Review of the books: „Dworzanin polski” Łukasza Górnickiego. Dzieło, inspiracje, autor. J. Dygul and M. Wojtkowska-Maksymik (a curra di) (2016) Dramaturgia włoska XVI wieku. Niccolò Machiavelli, „Mandragora”. Gian Giorgio Trissino, „Sofonisba”. Torquato Tasso, „Amintas” J. Dygul and M. Wojtkowska-Maksymik (a curra di) (2017)
6
Content available Uczeni listy piszą
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Łukaszewicz J.
Italica Wratislaviensia
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2015
|
nr 6
347-353
PL
Book review: Marcin Rabenda, wstęp i opracowanie komentarza, Barbara Judkowiak, redakcja naukowa (2013). Roman Pollak - Giovanni Maver. Korespondencja (1925-1969). Poznań: Poznańskie Studia Polonistyczne
7
Content available Introduzione
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Łukaszewicz J.
Italica Wratislaviensia
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2021
|
nr 12.1
9-17
8
Content available remote "George Dandin, ou Le Mari confondu" w polskim oświeceniu. Wersja mieszczańska i chłopska
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Łukaszewicz J.
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|
tom 63
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nr 4(252)
81-96
EN
Two Polish versions of Molière’s George Dandin, ou le mari confondu (1668), a mix of farce and the comedy of manners, appeared in print in the Enlightenment period: Mąż zawstydzony (Durfour: Warsaw, 1779) and Mąż oszukany (Durfour: Warsaw, 1780). The article juxtaposes both these texts and compares them with the original and with translation and adaptation strategies characteristic for Jan Baudouin and Franciszek Zabłocki. The action of Mąż zawstydzony takes place in Warsaw, and Donder (the new embodiment of Dandin) is described as “a rich burgess”, whereas the action of Mąż oszukany is set in the country, where the main character, Walek Robocki, holds the office of sołtys (head of the village). Numerous adaptive measures are apparent especially in the second version of the comedy. The most substantial change, functioning at the same time as amplification, consists in a modification of the ending: in the last scene, added by the translator, Walek’s wife, Angela, contrary to the original text and to her own character of a cunning, wanton manipulator who neither loves nor respects her husband, which is how she is portrayed in this version of the play throughout all the three acts, now all of a sudden, without any arm twisting, admits her guilt and promises to be good from now on. The element of amplification that is clearly visible in this reworking is reminiscent of adaptations by Zabłocki. What this Polish play has in common with Baudouin’s Świętoszek zmyślony and his version of Tartuffe, as analysed by Emilia Zwoniarska, are the following aspects, which can be found in Zabłocki’s output as well: setting the action in Warsaw; new, localised and semantically loaded surnames; amplifications; allusions to the local realities; a tendency to make the realities more specific then in the original; translational redundancy; introduction of farcical elements where they do not appear in the original text. Dandin as “a bourgeois countryman” (in the words of Robert Jouanny) makes both of his Polish Enlightenment counterparts equally valid, because the differences of social status and the vices of stock characters are the principal cause of his problems in all three versions of the play. Both of the Polish translations retain these two features, and the 1780 version emphasises them even more.
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Content available Historia, konteksty i poetyka włoskiego teatru improwizowanego
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Łukaszewicz J.
Italica Wratislaviensia
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2016
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nr 7
263-268
10
Content available Polska recepcja włoskiego dramatu poważnego
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Łukaszewicz J.
Italica Wratislaviensia
|
2015
|
nr 6
337-341
PL
Book review: Jadwiga Miszalska (2013). "Tragicznych igrzysk pieśń uczy nas cnoty". Przekłądy z języka włoskiego jako źródła polskiej dramaturgii poważnej do końca XVIII wieku. Kraków: Collegium Columbinum
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