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1

Euphony in World Languages

100%

Tambovtsev Y.

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nr 1

99-111

EN

There are many languages in the world but every language has its own sound picture. By the sound picture of a language we mean the distribution of its speech sounds in the speech sound chain. It is very interesting to find the languages which are melodical or euphonic and which are not. Melodicity or euphony is the total of the vowels and sonorant consonants in the speech sound chain of a language. It is also possible to call this total the vocalo-sonorant quotient. Thus, the degree of melodicity is the value of this quotient.Vowels and sonorant consonants constitute the vocalo-sonorant structure of the sound picture of any language. We take into consideration the basic features of sound classes and groups. The basic features consist of the frequency of occurrence of vowels and sonorant consonants in the speech chain. These basic features may be found in any world language. This is why, melodicity is one more language universal. Analysing the value of melodicity, one can construct the typology of distribution of language taxa according to this universal characteristic.Austronesian languages have a great concentration of vowels in the speech sound chain (e.g. maximum - 65.24% in Hawaiian and 69.75% in Samoan).Vocalo-sonorant quotient turned out to be bigger in the following language taxa: Sino-Tibetan family (Burmese - 75.67%), Bantu (Swahili - 76.29%), Afro-Asian family (Neo-Aramaic - 81.47%), Austronesian family (Hawaiian - 83.29%), languages of Australian aboriginals - Nunggubuyu - 85.14%). It means that 85.14% of the Nunggubuyu speech sound chain consists of vowels and sonorant consonants.On the other hand, some of the world languages have the minimum of the concentration of vowels. So, in the Itelmen language (Paleo-Asiatic family) vowels comprise only 32.61%.Let us consider the minimum of the vocalo-sonorant quotient. Thus, in the Adygian language (Caucasian family) this quotient reaches only 54.07%.It should be mentioned that on the average the Caucasian language family has a rather low vocalo-sonorant quotient - 61.66%. The ordered series of the average of the vocalo-sonorant quotient in different language taxa is the following: Baltic group of Indo-European family - 62.76%; Iranian group of the Indo-European family - 63.95%); Slavonic group - 64.64%; Germanic - 64.78%; Samoyedic family - 65.16%; Finno-Ugric family - 65.57%; Mongolic family - 66.06%; Balkan language unity - 66.18%; Indic group of the Indo-European family - 66.77%; Turkic family - 66.99%; Paleo-Asiatic family - 67.58%; Sino-Tebetan family - 67.63%; Roman group of I-E family - 68.57%; Afro-Asiatic family - 68.96%; Manchu-Tungusic family - 69.54%; Austronesian family - 73.16%; Bantu - 73.40%; Languages of Australian aboriginals - 80.51%.Melodicity, i.e. the total of vowels and sonorant consonants, may be considered a language universal.

2

Nawroty brzmieniowe w ewangelii wg św. Marka w kilku nowszych przekładach wersetów 33-50 z rozdziału 9

51%

Kubski G.

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2017

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nr 2

103-125

PL

W artykule przedmiotem dokładniejszego badania jest perykopa zawarta w wersetach 33–50 rozdziału 9 Markowej Ewangelii. To nie tyle ogólne cechy stylu są przedmiotem opisu oraz refleksji, co jednostkowe środki literackiego opracowania perykopy, jej artystycznego wykończenia korzystającego z niektórych możliwości współbrzmienia wyrazów, a wyzyskanego lub pominiętego przez tłumaczy. Badanym materiałem są przekłady Ewangelii wg św. Marka na język polski, których autorami są redaktorzy-modyfikatorzy tłumaczenia o. Walentego Prokulskiego SJ w V wydaniu Biblii Tysiąclecia, tłumacz z zespołu Biblii paulistów, Roman Brandstaetter, ks. Marian Wolniewicz, Czesław Miłosz, o. Franciszek Sieg SJ (którego tekst stanowi w tym artykule główne źródło cytowania). Dobór autorów przekładów ma tutaj tę specyfikę, iż czterej spośród nich są także (a nawet w dwóch wypadkach głównie) poetami. Są to Brandstaetter, Miłosz, o. Sieg, ks. Wolniewicz. Dwa pozostałe zaś tłumaczenia pretendują wśród współczesnych polskich katolików do miana najpowszechniej używanych w nauczaniu Kościoła lokalnego

EN

Newer translations of the Gospel according to St. Mark into the Polish language - as well as translations of other books of the Holy Bible - are characterized by a significant reduction of the use of an measures adopted in our culture as a style of biblical, though in varying degrees. In many cases, such measures are fully translatable into the Polish language - e.g. polysyndetic coordination from καὶ . The text of St. Mark uses relatively narrow vocabulary and frequent recurrence of the same expressions. They serve for a clearer arrangement of voicings, the euphony marks subtle literary composition of pericopes. Literary composition of the Gospel of St. Mark is being emphasized by the exploitation of the broad possibilities of semantic and aesthetic use of figures of words per adiectionem, especially the figures of the group widely understood geminatio. In this article detailed classification of these figures is treated cursorily, and main focus is on the compositional (disposable) and the literary consequences of their use in a part of text of 9,33-50 (it can be considered as an independent pericope). The article is the result of a comparison of pericope 9, 33-50 translations by Roman Brandstaetter, Marian Wolniewicz, Czesław Miłosz, Franciszek Sieg SJ, and specified in the fifth edition of the Millennium Bible, and the Paulines Bible. Four of these translators are also a poets. Attention was pointed to the varying degree of respecting of polysyndetic coordination from καὶ and the recurrence of words and phrases, such as. «On the way», «in My name», «accepts», «reason of sin,» «throw», «fire» and the role of antonymy «dispute» and «keep the peace». It turned out that in maintaining euphony of Brandstaetter’s translation healso used the sonic possibilities verses rhyme, which he wrote out the text according to the colometric system. He approached in this way to the construction of versification. The presence of the traditional features of the Polish language in these Bible translations was also noted - respected in varying degrees. Undoubtedly, those translators who also have a poetic legacy, broadly taken into account the aesthetic potential of euphony.

3

Размова… ...сусветаў: Інтэрпрэтацыя стылеўтваральных вобразных сродкаў і арыгінальных вобразаў паэтычнага маўлення Яна Чыквіна

44%

Пісарэнка А.

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nr 20

229-238

PL

Specyfika języka poetyckiego Jana Czykwina wyraźnie występuje na poziomie leksykalnym i fonetycznym. W przebadanych tekstach produktywnymi środkami poetyckimi są metafory (rzeczownikowe i czasownikowe) oraz epitety, które charakteryzują się różnorodnością pod względem struktury, gramatyki i nasycone są treścią autorską. Środkiem kształtującym styl jest instrumentacja głoskowa, za pomocą której autor stwarza oryginalne obrazy. W wierszu Rozmowa wszechświatów poeta korzysta z graficznych środków wyrazu. Obraz graficzny napełnia się sensem i jest łatwiejszy w odbiorze przez czytelnika, gdy samogłoski i spółgłoski nakładają się na siebie, tworząc słowa. Wtedy między wszechświatami odbywa się dialog. Język poetycki J. Czykwina stanowi całościowy system, składniki którego wzajemnie na siebie oddziałują, wyrażają indywidualne skojarzenia autora, skutkiem czego jest przekształcenie rzeczywistości w poetycki obraz przestrzeni.

BE

Спецыфіка паэтычнага маўлення Я. Чыквіна выразна выяўляецца на лексічным і фанетычным узроўнях. Прадуктыўным тропам у прааналізаваных тэкстах з’яўляюцца метафара – назоўнікавая і дзеяслоўная разнавіднасць, а таксама эпітэт; ён характарызуецца структурна-граматычнай разнастайнасцю і аўтарскім зместам. Стылеўтваральным сродкам з’яўляецца гукапіс: з яго дапамогай аўтар стварае арыгінальныя вобразы. У вершы Размова сусветаў паэт звяртаецца да сродкаў графічнай выразнасці: графічны вобраз набудзе сэнсавае напаўненне і ўспрымецца чытачом, калі галосныя і зычныя гукі накладуцца адзін на другі і ўтворацца словы, тады паміж Сусветамі адбудзецца дыялог. Паэтычнае маўленне Я. Чыквіна – цэласная сістэма, складнікі якой узаемадзейнічаюць, дэманструюць адметнасць аўтарскіх асацыяцый і ў выніку рэчаіснасць пераствараецца ў вобразную мастацкую прастору.

EN

The specific character of Yan Chikvin’s poetic speech vividly manifests itself on the lexical and phonetic levels. The productive tropes he uses in the analyzed texts are the noun-and-verb type of metaphor and epithets characterized by structural and grammatical diversity and the author’s vision. His fundamental stylistic method is euphony: the author manages to create original images with its help. In his poem Conversation of the Universes, the poet turns to the means of graphic expression: the graphic image acquires semantic content and makes its way to the reader – when vowels and consonants are superimposed on one another and words are formed, a dialogue between the Universes takes place. Yan Chikvin’s poetic speech is an integral holistic system, with its components interacting with each other, demonstrating the uniqueness of the author’s associations, and, as a result, transforming reality into a figurative artistic space.