Wyniki wyszukiwania - Biblioteka Nauki

1

Gombrowicz i Szekspir

100%

Jarzębski J.

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nr 3

79-91

EN

As an innovative dramatist, Gombrowicz, strangely, expresses little interest in avant-garde theatre and drama of his epoch. More often, though, he refers to traditional form of performance and world classics, especially to Shakespeare's dramas which he exploits to replicate in the theatre Shakespearian gesture and his brilliancy. To achieve that Gombrowicz quotes or cryptoquotes Shakespeare, imitates the form and construction of his works, taking advantage of the overlap of home drama structures and the drama of power, generation gap, the technique of “theatre in theatre,” and ultimately the fundamental moral and metaphysical questions. Gombrowicz's concept of man as an eternal player is also adopted from Shakespeare. What mediates between Gombrowicz and Shakespeare's plays is Polish romantic drama, especially “Balladyna”, seen as “Macbeth” motifs replica, and 19th c. middle-class drama. In this way Gombrowicz brings Shakespearian issues closer to our times and to modern concept of man in order to once again pose the same great philosophical questions.

2

The Art of Tale-Telling in William Shakespeare’s The Tempest

100%

Kaczyński D.

Anglica. An International Journal of English Studies

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2015

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nr 24/1

97-107

EN

The author draws attention to the fact that in William Shakespeare’s plays characters tell their stories and tales with varying degrees of credibility. In his paper he makes an attempt to reconstruct the actual circumstances of both the storm and shipwreck in The Tempest by analysing all the relevant accounts in the play. While investigating the reliability of the characters’ narratives, the author suggests that Ariel is a spirit whose report of the raised tempest and subsequent shipwreck is partly a trustworthy account and partly a fictitious and misleading tale, which is demonstrated in the course of comparing his words with the other characters’ assertions of what happened in the initial storm.

3

Sensy i dźwięki: O książce Włodzimierza Szturca

100%

Sławek T.

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nr 1(277)

209-220

EN

The author proposes a dialogic reading of Włodzimierz Szturc’s book Diapazony i fonosfery [Diapasons and Phonospheres] (Kraków 2020), interlinking its motifs with Shakespeare’s The Tempest, as well as with the philosophical reflection of Polish Romantic author Juliusz Słowacki and the poetry of Paul Celan. His main focus is the meeting of spirit and matter in the acoustic matter of words. The author points out that this interpretation allows texts to resound, to resonate, creating meanings which, if not different from those effected by semantics, in any case substantially mediate them. He stresses that Szturc’s hermeneutics emphasizes listening, and especially the duty of silently listening out for the world. If this duty is disregarded, one speaks forcing others to silence. The author considers this as a fundamental mechanism – not only hermeneutical, but also political. Using the example of Shakespeare’s texts, he argues that one who fails to hear a voice other than his own will sooner or later bring himself and the world to the edge of an abyss.

4

Dookoła trzech Hamletów. Teatr Polski w Warszawie 1922–1939–1947

100%

Komorowski J.

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2013

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tom 62

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nr 1(245)

77–97

EN

The Polski Theatre has presented Shakespeare’s Hamlet to its audiences three times so far, in 1922, 1939, and 1947. The production of 1922, directed by the theatre manager Arnold Szyfman, constituted a decisive element of the counteroffensive mounted against increasingly heavy attacks of the critics. They all accused the theatre of lowering its artistic level. The Shakespearean counterstroke was received warmly, in hopes of change for the better. Unexpectedly, the premiere of Hamlet directed by Aleksander Węgierko, which took place on 4 April 1939, was overshadowed by political life, as the threat of war was looming ever larger and Great Britain had just provided Poland with the guarantees of military help. Thus, contrary to the producers’ intentions, many reviewers interpreted the play, and Fortinbras’ army march against Poland especially, in the context of the current political situation. As a result, the artistic qualities were often overlooked. Another premiere of Hamlet, on 17 July 1947, again directed by Szyfman, inaugurated the final of the all-national Shakespearean Competition, which was to show the condition of theatre companies in post-war Poland. The Competition was taking place in a tragically ambiguous situation. On the one hand, it was supposed to be a sign of Polish ties with European culture while on the other hand, it was organised in a country being, for all practical purposes, under Soviet occupation, in the circumstances of increasing Communist terror. This time, however, due to censorship, the theatre reviews were devoid of clear political references. The production received positive but not enthusiastic reviews even though it won the greatest number of awards in the competition. Tadeusz Kończyc, one of the 1939 reviewers, remarked that, despite difficulties, the greatest theatres once in a while “come back to Hamlet as to a fount of powerful and everlasting impressions”. The Polski Theatre in Warsaw has not done so for 66 years.

5

Geneze překladu čtyř Shakespearových sonetů

89%

Rubáš S.

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tom 55

164-185

EN

Drawing on its author’s Czech translation of nearly seventy poems from Shakespeare’s sonnet cycle, which lies at the very crux of the European literary canon, this paper shares a few insights into the workshop of a classical poetry translator. It explores the phonetic, structural, semantic and imaginative complexities of the most frequently translated sonnet sequence, and shows, step by step, the way a translator has to deal with the various features of Shakespeare’s poems if one’s translation is not to lose its poetry. Thus, the translator’s decision making process is discussed here, showing multiple examples of how the Czech rendering of Shakespeare’s individual lines have evolved to form a quatrain, a couplet, or, as in the case of sonnet 64, the complete poem. In a broader sense, the paper argues against the popular remark by Robert Frost that “poetry is what gets lost in translation”.

6

Building Czech cultural life: the music department of the Artists’ Society in the first decade of its existence

89%

Kopecký J. , Newkirk M.

Hudební věda (Musicology)

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2023

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tom 60

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nr 1

12-22

EN

The Artists’ Society (Umělecká beseda) fundamentally influenced the artistic life in the Czech lands during the 1860s. It organized writers, artists and musicians and was able to direct their individual work towards a collective goal. Although a number of notable events were held, the music branch was constantly criticised by other branches for its passivity. Despite unforgettable realisations (e.g. Shakespearean festival in 1864, performance of Liszt’s oratorio Saint Elizabeth) it seems that the music branch was in a state of permanent crisis until the early 1870s, out of which it was guided by Otakar Hostinský, Zdeněk Fibich, and later by Antonín Dvořák. The study analyses in detail the process of how the artists gradually found out how to fulfil their artistic goals while keeping in mind economic profit. Spectacular performances of oratorios or efforts to introduce a series of subscription concerts entered history as extraordinary achievements of Bedřich Smetana, Ludevít Procházka, and other prominent members, but financially they exhausted the society. It was only thanks to the intervention of the literary and artistic department that a correction was made, and it was mainly Ludevít Procházka from the music department who found a way that balanced the purely artistic consideration with the requirements of a lossless economy.

CS

Umělecká beseda zásadním způsobem ovlivňovala umělecký život české společnosti šedesátých let 19. století. Organizovala literáty, výtvarníky a hudebníky a jejich individuální tvorbu dokázala nasměrovat ke společnému cíli. Ačkoliv se podařilo uskutečnit řadu pozoruhodných akcí, byl hudební odbor ze strany ostatní odborů neustále kritizován pro svou nečinnost. Přes nezapomenutelné počiny (např. Shakespearovská slavnost roku 1864, provedení Lisztova oratoria Svatá Alžběta roku 1866) se zdá, že hudební odbor byl až do počátku sedmdesátých let ve stavu krize, ze které byl vyveden až organizační činností Otakara Hostinského, Zdeňka Fibicha a později i Antonína Dvořáka. Studie zevrubně analyzuje proces, jak umělci postupně zjišťovali, jak naplnit umělecké cíle a zároveň dbát na ekonomický profit. Velkolepá představení oratorií nebo snahy o zavedení cyklu abonentních koncertů sice vstoupily do historie jako mimořádné počiny Bedřicha Smetany, Ludevíta Procházky a dalších významných členů, ovšem finančně spolek vyčerpávaly. Až díky zásahu literárního a výtvarného odboru došlo k nápravě a z řad hudebního odboru to byl zejména Ludevít Procházka, který našel cestu, jež vyvažovala zřetel ryze umělecký s požadavky na neztrátové hospodaření.

7

Hamlet Szekspira a tragedie Seneki (Shakespeare’s ‘Hamlet’ and Seneca’s Tragedies)

88%

Hajduk J.

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nr 1

109-125

PL

In this paper I am discussing some crucial resamblences between ancient tragedy of Seneca the Younger and Hamlet by William Shakespeare. I want to show how important is to have in mind Seneca’s efforts while trying to understand „philosophy” and structure of Hamlet.

8

The Influence of Dramatic Conventions on the Audience’s Perception of the Fictional Time in William Shakespeare’s The Comedy of Errors

88%

Kaczyński D.

Acta Philologica

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2014

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nr 45

15-21

PL

Niniejszy artykuł poświęcony jest wpływowi, jaki wywierają użyte przez Szekspira konwencje teatralne w Komedii omyłek na percepcję czasu fikcyjnego sztuki. W oparciu o metodologię prof. Jerzego Limona wyłożoną w jego książce Chemia teatru, autor dokonuje próby skategoryzowania poszczególnych przypadków mówienia postaci „do siebie” jako solilokwia, mówienie na stronie oraz monologi. Zwraca uwagę, iż zdecydowana większość solilokwiów wypowiadanych przez osoby dramatu jest de facto nie znakami stanu umysłu mówiących, lecz znakami mowy kierowanej bezpośrednio do siebie, co łączy się z możliwością zauważenia takiego typu zachowania przez inne postaci.

9

Shakespearean Doubling: Issues of Action, Theme and Stage Presence

88%

Cotterill R.

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nr 1

61-74

10

„Niech się połączą niebiosa i ziemia…”: w poszukiwaniu (nowej) astronomii w Antoniuszu i Kleopatrze Williama Shakespeare’a

65%

Cetera-Włodarczyk A. , Włodarczyk J.

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2017

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nr 31

23-46

EN

Shakespeare appears to be one of the most intensely studied authors exemplifying mutual influence of literature and science. Significantly enough, astronomical references deserve a particular attention due to the spectacular change of paradigm resulting from the replacement of the concept of the geocentric cosmos with the concept of the heliocentric universe. Starting from some general remarks concerning the methodological assumptions of such analyses and the specificity of Shakespeare canon, the paper offers an in-depth study of Anthony and Cleopatra as one of the most representative plays with regard to the number, suggestiveness and interpretative potential of astronomical references. The paper exemplifies the way in which the play combines traditional astronomical and astrological allusions with some unconventional images, usually featuring imaginative hyperboles, which inscribe the fate and feelings of the characters into a cosmic framework. These references repeatedly trigger some fascinating and yet risky interpretations which strive to present Shakespeare as part of the scientific revolution of the age. Refraining from any value judgment, the paper highlights the overall importance of reading Renaissance literature, and Shakespeare in particular, against the background of the history of science in a way which allows for precise identification of contemporary sources of astronomical knowledge as well as for the reconstruction of the actual paths of dissemination of such ideas.

11

The Political Hamlet According to Jan Kott and Jerzy Grotowski

63%

Świątkowska W.

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tom 17

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nr 32

61-68

EN

The article presents political interpretations of Hamlet in Poland in the turbulent period of politcal changes between the mid-1950s and mid-1960s. The author discusses the relationships between Shakespeare’s tragedy and Polish political context as well as the influence of audience expectations in the specific interpretations. The selected performances are: Hamlet by Roman Zawistowski (at the Old Theatre in Cracow 1956) and Hamlet Study by Jerzy Grotowski (at the Laboratory Theatre of 13 Rows in Opole 1964). They both were hugely influenced by major commentators of Hamlet, i.e. Stanisław Wyspiański and Jan Kott. The author argues that up-to-date readings of Hamlet, which started with Wyspiański’s study in 1905, flourished in the mid-1950s and mid-1960s when concerning specific political events: the Polish Thaw of 1956 and March 1968, when the Jews were expelled from Poland. Thus Hamlet of that time was updated and must be seen through the prism of political events.

12

“This sceptred isle”. Reflections on Shakespeare and Brexit

63%

Kaptur P.

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nr 4

562-573

PL

W czasie kampanii brexitowej, zarówno ci, którzy opowiadali się za wyjściem Zjednoczonego Królestwa ze struktur Unii Europejskiej, jak i ci którzy chcieli w nich pozostać odwoływali się do twórczości Williama Szekspira, aby wesprzeć swoje racje. Pytanie „jak głosowałby Szekspir” podnoszone było przez licznych dziennikarzy, naukowców i polityków, którzy starali się przedstawić Szekspira albo jako narodowego barda promującego brytyjski izolacjonizm, albo jako zagorzałego zwolennika Anglii będącej integralną częścią kontynentu europejskiego. Niniejszy artykuł jest próbą analizy wybranych aspektów twórczości Williama Szekspira, które mogłyby wskazywać na stosunek dramaturga do relacji pomiędzy Anglią a Europą.

EN

During the Brexit campaign, both those who opted for Britain leaving the EU and those who wanted to remain in the structures of the Union referred to William Shakespeare to support the rightness of their preference. The question of how Shakespeare would have voted was raised by numerous journalists, writers and politicians who either tried to present Shakespeare as a national bard promoting British isolationism or a staunch adherent of England being an integral part of the European continent. The paper scrutinizes some aspects of Shakespeare’s plays which indicate the writer’s attitude towards the relations between England and Europe.

13

Wokół „Makbeta” Juliusza Słowackiego

51%

Dybizbański M.

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tom 115

|

nr 3

5-17

PL

Sporządzony przez Juliusza Słowackiego przekład "Makbeta" w znanej dziś postaci obejmuje scenę pierwszą i scenę drugą oraz fragment (nie początek) sceny trzeciej. W artykule przedstawiono próbę interpretacji takich decyzji translatorskich jak zastąpienie zaklęcia Wiedźm konstatacją o panowaniu „ciemnego anioła” i zapowiedzią starcia światłości z ciemnością, transformacja kocura i ropuchy w szatana, rezygnacja z magicznych obrzędów i zatarcie granicy między światem realnym a światem cudownym czy rozdzielenie dwóch wymiarów (realistycznego i fantastycznego) pierwszej kwestii Makbeta między bohatera tytułowego a Banka, które ustawia ich w „hybrydyczną parę”, typową dla przedmistycznych dramatów Słowackiego.

EN

Juliusz Słowacki’s translation of "Macbeth" in the form that we know today consists of scene 1, scene 2 and a fragment (not the beginning) of scene 3. The paper is an attempt at interpreting such decisions as substitution of Witches’ magical spell with a statement about the rule of “dark angel” and a scent of a clash of light and darkness, a shift of a gray cat (“Graymalkin”) and a paddock into Satan, leaving out magical rituals a scent of clash of light and darkness, wiping out the borderline between the real world and the supernatural one. Further, the author of the article focuses on dividing two dimensions (realistic and fantastic) of Macbeth’s first line between him and Banquo to arrange them as a “a hybrid couple” that is typical of Słowacki’s pre-mystical dramas.

14

Possible, impossible. Difficult Norwid in difficult Norwid studies

38%

Samsel K.

Studia Norwidiana

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2017

|

tom 35 English Version

219-248

PL

Tom Trudny Norwid jest nie tylko próbą stworzenia „monografii niemożliwej”, lecz także ważnym, bo przekrojowym dokumentem ewolucji polskiej norwidologii (być może właśnie ta, a nie inna problematyka książki ów interesujący horyzont szczególnie uprzystępniała). Skutkiem tego – analizowany tu zbiór tekstów domaga się niejako dwóch dróg odczytywania i podlega tak samo dwóm równoległym ścieżkom interpretacyjnym. Jedna została wyznaczona przez temat całości tomu, druga realizowana jest mimowolnie, zwłaszcza w toku omawiania dyskusyjnych kwestii w obrębie dyscypliny. Ta druga wydała się autorowi niniejszego omówienia równie pasjonująca, co pierwsza. Stąd też jego próba syntetycznego połączenia obu interesów tej książki, choćby w ramach podtytułu niniejszego studium – hasła „trudnego Norwida trudnej norwidologii”.

EN

The volume Trudny Norwid [Difficult Norwid] marks not only an attempt to create an “impossible monograph” but also an important, large-scale record of the evolution of Norwid Studies in Poland (perhaps it is exactly this and not the other issues addressed in the book that made this interesting perspective particularly accessible). As a result, the collection of texts examined here requires at least two ways of reading and is subject to the same two parallel interpretive paths. One of these was defined by the subject of the entire volume, while the other one is performed involuntarily, in particular in the course of discussing issues that are disputable in the discipline. The author of this review found the second interpretive path as exciting as the first, hence this attempt to synthesise the two interests of the book, if only under the heading of this study – the headword “difficult Norwid in difficult Norwid Studies”.