Wyniki wyszukiwania - Biblioteka Nauki

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Świat ptaków w staropolskich kolędach i pastorałkach (na materiale Kantyczek karmelitańskich z XVII i XVIII wieku)

100%

Borejszo M.

Poznańskie Studia Polonistyczne. Seria Językoznawcza

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2011

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tom 18

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nr 1

89-106

PL

The article discusses the image of birds as documented in Kantyczki karmelitańskie [Carmelite canticles] from the 17th and the 18th centuries published by Barbara Krzyżaniak in 1980. Birds are to be found in more than 30 lyrics of Christmas carols (for the total number of 357 contained in the set under scrutiny). These include mainly domestic birds, very well-known both to the authors of the canticles and to the recipients and users of Polish Christmas carols and Christmas festivity songs. In total, about 60 species of birds are specified, including two exotic birds (the canary and the parrot). The bird’s realm was used in Christmas carols for different purposes, e.g. in the descriptions of the Bethlehem shed that is inhabited by petty birds, mentioned on account of the enumeration of gifts given to Jesus by shepherds, in accounts of the Flight to Egypt by the Holy Family, and in descriptions of the joy of the whole of the world of nature at the birth of the Saviour. It is worth noting that creators of Christmas carols did not limit themselves to just mentioning names of particular species of birds, but also provide a description of characteristics, sometimes a detailed one, such as the appearance and behaviour of its particular representatives. The carols include, for example, information on the habitat of birds, type and colouring of the plumage, common sounds made by various birds, staple food of birds, the shape of the beak and the size of the gullet. The birds pictured in the Christmas carols were either members of a village band up in the air (some sort of flying band), joyfully proclaiming Good News to the world (a motif often made used of in old-Polish Christmas carols and festive songs), or gathered at the manger to perform menial services and functions in real word reserved only for humans. Birds take on typically human behaviour, show human dispositions and fancies, customs and habits (e.g. wine or beer drinking in the nuptials).

2

Polskie realia w kolędach i pastorałkach XVII i XVIII wieku (na materiale tzw. Kantyczek karmelitańskich)

100%

Borejszo M.

Poznańskie Studia Polonistyczne. Seria Językoznawcza

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2014

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tom 21

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nr 1

11-34

PL

The object of research for the author of the article has been the ancient realities recorded in the texts of carols from the 17th and 18th centuries. The material originates from an extensive manuscript collection of Christmas carols and songs, comprising 357 texts, owned by the cloister of Carmelite nuns in Cracow. This invaluable written monument of religious lyric poetry was published in print by Barbara Krzyżaniak in 1980. The image of the world presented in the Old-Polish carols reflects – in a careful and detailed manner – the realities of the Baroque and the Enlightenment periods, especially the realities of poor Polish rural areas, which the authors of Christmas carols must have known firsthand. Specific saturation of Christmas songs with lay motifs can be observed in the central and closing part of the studied collection. In the lexicon found in Kantyczki karmelitańskie, which describes Old-Polish realities, two basic categories can be distinguished: one of them is composed of proper names (mainly the names and nicknames of shepherds and the names of nuns), the second – much more extensive and internally diversified – comprises the names of all kinds of objects that appear in the descriptions of shepherds’ preparations prior to their journey or merry-making at Christ’s crib. They are, for example, the information about the clothes worn by shepherds, farming implements and household objects, the means of transportation, foodstuffs, dishes, the animals reared or living free, the plants cultivated by people or growing naturally, musical instruments etc.

3

Obraz pasterzy w staropolskich kolędach i pastorałkach (na materiale tzw. „Kantyczek karmelitańskich” z XVII i XVIII wieku). Cz. II

88%

Borejszo M.

Slavia Occidentalis

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2013

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nr 70/1

21-34

PL

This article is an attempt at reconstructing the image reflected in Old Polish Christmas carols of the activities pursued by shepherds following the news of the Saviour’s birth. The analysed material comes from the so-called “Carmelite Canticles” written in the 18th century for the Krakow female Carmelites. The research results suggest that a large part of the stories included in the Carmelite manuscripts of Christmas carols were modelled on the compositional structure of a classic Polish Christmas carol. This consisted of three elements: 1) the angels notifying the shepherds that the Saviour was born; 2) the confusion among the awoken shepherds, their preparations for leaving and the trip to Bethlehem; 3) paying homage to the Infant Jesus on arrival, presenting their gifts, shared celebrations at the manger and the shepherds’ return home. The analysed works demonstrate that the described events bear a strong Polish touch. In old Polish carols the shepherds were presented as a group of impoverished yet well-organized members of a rural society, capable of rational decisions and specific activities in unaccustomed circumstances. Special attention should be paid to the hierarchy among shepherds; it favoured the elder and best educated individuals, collective decision-making and care for all members of the shepherding community, including those less physically fit. The image of the shepherds preserved in the carols is very realistic, diversified and dynamic. Their quite detailed descriptions give an indication of how the poor lived in Polish villages of the 17th and 18th centuries and how well these communities were organized.

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Cztery kolędy Ewy Lipskiej

65%

Marciniak P.

Poznańskie Studia Polonistyczne. Seria Literacka

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2018

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nr 32

251-264

EN

The article contains the reflection on four texts of Ewa Lipska, written in association with Zbigniew Preisner. The discussed works belong to a genre of a literary carol and as a result they have been included in the republication of the album W poszukiwaniu dróg [Searching for the paths ] Therefore, a new area of poetics activity of Lipska appears. The authoress of Sefer makes use of stylization, deforming a specified pattern and thereby revaluating the tradition of a carol. The scrutinised texts were designed as being ready for the musical performance, emphasising Lipska’s interest in the song genre. The creation of a Cracovian poetess has been tilting towards popular culture since some longer time now.

5

Obraz pasterzy w staropolskich kolędach i pastorałkach (na materiale tzw. „Kantyczek karmelitańskich” z XVII i XVIII wieku)

63%

Borejszo M.

Slavia Occidentalis

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2012

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nr 69

23-44

PL

The image of shepherds in old Polish Christmas carols and pastoral Christmas carols (based on the material provided by the so-called Carmelite Canticles “Kantyczki karmelitańskie” from the 17th and the 18th centuries) Summary The article discusses the images of shepherds, that have come to be identified with Christmas, as they were created in Christmas carol songs written by Polish authors through the seventeenth and the eighteenth centuries. The study covers 358 songs included in the so-called “Kantyczki karmelitańskie” (Carmelitan Canticles) compiled and written down in the eighteenth century (presumably from the 1720s to the end of the century) for the use of the Cracow-based Carmelite nuns. In 1980, the collection of songs was published by Barbara Krzyżaniak (see Kantyczki karmelitańskie. Rękopis z XVIII wieku, przygotowała do wydania B. Krzyżaniak, Kraków 1980, 419). A thorough analysis of the collection has made it possible to identify that a large portion of the Christmas carols that introduce the pastoral thread make up for the bulk of the manuscript under scrutiny (about 46 per cent of the texts). These are original songs, deeply embedded in Old Polish social and natural reality (with mainly pastoral and rustic setting), and thus easily reaching a wide audience of the time. The image of shepherds reconstructed on the basis of the works in the collection includes such elements as: 1) Christian names, surnames (patronymics), and nicknames of shepherds (in all, more than 140 anthroponyms, included in the appendix); 2) characteristic physical and psychological features attributed to particular members of the community of shepherds; 3) the set of social rules governing the relations within the group; 4) particular distinctive and characteristic elements of represented world in which the community operated (e.g. shepherd’s attires, home utensils and equipment to be used for agricultural production, food and dairy products, farm animals and musical instruments). The author claims that the informative nature of the texts clearly indicates that the image of shepherds preserved in Christmas carols had been succumbed to a far-reaching Polonisation process. The settings for the Christmas carol songs were thus purposefully and consistently embedded in Polish local and authentic reality, which undoubtedly gave them mass appeal to people across a wide spectrum of social sectors. Keywords: literature, the Enlightenment, religious lyric poetry, song, Christmas carol, pastoral Christmas carol, religion, Christmas

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Анималистические гротески в фольклоре и литературе славянских народов как художественный антидепрессант и релевантный элемент культурной грамотности

63%

Niekraszewicz-Karotkaja Ż.

Studia Rossica Posnaniensia

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2023

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tom 48

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nr 2

9-28

EN

Songs with animalistic motifs are widely represented in the traditional culture of Slavic peoples. Songs with bird motifs clearly predominate, as most of them were originally connected with the archaic ritual of the bird wedding. In the course of their centuries of use, their erotic context has been reduced, and their social and didactic motifs have been strengthened. Embodied primarily in the form of grotesques (Czesław Hernas), these songs became an essential element of the cultural literacy (Eric Donald Hirsch) of the people and formed the basis of ethnopedagogy. The playful character and life-like plot collisions played a role of a peculiar psychotherapeutic means, which is confirmed by the reviews of ethnographers, as well as writers, who processed the folklore plots. In the culture of the Slavic peoples of the new time, the songs with bird motifs were most widespread, although the ritual of a bird wedding survived only among the Sorbs from Lusatia. Animalistic grotesques contributed to the socialization of a person, their awareness of themselves within various models of collective identity. This is why such poems and songs are especially relevant in the sphere of modern recreational culture, including in the field of preschool pedagogy.

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GODY – CZAS PRZEMIANY W KOLĘDACH

63%

Zowczak M.

Rocznik Przemyski

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2018

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tom 54

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nr 2(22): Literatura i Język

141-148

EN

The author presents Christmas motifs in carols diachronically: from the initial Incarnation (the birth of Christ) until the Epiphany. She is therefore interested in the description of the eight wondrous days and nights between the Christmas Eve and Epiphany in Roman Catholicism, Greek Catholicism and the Orthodox Church. According to the author, a dominant aspect of the wondrousness of that time is the co-presence of birth and death which becomes the beginning of new life. The experience of cyclical dying and coming back to life (present in the carol tradition) was also projected onto the visions of the world, or, more precisely, worlds, which come one after another, endlessly. The co-presence of the beginning and the end and the merging of their symbolism in Christmas carols has yet another aspect. The carols sung during Christmastide drew on Biblical typology, which for centuries served the Christian religious education.

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Okołoplebiscytowa Kolęda śląska Henryka Zbierzchowskiego jako przykład propagandowego wykorzystania semantyki kolęd do walki propolskiej w okresie konstytuowania się granic II Rzeczypospolitej

63%

Albiniak A. , Albiniak CSDP E. M.

Studia Teologiczno-Historyczne Śląska Opolskiego

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2021

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tom 41

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nr 2

169-189

EN

In connection with the actions of the Great War and Poland’s regaining of independence, a series of updated carols was created, leading to the development of this species variety. The development of this form of artistic expression was also used in connection with the preparations for the plebiscite. The project was carried out in the Upper Silesian Voivodship. An example is the Silesian carol by Henryk Zbierzchowski published in “Szczutek” in Lviv in January 1921. It was introduced to the text of the Korfanty carol and thus assigned a sacred role of putting Silesia in order. It was not the only text of the carol updated by the same author because around 1919 he published a whole collection of such works, calling them “poetic variants” of carols.

PL

W związku z działaniami Wielkiej Wojny i odzyskaniem przez Polskę niepodległości, powstała seria kolęd aktualizowanych. Rozwój tej formy wyrazu artystycznego wykorzystano również w związku z przygotowaniami do plebiscytu górnośląskiego. Przykładem jest Kolęda śląska Henryka Zbierzchowskiego, opublikowana na łamach lwowskiego czasopisma „Szczutek” w styczniu 1921 r. Poprzez wprowadzenie Wojciecha Korfantego do tekstu kolędy jej autor przypisał mu w ten sposób wręcz sakralną rolę w porządkowaniu Śląska. Nie był to jedyny tekst kolędy aktualizowanej przez tego autora. Około 1919 r. wydał on cały zbiorek tego typu utworów, nazywając je mianem „wariantów poetyckich” kolęd.

9

Диглосія вірувань у гуцульській колядковій традиції

51%

Луцюк М.

Studia Ucrainica Varsoviensia

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2019

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tom 7

85-95

PL

In the article the problem of diglossia in the Christmas carol of Hutsuls based on the interaction of Christian and heathen elements is discussed. The sources of the study are the texts of the Christmas carol which were recorded in the village of Kryvorivnia (Verkhovyna district, Ivano-Frankivsk region). These texts are analyzed in a diachronic section: the phenomena of Christianization and dual-faith and their implementation in the Christmas carol tradition of Hutsuls are considered. Based on the content and formal analysis of the text of the Christmas carol, the main motifs and images are singled out. It is emphasized that in these motifs and images of diglossia features are realized. The article outlines the main ideological principles, embodied in Christmas carols, and analyzes the main thematic features of the calendar ritual folklore of a winter cycle. The diﬀ erentiation of terminology, content and formal features of church carols and carols was also conducted. Based on the results of the content analysis of the text content of the carolytic tradition, its main functions are determined. The conclusions state that the modern Christmas carol tradition of Hutsuls reveals a syncretic completion, which combines Christian and pagan elements, and diglossia features most often appear on the content level. Descriptive and comparative methods, as well as elements of discourse analysis, were used for the study.

10

Sakralność religijnej kontrafaktury świeckich utworów

51%

Kałamarz W. , Karcz B. , Tyrała R. , Zając A. , Delimat W. , Janicki J. J. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W. , Karcz B. , Malik J. , Sterczewska L. , UPJPII i. , Pasek W.

Pro Musica Sacra

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2013

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tom 11

EN

The phenomenon of contrafactum, that is giving new lyrics to the melody that already functioned with different words, is an old and common practice which occurred in many forms. Most often the term is associated with giving religious lyrics to a melody that previously possessed secular words. But this is only one of many possibilities. For centuries valuable melodies were used with both secular and religious words, regardless of original interrelationships of a particular melody.Today, in society sensitive to copyrights, the practice of contrafactum raises a lot of emotions. Also, it often evokes mixed feelings in the milieus which are involved in sacred music. This is because melodies, to some extent, convey with them the meaning of the words to which they are related, especially in the minds of the people who know these words. The secularity of melody can therefore be present not only in purely musical characteristics of a particular melody (e.g., dance rhythm, chromatization, great variety of emotions and emotional intensity), but also with secular context with which it is identified by the people who use this melody, for example, the intention which lead to the creation of a particular melody or with its original meaning. On the other hand, sacred music is the music created to participate in a sacred reality (an integral part of liturgy) and in some sense also to co-create this reality by praising the glory of God and sanctifying the faithful.When giving a secular melody to religious lyrics it is important to make sure that during liturgy their potential users should not associate this melody with anything secular. It should be composed in a perfect manner, in accordance with the rules of counterpoint. It should be a melody containing diatonic sounds, without unnecessary tension, alterations, and with dignified rhythm so that it lent itself to being performed by a large number of people. Moreover, it should simply be beautiful and its proportionally selected components should create internal unity of music and highlight the meaning of the lyrics to which it is to be added. Finally, the melody along with the words should be approved by the appropriate authority of the Church. Only then can we begin to consider it as a sacred, i.e., a liturgical song.