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Pomiędzy tradycją a nowatorstwem. Rola postaci kobiecych w świecie przedstawionym eposu Torquata Tassa Gofred abo Jeruzalem wyzwolona (w przekładzie Piotra Kochanowskiego)

100%

Buszka K.

Meluzyna. Dawna Literatura i Kultura

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2014

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tom 1

35-48

EN

The article’s aim is to present the main female characters of the epic poem La Gerusalemme liberata (Jerusalem Delivered) by Torquato Tasso (translation by Piotr Kochanowski), i.e. the witch Armida, the warrior-maiden Clorinda and the princess Erminia. Their behaviour is based on the symbolic, historical and social contexts. The article tries to answer the question concerning the functions women had in Tasso’s poem. The author created female characters in such a way that they became the leading participants of the events and had much more prominent roles to play than expected from women in this kindle of poems. The decisions taken by the heroines influence the course of events.

2

Ekshortacje w Gofredzie abo Jeruzalem wyzwolonej Tassa–Kochanowskiego – tradycja, forma i recepcja (zagadnienia wiodące)

100%

Kuran M.

Śląskie Studia Polonistyczne

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2019

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tom 14

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nr 2

99-124

EN

The present study’s main focus is the analysis of three exhortations’ structure along with the topic featured therein, which appear in Piotr Kochanowski’s translation Gofred abo Jeruzalem wyzwolona published in 1618. Those speeches are delivered by Soliman and Emiren, who represent the Saracen side, and the eponymous Goffredo, who represents Christians. The author of the article indicates some arguments (understood as rhetorical devices) referring to the knightly community, which may either be praised (“our” side) or chastised (the opponents), or referencing the leader/warlord, who may deliver a self-praise or berate the enemies’ leader. In addition, a classification of speeches is offered; and so, the following types were distinguished: the call-to-arms type speech to defend a territory, values, and family; the speech calling for outstanding bravery and manly prowess in the face of expected defeat; calling for dedication when faced with an equal opponent; and finally, calling for devotion in the course of attaining a military aim.

3

"Goffred – Gerusalemme Liberata" XII 59–68. Un'analisi stilistica

85%

Cabras F.

Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria

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2017

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tom 17

26-39

PL

"Goffred – Gerusalemme Liberata" XII 59–68. Interpretacja stylistyczna Artykuł skupia się na ściśle stylistycznej analizie epizodu śmierci Kloryndy z Jerozolimywyzwolonej w tłumaczeniu Piotra Kochanowskiego.Riccardo Picchio w 1977 r. opublikował nowatorski artykuł z punktu widzenia metodologicznego,pozostawiając na boku rozpowszechnione aż dotąd podejście do interpretacji polskiejwersji tego poematu, a mianowicie podejście za mocno uwarunkowane stosunkiem pomiędzydwoma tekstami, Tassa i Kochanowskiego. Włoski badacz postarał się przedstawićw nowym świetle arcydzieło polskiego poety: zamiast podkreślić domniemane usterki jegotłumaczenia, Picchio udowodnił, że bardzo często Kochanowski nie przełożył Tassa wedługnaszych oczekiwań nie z tego powodu, że nie umiał dorównać Tassowskiemu mistrzostwu,a raczej dlatego, że miał inne zamiary co do ogólnej koncepcji swojego poematu.Także w przypadku epizodu śmierci Kloryndy okazuje się, że poeta unikał najwyraźniejszychcech stylistycznych tekstu Tassa (ciągła i prawie obsesyjna obecność krwi oraz seksualnośćbohaterki), aby przedstawić czytelnikom raczej grę Losu/Szczęścia z postaciami, przedewszystkim z Tankredem, który walczy, nie będąc tego świadom, ze swoją ukochaną i w końcują zabija. Słowa kluczowe: Piotr Kochanowski, Tasso, Gerusalemme Liberata, Goffred, Klorynda,Tankred, stylistyka "Goffred – Gerusalemme Liberata" XII 59–68. A stylistical interpretationand some methodological observations Abstract The article focuses on the strictly stylistic analysis of the episode of Clorinda’s death inGerusalemme Liberata translated by Piotr Kochanowski.In 1977 Riccardo Picchio published an article that was innovative from the methodologicalpoint of view, leaving behind the prevalent approach to interpretation of Polish version ofthe poem, i.e. an approach too strongly conditioned by the relationship between two texts –Tasso’s and Kochanowski’s. Italian researcher attempted at presenting the masterpiece of thePolish poet in a new light: instead of highlighting the alleged faults of the translation, Picchioproved that Kochanowski did not translate Tasso according to our expectations most oftennot because he could not achieve Tasso’s perfection, but rather because he had a differentplan for a general concept of his poem.In the case of the episode of Clorinda’s death it turns out that the poet avoided the mostdistinct stylistic features of Tasso’s text (constant and almost obsessive presence of blood and the sexuality of the character). It was done to present to the readers the way Fate/Luckplays with the characters, most notably with Tancredi who, unknown to him, fights with hislove and finally kills her. Keywords: Piotr Kochanowski, Tasso, Gerusalemme Liberata, Goffred, Clorinda, Tancredi, stylistic

4

'Metabasis': kilka słów o apostrofie

80%

Ryczek W.

Napis. Pismo poświęcone literaturze okolicznościowej i użytkowej

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2016

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tom 22: Warunkiem trwałości jest przemiana. Parafrazy, kontynuacje i aluzje literackie

27-51

EN

The main aim of the paper is to make some remarks on apostrophe (aversio), its figurative nature and discursive functions. The figure of rhetorical address to some person other than judge has many affinities with other linguistic or stylistic devices, for instance exclamation, a rhetorical question, animation, personification, aposiopesis, prosopopoeia. As a rhetorical aversion it remains always involved in a communicative context. Using many modes of figuration, apostrophe conveniently gives the poet an opportunity to modulate his poetic voice. Then, it seems to be a mark of invested passion or sublime poetry. The considerations on apostrophe are concentrated on three issues: forms and meanings of this figure in rhetorical tradition (Quintilian, Górski, Keckermann, Stanisław Kostka Potocki, Euzebiusz Słowacki), idea of apostrophe as a central figure of post-Enlightenment poetry (Jonathan Culler), and its role in a poetic invocation (for example of Jan Kochanowski’s Latin ode to Henryk Walezy and stanza addressed to ‘Heavenly Muse’ in Torquato Tasso and Piotr Kochanowski).